Towards an esthetics of the singed voice as an expressive body

Authors

  • Daniel Machuca Téllez Universidad Nacional de La Plata
  • Joaquín Blas Pérez Laboratory for the Study of Musical Experience (Leem), Faculty of Arts, National University of La Plata

DOI:

https://doi.org/10.54167/qvadrata.v4i7.895

Keywords:

Singing voice, expressive body, experience, musical aesthetics

Abstract

The way we interact, and through our senses, give meaning to the world around us, has been a central theme for contemporary philosophy and psychology. In relation to the musical practice as artistic doing, we must consider this interaction also as a type of aesthetic experience. We believe that, within the framework of the problems that can be approached from aesthetics, we can place the sung voice even beyond the idea of ​​music as a work or object. In this sense, the voice emerges as a communicative form where, a determined time-space, the different forms of interaction with the other and the meanings that emerge before and during the interaction, configure the forms in which the vocal sound is produced; our voice, understood as an expressive body, is constantly transformed giving meaning to each moment that passes in vocal production, in musical performance. Next, we present an essay on the aesthetic meanings related to the musical sound of the sung voice as an expressive body, based on two general sections, (i) the aesthetic dimension of the musical as an experience, and (ii) the voice as a corporal expression.

Author Biographies

Daniel Machuca Téllez, Universidad Nacional de La Plata

Bachelor of Music with an orientation in Music Education from the Faculty of Arts of the National University of La Plata (UNLP). Teacher assigned to the Audioperceptive I and II professorship of the Faculty of Arts. Thesis student of the Specialization in Artistic Languages, PhD candidate in Arts from FDA-UNLP and research fellow from UNLP. From 2015 to 2017 he participated as an assistant in the Vocal Education chair of the same faculty. Carry out research tasks on the sung voice in the Laboratory for the study of musical experience. He was part of the project PPID / B010 - "Improvisation and orality in popular music. Towards a definition of the embodied, phenomenological and grammatical aspects of performance as an ontology of action." And, he is currently part of the project PPID / B017 - "Current practices of musical orality: performance, interaction, and technological mediation as spaces for the construction of musical meaning." both directed by Dr. Joaquín Blas Pérez. He has dedicated himself to studying the development and production of the sung voice in popular music, sung performance and its approach in the pedagogical field. Since 2016 he has been developing an independent project on the pedagogy of the singing voice in which he participates as a teacher and director. He has held workshops and conferences within the framework of this project. He composes and produces music under the pseudonym Dan Mallez.

Joaquín Blas Pérez, Laboratory for the Study of Musical Experience (Leem), Faculty of Arts, National University of La Plata

Musician, Saxophonist and Improviser Flutist, Researcher at the Laboratory for the Study of Musical Experience. Doctor of Arts at the National University of La Plata and Professor of Music (orient. Composition). Assistant Professor in Audioperceptive I and II at the Faculty of Fine Arts (UNLP). Professor of Latin American Music at the Berisso School of Art. Member of the Advisory Council of the Laboratory for the Study of Musical Experience (UNLP). He is a researcher in the research project accredited by the UNLP “The corporeity of the musical mind. Towards a definition of his stature in the study of the ontogenesis, perception and performance of music”. He is part of the project: "Communicative Musicality in Temporary Arts and Early Childhood". PICT 2013-0368 (National Agency for the Promotion of Science and Technology). His interests are mainly linked to improvisation in jazz and Latin American popular music, musical cognition, musical performance. founding president of Cuchá! Musicians from Platenses Producing, musician producer, arranger and session player in various musical projects related to Latin American popular music and jazz

References

Bateson, G. (1998). Pasos hacia una ecología de la mente, única edición. Buenos Aires: LOHLÉ-LUMEN.

Bohlman, P. V. (2001). “Ontologies of Music”. En Rethinking Music, N. Cook, y M. Everist Ed. Oxford: OUP, 17 – 34.

Canal Encuentro. (23 de mayo de 2017). Los caminos de Atahualpa: Si habré cantado yo - Canal Encuentro HD [Archivo de video]. Youtube. https://www.youtube.com/watch?v=Fp-Q9ZGnkd0.

Cook, N. (2003): Music as Performance. In M. Clayton, T. Herbert y R. Middleton (Eds). The Cultural Study of Music. A Critical Introduction. Nueva York y Londres: Routledge, 204 – 214.

Cross, I., y Tolbert, E. (2009). Music and meaning. The Oxford handbook of music psychology, 24-34.

Dahlhaus, C. (1996). Estética de la música, Kassel: Reichemberger.

