Tacit : A Practice as Research about Choreomusical Networks on the Thresholds of Silence and Immobility
This thesis describes and explains the development and conclusions of a type of Practice as Research in electroacoustic music and contemporary dance, which aims to identify and understand the emerging "Coreomusical Networks" (CC.NN.) in practical-creative contexts that consider the thresho...
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| Tipo de recurso: | tesis doctoral |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | Chile |
| OAI Identifier: | oai:repositorio.anid.cl:10533/42568 |
| Acceso en línea: | https://hdl.handle.net/10533/42568 |
| Access Level: | acceso abierto |
| Palabra clave: | Humanidades Arte (Artes, Historia del Arte, Artes Escénicas, Música) Artes de la Representación (musicología, teatro, dramaturgía) |
| Sumario: | This thesis describes and explains the development and conclusions of a type of Practice as Research in electroacoustic music and contemporary dance, which aims to identify and understand the emerging "Coreomusical Networks" (CC.NN.) in practical-creative contexts that consider the thresholds of silence and immobility. Although it was a practical investigation, it was necessary to address three fundamental theoretical areas of study for its development. In the first place, that of the CC.NN. arises from the idea of choreomusical relationships (Hodgins 1992; Jordan 2000, 2015, 2020) and from the ideas of actants, agencies, and performances from the Actor-Network Theory (ANT). We believe that having developed this methodology is a resource with potentialities, useful for choreomusical analysis and creative, collaborative dance and music work. Then, the phenomenon of perceptive thresholds in those sounds that border on silence was addressed for creating "silent music," especially highlighting the work with "infrasonic music." Thirdly, the phenomenon of perceptual thresholds of movements close to immobility was studied for the creation of a "still dance." The results generated knowledge regarding the characteristics of shared attention, mainly when it occurs through what we call the "choreomusical threshold." Also, regarding the mobile aspects of the sound and the sound characteristics of the movement in the perceptive thresholds, highlighting the particular "organic" and "holistic" agencies that these adopt during their perception. Finally, conclusions were drawn on the idea of "perceptual magnetization" presented by the different movements of a "still dance" and of the particular CC.NN. that emerge thanks to the incidence of "the sculptural" in a choreomusical performance. |
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