Sonorous Objects Agency
This text aims at approaching the speeches of Amerindian specialists on nonauthorial origin of their music – in which the activity of listening occupies the function ofm production – and also to understand the limitations of Western artists whenever they try to collaborate with the forms of acoustic...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2015 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Per Musi |
| Idioma: | portugués |
| OAI Identifier: | oai:periodicos.ufmg.br:article/38986 |
| Acceso en línea: | https://periodicos.ufmg.br/index.php/permusi/article/view/38986 |
| Access Level: | acceso abierto |
| Palabra clave: | Amerindian aesthetics Musical creation Politics of aesthetics Estéticas ameríndias Criação musical Políticas da estética Estética amerindia Creación musical Política de la estética |
| Sumario: | This text aims at approaching the speeches of Amerindian specialists on nonauthorial origin of their music – in which the activity of listening occupies the function ofm production – and also to understand the limitations of Western artists whenever they try to collaborate with the forms of acoustic work which operate in these collective realities. Under the light of reflections made by Bruno Latour and Jacques Rancière on themes related to the politics of aesthetics, the notions of “production” and the breaches built by modern societies between nature and culture, the present study revisits the singular path of French composer Pierre Boulez as a way of dealing with the encounter between the artistic musical production of the circle of composer who write for concert halls with Amerindian cosmosonology. |
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