Djoulou Ram. (26 de octubre de 2012) Camarón de la Isla y Paco de Lucia Como Agua [Archivo de video]. Youtube. https://www.youtube.com/watch?v=3KZyy8Oc1QA.

Eidsheim, N. S. (2008). “Voice as a technology of selfhood: towards an analysis of racialized timbre and vocal performance”, Ph.D. thesis, philosophy department, University of California, San Diego.

FATPOLO. (28 de abril de 2011). Jose Antonio Mendez - La Gloria Eres Tu [Archivo de video]. Youtube. https://www.youtube.com/watch?v=hQlAE4y6Y50.

Feld, S. y Fox, A. A. (1994). “Music and language”. Annual Review of Anthropology (23), 25 – 53.

García Pindado, S. (2015). “La voz del fado: una propuesta de análisis del canto de Amália Rodrigues”, Tesis de grado, Universidad de Valladolid, Valladolid.

Hanslick, E. (1854). The beautiful in music [De lo bello en la música]. Londres, Reino Unido: Novello and Company.

Idhe, D. (2007). Listening and Voice. On the phenomenology of sound, 2.ª edición. Albania: State University of New York Press.

Johnson, M. (2007). The meaning of the body. Aesthetics of human understanding. Chicago: The University of Chicago Press.

José Antonio Méndez – Tema. (03 de abril de 2020). La gloria eres tu (En vivo) [Archivo de video]. Youtube. https://www.youtube.com/watch?v=6Hx2CjNfStE.

Lakoff, G. (1987). Women, Fire, and Dangerous Things. What Categories Reveal about the Mind. Chicago: Chicago University Press.

Manuel gdfgmf. (04 de noviembre de 2012). Amália Rodrigues - Sabe-se Lá [Archivo de video]. Youtube. https://www.youtube.com/watch?v=GY1f7xnX-Xk.

Marchiano, M. y Martínez, I. C. (2020). “La politización de la música en la experiencia estética”. Arte E Investigación, (18), e059. https://doi.org/10.24215/24691488e059

Martinez, I. C. (2007). The Cognitive reality of prolongational structures in tonal music. Doctoral Thesis, Roehampton University.

Martínez, I. C. (2012). “La música como experiencia imaginativa y corporeizada: implicancias para una idea de música como un modo expresivo de conocimiento”. A Contratiempo, (20), 1 – 3. Descargado en https://www.aacademica.org/martinez.isabel.cecilia/117.pdf el 1 de Febrero de 2020.

Martínez, I. C. (2014). “La base corporeizada del significado musical”. En Psicología de la música y del desarrollo. Una exploración interdisciplinaria sobre la musicalidad, S. Español, Ed. Buenos Aires: Paidós. 71 – 110.

Martínez, I. C., Español, S. A., y Pérez, D. I. (2018). “The Interactive Origin and the Aesthetic Modelling of Image-Schemas and Primary Metaphors”. Integrative psychological & behavioral science, 52(4), 646 – 671. doi:10.1007/s12124-018-9432-z

Meyer, L. (2001). Emoción y significado en la música [traducción J. L. Turina], Madrid: Alianza Editorial.

Moran, N. (2014). “Social implications arise in embodied music cognition research which can counter musicological individualism” Frontiers in Psychology, 1 – 10.

Plazaola, J. (2007). Introducción a la estética: historia, teoría, textos, 4.ª edición. Bilbao: Biblioteca Deusto.

Polo, M. (2008). La estética de la música, 1.ª edición. Barcelona: Editorial UOC.

Rousseau, J. J. (2008). Ensayo sobre el origen de las lenguas [traducción María Teresa Poyrazian], Córdoba: Universidad Nacional de Córdoba y Encuentro, C. 12.

Taylor, D. (2016). Actos de transferencia. En El archivo y el repertorio: La memoria cultural performática en las Américas. Santiago de Chile: Ediciones Universidad Alberto Hurtado.

Tuxame e. (23 de diciembre de 2015). Luzmila Carpio entrevista - Historias debidas [Archivo de video]. Youtube. https://www.youtube.com/watch?v=ojOx7xPtuMQ.

Weidman, A. (2014). “Anthropology and voice”. Annual Review of Anthropology (43), 37 – 51.

Zumthor, P. (1997). Introdução à Poesia Oral. São Paulo: Hucitec, EDUC.

Downloads

Published

2022-06-27

How to Cite

Machuca Téllez, D., & Pérez, J. B. (2022). Towards an esthetics of the singed voice as an expressive body. Qvadrata, 4(7), 57–72. https://doi.org/10.54167/qvadrata.v4i7.895

Issue

Vol. 4 No. 7 (2022): Enero - Junio 2022

Section

Artículos