El análisis musical genérico/estilístico
In the 2023 edition of Musicians in Congress, I had the pleasure of presenting the conference outlined in this article. The aim of the work is to demonstrate how musical analysis serves as a fundamental tool in understanding genres and styles. For this reason, I propose reviewing the recent articles...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional del Litoral
2024
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13710 |
| Aporte de: |
| Sumario: | In the 2023 edition of Musicians in Congress, I had the pleasure of presenting the conference outlined in this article. The aim of the work is to demonstrate how musical analysis serves as a fundamental tool in understanding genres and styles. For this reason, I propose reviewing the recent articles by Hugo Fellone (2021–2022), which update debates on musical genre in relation to its historical dimension and contemporary circulation patterns.
Additionally, I draw upon Leonard Meyer's (2000) conceptualization of musical style, specifically his scalar logic, to comprehend the various levels of constraints. This approach allows me to link both concepts: musical genre and style in popular music. In this sense, musical genre consists of a set of musical events with greater stability in certain characteristics throughout its history, while styles can be understood as the different temporal and spatial changes within genres, as well as the intersection of different genres.
Finally, I present the possibility of describing musical features in genres/styles using statistical tools. To support this idea, I draw from Trevor de Clercq and David Temperley's works on rock, as well as Carlos Almada's study of Tom Jobim's style. |
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