{"id":172,"date":"2020-10-11T11:46:51","date_gmt":"2020-10-11T09:46:51","guid":{"rendered":"https:\/\/www.ub.edu\/masterartsonor_temp\/?post_type=course&#038;p=172"},"modified":"2026-04-09T18:43:28","modified_gmt":"2026-04-09T16:43:28","slug":"etica-i-estetica-de-lart-sonor","status":"publish","type":"course","link":"https:\/\/www.ub.edu\/masterartsonor\/course\/etica-i-estetica-de-lart-sonor\/","title":{"rendered":"\u00c8tica i est\u00e8tica de l&#8217;art sonor"},"content":{"rendered":"\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-794e3cfa wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\">\n<h2 class=\"wp-block-heading has-large-font-size\" style=\"text-transform:uppercase\">Temari<\/h2>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<ul class=\"wp-block-list\">\n<li>L\u2019art sonor: problemes de definici\u00f3. Valoracions del lligam art i so.<\/li>\n\n\n\n<li>En els or\u00edgens de l\u2019art sonor.\n<ul class=\"wp-block-list\">\n<li>La relaci\u00f3 entre m\u00fasica i arts visuasl. Derives de la sensibilitat rom\u00e0ntica.<\/li>\n\n\n\n<li>La fascinaci\u00f3 de la m\u00e0quina: el futurisme.<\/li>\n\n\n\n<li>Cap a una altra noci\u00f3 de l\u2019art: el dadaisme.<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li>Desenvolupament de l\u2019art sonor.\n<ul class=\"wp-block-list\">\n<li>El so com a objecte. La definici\u00f3 de Pierre Schaeffer.<\/li>\n\n\n\n<li>El so com a centre: l\u2019exemple de John Cage.<\/li>\n\n\n\n<li>La instal\u00b7laci\u00f3 sonora: una nova relaci\u00f3 entre l\u2019escolta i la mirada?<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-794e3cfa wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\">\n<h2 class=\"wp-block-heading has-large-font-size\" style=\"text-transform:uppercase\">Criteris d&#8217;avaluaci\u00f3<\/h2>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<p class=\"wp-block-paragraph\">1. &nbsp;Treball: la tem\u00e0tica del treball ha de correspondre als temes donats. El treball es presenta seguint les normes acad\u00e8miques internacionals. Percentatge: 60%<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2. &nbsp;Comentaris i\/o ressenyes de textos i\/o material audiovisual. Percentatge: 40%<\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-794e3cfa wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\">\n<h2 class=\"wp-block-heading has-large-font-size\" style=\"text-transform:uppercase\">Bibliografia<\/h2>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<p class=\"wp-block-paragraph\">BLOCK, R., \u00abM\u00fasica fluxus: el acontecimiento cotidiano\u00bb.&nbsp;<em>Olobo<\/em>, n\u00ba 1, Cuenca, 2000.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">CAGE, J.,&nbsp;<em>Escritos al o\u00eddo<\/em>. Traducci\u00f3n y edici\u00f3n de Carmen Pardo. Murcia: Colegio de Aparejadores y Arquitectos t\u00e9cnicos, Colecci\u00f3n de Arquilectura, 1999.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">CHION, M.,&nbsp;<em>El arte de los sonidos fijados<\/em>. Cuenca: Centro de Creaci\u00f3n Experimental, 2001.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">DOUGLAS, K.,&nbsp;<em>Noise Water Meat. A history of sound in the arts<\/em>. The MIT Press, 1999.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">FONTANA, B.,&nbsp;<em>Sound Sculpture<\/em>. Melbourne: National Gallery of Victoria, 1970.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">G\u00d3MEZ DE LA SERNA, R.,&nbsp;<em>Ismos<\/em>. Madrid: Biblioteca Nueva, 1931 (Buenos Aires: Poseid\u00f3n, 1943; Madrid: Museo Nacional Centro de Arte Reina Sof\u00eda, 2002).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">GONZ\u00c1LEZ GARC\u00cdA, A., F. CALVO SERALLER i S. MARCHAN FIZ,<em>&nbsp;Escritos de arte de vanguardia 1900-1945<\/em>. Madrid: Turner-Fundaci\u00f3n Orbegozo, 1979.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">PARDO, C., \u00abDe la m\u00fasica concreta, el arte acusm\u00e1tico y la pluridisciplinariedad del arte contempor\u00e1neo\u00bb.<em>Doce Notas<\/em>, n\u00ba 1, Madrid, 1997.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014, \u00abLa sensibilidad de la m\u00e1quina: el circuito sonoro\u00bb.&nbsp;<em>Acto<\/em>, n\u00ba 1, Santa Cruz de Tenerife, 2002.<br>(<a href=\"http:\/\/webpages.ull.es\/users\/reacto\/pg\/n1\/3.htm\">http:\/\/webpages.ull.es\/users\/reacto\/pg\/n1\/3.htm<\/a>)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">RUSSOLO, L.,&nbsp;<em>El arte de los ruidos<\/em>. Cuenca: Centro de Creaci\u00f3n Experimental, 1998.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">SATIE, E.,&nbsp;<em>Memorias de un amn\u00e9sico y otros escritos<\/em>. Madrid: Fugaz, 1989 (Madrid: Ardora, 1994).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">SCHAFER, R. M.,&nbsp;<em>The soundscape: our sonic environment and the tuning of the world<\/em>. Rochester: Destiny Books, 1993.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">SCHAEFFER, P.&nbsp;<em>Tratado de los objetos sonoros<\/em>. Madrid: Alianza M\u00fasica, 1988.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Temari Criteris d&#8217;avaluaci\u00f3 1. &nbsp;Treball: la tem\u00e0tica del treball ha de correspondre als temes donats. El treball es presenta seguint les normes acad\u00e8miques internacionals. Percentatge: 60% 2. &nbsp;Comentaris i\/o ressenyes de textos i\/o material audiovisual. Percentatge: 40% Bibliografia BLOCK, R., \u00abM\u00fasica fluxus: el acontecimiento cotidiano\u00bb.&nbsp;Olobo, n\u00ba 1, Cuenca, 2000. CAGE, J.,&nbsp;Escritos al o\u00eddo. Traducci\u00f3n y [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":221,"template":"","meta":{"_acf_changed":false},"postgrau":[17],"class_list":["post-172","course","type-course","status-publish","has-post-thumbnail","hentry","postgrau-postgrau-creacio-sonora"],"acf":[],"lang":"ca","translations":{"ca":172,"es":429,"en":430},"pll_sync_post":[],"_links":{"self":[{"href":"https:\/\/www.ub.edu\/masterartsonor\/wp-json\/wp\/v2\/course\/172","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ub.edu\/masterartsonor\/wp-json\/wp\/v2\/course"}],"about":[{"href":"https:\/\/www.ub.edu\/masterartsonor\/wp-json\/wp\/v2\/types\/course"}],"author":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/masterartsonor\/wp-json\/wp\/v2\/users\/2"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/masterartsonor\/wp-json\/wp\/v2\/media\/221"}],"wp:attachment":[{"href":"https:\/\/www.ub.edu\/masterartsonor\/wp-json\/wp\/v2\/media?parent=172"}],"wp:term":[{"taxonomy":"postgrau","embeddable":true,"href":"https:\/\/www.ub.edu\/masterartsonor\/wp-json\/wp\/v2\/postgrau?post=172"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}