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Lizarraga, L., (2022). Las producciones musicales modernas y la naturaleza de los bateristas profesionales [Pontificia Universidad Católica del Perú]. http://hdl.handle.net/20.500.12404/21981
Lizarraga, L., Las producciones musicales modernas y la naturaleza de los bateristas profesionales []. PE: Pontificia Universidad Católica del Perú; 2022. http://hdl.handle.net/20.500.12404/21981
@misc{renati/26828,
title = "Las producciones musicales modernas y la naturaleza de los bateristas profesionales",
author = "Lizarraga Calderon, Luis Adrian",
publisher = "Pontificia Universidad Católica del Perú",
year = "2022"
}
Título: Las producciones musicales modernas y la naturaleza de los bateristas profesionales
Autor(es): Lizarraga Calderon, Luis Adrian
Asesor(es): Casallo Mesías, Víctor Francisco
Palabras clave: Bateristas (Músicos); Grabaciones sonoras--Producción y dirección; Música y tecnología
Campo OCDE: https://purl.org/pe-repo/ocde/ford#6.04.04
Fecha de publicación: 27-mar-2022
Institución: Pontificia Universidad Católica del Perú
Resumen: La invención de nuevas tecnologías a partir del siglo XX ha llevado a la creación de un nuevo
profesional musical: el productor musical. Este, en el contexto de las producciones musicales
modernas, es el principal árbitro del fonograma final y ha adquirido una agencia creativa que
puede encontrarse en conflicto con la de los músicos ejecutantes profesionales. Este conflicto
se potencia en el marco del uso de herramientas de edición y postproducción que directamente afectan la expresión capturada del músico, modificando la naturaleza en sí de su profesión. Es así como surgen cuestiones éticas como la noción de la autenticidad y la despersonalización de la performance que serán discutidas a lo largo de este texto, teniendo como
caso específico de estudio la relación entre el rol del productor musical y los bateristas profesionales. Para esto se contrastará las ideas de distintos autores que abordan el tema principalmente desde la estética y la ética musical. Se buscará a partir de esta discusión responder
la pregunta: ¿Cuál es la responsabilidad ética de los productores musicales al utilizar las herramientas de postproducción en las grabaciones de bateristas profesionales? Se concluye que
esta responsabilidad ética se basa en respetar la individualidad del baterista profesional en su
expresión y de trabajar conjuntamente con éste para que incorpore la mediación tecnológica
como parte de su arte. Asimismo, su responsabilidad también recae en reducir en la medida
de lo posible la despersonalización de la performance musical mediante el uso de la grabación
directa de bateristas profesionales y, a su vez, no usar las tecnologías para construir performances artificiales a partir de grabaciones que no se encuentren al nivel deseado de un músico
profesional.
The invention of new technologies since the 20th Century has led to the creation of a new musical profession: the musical producer. He is, in the context of modern musical productions, the main arbiter of the final phonogram and has acquired a creative agency that may be in conflict with those of music performers. This conflict is boosted in the context of the use of editing and postproduction tools that have a direct effect on the captured expression of the musician, modifying the underlying nature of his profession. Certain ethical notions arise as a product, like the notion of authenticity and the depersonalization of the performance, and will be therefore discussed in the following pages, taking the relationship between the musical producer and professional drummers as our specific case study. The discussion will consist on contrasting the ideas of different authors that discuss this topic mainly from an aesthetic and ethical perspective. The objective of this discussion will be to answer the following question: What is the ethical responsibility of the musical producer that utilizes the recordings of professional drummers? The conclusion that is reached with the discussion confirms that the ethical responsibility of the musical producer relies on the respect that he or she owes to the professional drummer’s individuality in his musical expression and that he or she needs to work along with the performer to further incorporate the technological mediation as part of the drummer’s art. Additionally, his responsibility also consist in actively reducing as much as possible the depersonalization of the performance with the use of live recordings of professional drummers and, at the same time, not using musical technology to construct an artificial performance from a recording that does not reach the required level of a professional musician.
The invention of new technologies since the 20th Century has led to the creation of a new musical profession: the musical producer. He is, in the context of modern musical productions, the main arbiter of the final phonogram and has acquired a creative agency that may be in conflict with those of music performers. This conflict is boosted in the context of the use of editing and postproduction tools that have a direct effect on the captured expression of the musician, modifying the underlying nature of his profession. Certain ethical notions arise as a product, like the notion of authenticity and the depersonalization of the performance, and will be therefore discussed in the following pages, taking the relationship between the musical producer and professional drummers as our specific case study. The discussion will consist on contrasting the ideas of different authors that discuss this topic mainly from an aesthetic and ethical perspective. The objective of this discussion will be to answer the following question: What is the ethical responsibility of the musical producer that utilizes the recordings of professional drummers? The conclusion that is reached with the discussion confirms that the ethical responsibility of the musical producer relies on the respect that he or she owes to the professional drummer’s individuality in his musical expression and that he or she needs to work along with the performer to further incorporate the technological mediation as part of the drummer’s art. Additionally, his responsibility also consist in actively reducing as much as possible the depersonalization of the performance with the use of live recordings of professional drummers and, at the same time, not using musical technology to construct an artificial performance from a recording that does not reach the required level of a professional musician.
Enlace al repositorio: http://hdl.handle.net/20.500.12404/21981
Disciplina académico-profesional: Artes Escénicas con mención en Música
Institución que otorga el grado o título: Pontificia Universidad Católica del Perú. Facultad de Artes Escénicas
Grado o título: Bachiller en Artes Escénicas con mención en Música
Fecha de registro: 27-mar-2022
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