En el presente artículo planteamos que la composición musical en el sistema de producción musical concreto-acusmático -o tercer sistema de producción musical-, puede ser considerada una práctica musical cognitivamente extendida. Esta afirmación se desprende de que en este sistema, compositor y dispositivo de producción se ensamblan, configurando un sistema acoplado funcional. Para evidenciar la forma en que este acoplamiento puede operar, estudiamos el caso paradigmático del compositor chileno José Vicente Asuar en relación a su experiencia con el dispositivo computacional de producción creado por él mismo, el COMDASUAR. Este estudio fue realizado a través del análisis de la experiencia en primera persona, del compositor con el dispositivo COMDASUAR en la práctica de composición.
No abstract
Sound spatialization is a technique used in various musical genres as well as in soundtrack production for films and video games. In this context, specialized software has been developed for the design of sound trajectories we have classified as (1) basic movements, or image schemas of spatial movement; and (2) archetypal geometric figures. Our contribution is to reach an understanding of how we perceive the movement of sound in space as a result of the interaction between an agent's or listener's sensory-motor characteristics and the morphological characteristics of the stimuli and the acoustic space where such interaction occurs. An experiment was designed involving listening to auditory stimuli and associating them with the aforementioned spatial movement categories. The results suggest that in most cases, the ability to recognize moving sound is hindered when there are no visual stimuli present. Moreover, they indicate that archetypal geometric figures are rarely perceived as such and that the perception of sound movements in space can be organized into three spatial dimensions—height, depth, and width—which the literature on sound localization also confirms.
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