Publication: Las vanguardias musicales en el Nuevo Cine Español (60s, 70s, 80s). Percepción y universales culturales a través del análisis de sus bandas sonoras
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2016-09-29
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Universidad Complutense de Madrid
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Abstract
Esta investigación aporta un modelo multidisciplinar con el objetivo de analizar las bandas sonoras de las colaboraciones que se dieron entre directores del Nuevo Cine Español y compositores de la denominada Generación del 51: Carlos Saura y Luis de Pablo, Mario Camus y Antón García Abril, Basilio Martín Patino y Carmelo Bernaola. El modelo analítico que se desarrolla en este estudio responde a dos cuestiones: ¿Existen fórmulas universales en el lenguaje musical aplicado a la imagen cinematográfica que influyan en la percepción del espectador? ¿De dónde vienen esas fórmulas? Una vez identificadas las variables que pueden determinar el proceso de percepción y planteadas las herramientas que estas variables nos aportan, proponemos un modelo analítico que contemple estas herramientas. Tras revisar los estudios realizados en diversos campos, concluimos el alto grado de importancia que tiene el sonido y la música como extensión y estilización de éste, a la hora de influir, modificar y dirigir las percepciones del espectador. A partir de esta premisa, el modelo analítico que desarrollamos para abordar las relaciones en el audiovisual, se basa en herramientas proporcionadas por la semiótica, la etnomusicología, la antropología, la psicología de la música, la musicología cognitiva, la neurociencia, la musicoterapia, las funciones narrativas cinematográficas y la música...
This research provides a multidisciplinary analysis with the purpose of studying the movie soundtracks that were the result of a collaboration between directors pertaining to the renowned Spanish historical movement called El Nuevo Cine Español and composers from the designated group Generación del ’51: Carlos Saura y Luis de Pablo, Mario Camus y Antón García Abril, Basilio Martín Patino y Carmelo Bernaola. The model of analysis developed in this study intends to answer two different questions: Are there any universal formulas within the musical language applied to the cinematographic image that are able to influence the viewer’s perception? Where do these formulas come from? After identifying the variables that determine the viewer’s perception process and bringing the outcome tools of these variables, we offer an analytical approach that put these tools into effect. Research in several fields has shown the relevant role that sound and music, as an extension and stylization of it, have when it is to persuade, modify and direct the viewer’s perception. Consequently, in order to decode the relationships within the audiovisual context, we applied an analytical approach that takes its tools from several fields: Semiotics, Ethnomusicology, Anthropology, Psychology of Music, Cognitive Musicology, Neuroscience, Music Therapy, Cinematographic Narrative Functions and Music...
This research provides a multidisciplinary analysis with the purpose of studying the movie soundtracks that were the result of a collaboration between directors pertaining to the renowned Spanish historical movement called El Nuevo Cine Español and composers from the designated group Generación del ’51: Carlos Saura y Luis de Pablo, Mario Camus y Antón García Abril, Basilio Martín Patino y Carmelo Bernaola. The model of analysis developed in this study intends to answer two different questions: Are there any universal formulas within the musical language applied to the cinematographic image that are able to influence the viewer’s perception? Where do these formulas come from? After identifying the variables that determine the viewer’s perception process and bringing the outcome tools of these variables, we offer an analytical approach that put these tools into effect. Research in several fields has shown the relevant role that sound and music, as an extension and stylization of it, have when it is to persuade, modify and direct the viewer’s perception. Consequently, in order to decode the relationships within the audiovisual context, we applied an analytical approach that takes its tools from several fields: Semiotics, Ethnomusicology, Anthropology, Psychology of Music, Cognitive Musicology, Neuroscience, Music Therapy, Cinematographic Narrative Functions and Music...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 16-12-2015