¿Qué consecuencias éticas tiene no reconocer ciertos productos sonoros como arte en el marco de la basta experimentación musical presente a partir del siglo XX?
Date
2021-04-09
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Pontificia Universidad Católica del Perú
Abstract
A partir del siglo XX se puede observar el deseo de los artistas de bajar el arte de su pedestal y
acercarlo a la vida de las personas. Sin embargo, grande es la paradoja, de que este proceso ha
ocasionado más bien un alejamiento del público por diversos motivos. Por un lado resulta complejo
identificar como arte a estos productos que son muchas veces idénticos a objetos o sonidos
cotidianos. Por otro lado, al darse los músicos la licencia de experimentar nuevas formas de hacer
su arte se corre el riesgo de que la cadena de comunicación entre el compositor y el público se
rompa justo en el medio al no compartir los mismos códigos con una audiencia situada en la
sociedad moderna, de masa y reproducibilidad técnica. En las siguientes páginas nos
cuestionaremos qué papel cobra la ética y la premisa de dar sentido a la vida mediante la profesión
en un contexto donde los sujetos en cuestión han dejado de entenderse el uno al otro; viéndose
finalmente afectadas ambas partes.
Since the arrival of the Twentieth century, artists have expressed their desire to bring art closer to everyday life. However, they have lost the interest of their audience. On the one hand, it is complex to identify these products as art because they are often identical to everyday objects or sounds. On the other hand, when musicians experience new ways of art, there is a risk that the communication chain between the composer and the audience will break right in the middle. In the following pages, the role of ethics (and the premise of giving meaning to life through the profession) will be questioned, in a context where the subjects do not share the same codes anymore, and are not longer capable of understanding each other.
Since the arrival of the Twentieth century, artists have expressed their desire to bring art closer to everyday life. However, they have lost the interest of their audience. On the one hand, it is complex to identify these products as art because they are often identical to everyday objects or sounds. On the other hand, when musicians experience new ways of art, there is a risk that the communication chain between the composer and the audience will break right in the middle. In the following pages, the role of ethics (and the premise of giving meaning to life through the profession) will be questioned, in a context where the subjects do not share the same codes anymore, and are not longer capable of understanding each other.
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Música--Perú--Historia--Siglo XX, Instrumento musicales, Ética
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