Plasticidad y metáfora en el enfoque de la textura de Thomas Clifton
The concept of musical texture showed, in its relatively short history within music theory, a kind of resistance with regard to the possibility of an abstract and formalized representation. Thomas Clifton’s approach, such as it is formulated in his posthumous book Music as Heard. A Study of Applied...
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I28-R145-2017_12-2017_12_1_htm2019-02-05 Thomas Clifton; textura musical; representación metafórica Pablo Fessel 0328-0454 Estudios e investigaciones The concept of musical texture showed, in its relatively short history within music theory, a kind of resistance with regard to the possibility of an abstract and formalized representation. Thomas Clifton’s approach, such as it is formulated in his posthumous book Music as Heard. A Study of Applied Phenomenology (1983), stands out within the field of American music theory. Its particularity is given, on the one hand, in the treatment of texture as a fundamental aspect of perceptive experience, in contrast to the comparatively marginal attention it usually receives in that field. On the other hand, because it confronts texture’s dominant conception in that field, orientated to the structural configuration of musical simultaneity, with an inherently plastic representation. The article reviews the fundamental aspects of Clifton’s approach, highlighting the role of metaphorical thinking in a non-abstract representation of texture. El concepto de textura musical mostró, en su comprativamente breve historia dentro de la teoría de la música, cierta resistencia ante la posibilidad de una representación abstracta y formalizada. La concepción de Thomas Clifton de la textura, tal como se encuentra formulada en su libro póstumo Music as Heard. A Study of Applied Phenomenology (1983), se destaca por su singularidad dentro del campo de la teoría de la música norteamericana. Esa singularidad está dada, por una parte, por el hecho de que la textura está tratada como un aspecto fundamental de la experiencia perceptiva, lo que contrasta con la consideración relativamente marginal de la cual es usualmente objeto en dicho campo. Por otra parte, porque confronta la concepción predominante de la textura en ese ámbito, orientada a la configuración estructural de la simultaneidad musical, con una representación eminentemente plástica. El artículo revisa y comenta las notas fundamentales de la concepción de Clifton, destacando el papel del pensamiento metafórico en una representación no abstracta de la textura. application/pdf http://revistascientificas.filo.uba.ar/index.php/payro/article/view/4687 Estudios e investigaciones, no. 12 Thomas Clifton musical texture metaphorical thinking Thomas Clifton textura musical representación metafórica Plasticidad y metáfora en el enfoque de la textura de Thomas Clifton http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=estuinv&d=2017_12-2017_12_1_htm |
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Universidad de Buenos Aires |
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I-28 |
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R-145 |
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Repositorio Digital de la Universidad de Buenos Aires (UBA) |
| topic |
Thomas Clifton; textura musical; representación metafórica Thomas Clifton musical texture metaphorical thinking Thomas Clifton textura musical representación metafórica |
| spellingShingle |
Thomas Clifton; textura musical; representación metafórica Thomas Clifton musical texture metaphorical thinking Thomas Clifton textura musical representación metafórica Pablo Fessel Plasticidad y metáfora en el enfoque de la textura de Thomas Clifton |
| topic_facet |
Thomas Clifton; textura musical; representación metafórica Thomas Clifton musical texture metaphorical thinking Thomas Clifton textura musical representación metafórica |
| description |
The concept of musical texture showed, in its relatively short history within music theory, a kind of resistance with regard to the possibility of an abstract and formalized representation. Thomas Clifton’s approach, such as it is formulated in his posthumous book Music as Heard. A Study of Applied Phenomenology (1983), stands out within the field of American music theory. Its particularity is given, on the one hand, in the treatment of texture as a fundamental aspect of perceptive experience, in contrast to the comparatively marginal attention it usually receives in that field. On the other hand, because it confronts texture’s dominant conception in that field, orientated to the structural configuration of musical simultaneity, with an inherently plastic representation. The article reviews the fundamental aspects of Clifton’s approach, highlighting the role of metaphorical thinking in a non-abstract representation of texture. |
| author |
Pablo Fessel |
| author_facet |
Pablo Fessel |
| author_sort |
Pablo Fessel |
| title |
Plasticidad y metáfora en el enfoque de la textura de Thomas Clifton |
| title_short |
Plasticidad y metáfora en el enfoque de la textura de Thomas Clifton |
| title_full |
Plasticidad y metáfora en el enfoque de la textura de Thomas Clifton |
| title_fullStr |
Plasticidad y metáfora en el enfoque de la textura de Thomas Clifton |
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Plasticidad y metáfora en el enfoque de la textura de Thomas Clifton |
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plasticidad y metáfora en el enfoque de la textura de thomas clifton |
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http://revistascientificas.filo.uba.ar/index.php/payro/article/view/4687 http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=estuinv&d=2017_12-2017_12_1_htm |
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