New Music as a Territory of the Emancipation of Technological Resources
Considering a 20th century that saw the birth of instruments, musical resources, and techniques that responded to the demands of the music of its own time, in this article, we examine whether the gradual consolidation of electronic resources in the compositional field has some kind of relationship w...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2024
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| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/14143 |
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I28-R250-article-141432025-04-14T20:03:15Z New Music as a Territory of the Emancipation of Technological Resources La Nueva Música como territorio de la emancipación del recurso tecnológico A A Nova Música como território de emancipação dos recursos tecnológicos Carvallo, Antonio music thought resource technique autonomy música pensamiento recurso técnica autonomía música pensamento recurso técnica autonomia Considering a 20th century that saw the birth of instruments, musical resources, and techniques that responded to the demands of the music of its own time, in this article, we examine whether the gradual consolidation of electronic resources in the compositional field has some kind of relationship with the development of the Cultural Industry, which, according to the Frankfurt School, is driven through the expansion of communication technologies. Based on Heidegger’s analysis of the nature of these resources, we pay special attention to the way in which their entry into the creative process entails the gradual appearance of a distinct thought from the musical one, a thought that arises from the technological stage and that can be traced back to the instrumental reason defined by Marcuse, all within a process where new technologies seem to guide their development towards their own autonomy. Atendiendo a un siglo XX que vio nacer instrumentos, recursos musicales y técnicas que respondían a las exigencias de las músicas de su propio tiempo, en el presente artículo examinamos si la gradual consolidación de los recursos electrónicos en el campo composicional guarda algún tipo de relación con el desarrollo de la Industria Cultural, la que para la Escuela de Frankfurt es conducida a través de la expansión de las tecnologías para la comunicación. A partir del análisis heideggeriano de la naturaleza de dichos recursos prestamos especial atención a la forma en que su entrada en el proceso creativo conlleva la paulatina aparición de un pensamiento distinto al musical, pensamiento que surge del estadio tecnológico y que puede ser reconducido a la razón instrumental definida por Marcuse, todo al interior de un proceso donde las nuevas tecnologías parecieran orientar su desarrollo hacia su propia autonomía. Considerando um século XX que viu o surgimento de instrumentos, recursos musicais e técnicas que respondiam às exigências da música do seu tempo, neste artigo examinamos se a gradual consolidação dos recursos eletrônicos no campo composicional guarda algum tipo de relação com o desenvolvimento da Indústria Cultural, que para a Escola de Frankfurt é impulsionada pela expansão das tecnologias de comunicação. A partir da análise heideggeriana sobre a natureza desses recursos, prestamos especial atenção à forma como sua entrada no processo criativo implica o surgimento gradual de um pensamento distinto do musical, um pensamento que surge do estágio tecnológico e que pode ser reconduzido à razão instrumental definida por Marcuse, tudo dentro de um processo no qual as novas tecnologias parecem direcionar seu desenvolvimento para sua própria autonomia. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2024-09-12 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/14143 10.34096/oidopensante.v12n2.14143 El oído pensante; Vol. 12 Núm. 2 (2024): Octubre, 2024 - Marzo 2025 El oído pensante; Vol 12 No 2 (2024): Octubre, 2024 - Marzo 2025 El oído pensante; v. 12 n. 2 (2024): Octubre, 2024 - Marzo 2025 2250-7116 spa http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/14143/13519 Derechos de autor 2024 El oído pensante |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-250 |
| container_title_str |
El oído pensante |
| language |
Español |
| format |
Artículo revista |
| topic |
music thought resource technique autonomy música pensamiento recurso técnica autonomía música pensamento recurso técnica autonomia |
| spellingShingle |
music thought resource technique autonomy música pensamiento recurso técnica autonomía música pensamento recurso técnica autonomia Carvallo, Antonio New Music as a Territory of the Emancipation of Technological Resources |
| topic_facet |
music thought resource technique autonomy música pensamiento recurso técnica autonomía música pensamento recurso técnica autonomia |
| author |
Carvallo, Antonio |
| author_facet |
Carvallo, Antonio |
| author_sort |
Carvallo, Antonio |
| title |
New Music as a Territory of the Emancipation of Technological Resources |
| title_short |
New Music as a Territory of the Emancipation of Technological Resources |
| title_full |
New Music as a Territory of the Emancipation of Technological Resources |
| title_fullStr |
New Music as a Territory of the Emancipation of Technological Resources |
| title_full_unstemmed |
New Music as a Territory of the Emancipation of Technological Resources |
| title_sort |
new music as a territory of the emancipation of technological resources |
| description |
Considering a 20th century that saw the birth of instruments, musical resources, and techniques that responded to the demands of the music of its own time, in this article, we examine whether the gradual consolidation of electronic resources in the compositional field has some kind of relationship with the development of the Cultural Industry, which, according to the Frankfurt School, is driven through the expansion of communication technologies. Based on Heidegger’s analysis of the nature of these resources, we pay special attention to the way in which their entry into the creative process entails the gradual appearance of a distinct thought from the musical one, a thought that arises from the technological stage and that can be traced back to the instrumental reason defined by Marcuse, all within a process where new technologies seem to guide their development towards their own autonomy. |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2024 |
| url |
http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/14143 |
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2025-02-17T23:17:44Z |
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2025-05-13T05:03:40Z |
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