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The paper presents the theoretical study of the sources and methods of lingualization of extra-language sounds, the analysis of the approaches suggested by the representatives of various schools, starting from antiquity to modern time. The analysis is carried out through the prism of the types of language signs, the language sign being a two-lateral entity, the symbolic nature of language, sound as a language sign, and phonetic motivation to semantic universals in general. The problem of semantic universals is directly related to the one of the connection between sound and meaning, which divided ancient thinkers into idealists and nominalists. Platon’s famous dialogue «Cratylus» is devoted to this dispute. Ancient Roman and medieval grammarians and philosophers, including Varro, Seneca, Augustine, etc., devoted a lot of research to this problem, unwittingly continuing the research of their predecessors. At the end of the 4th century B.C.–3rd century A.D. the Stoics were the first to grasp the symbolic nature of language, introduced the concept of a sign, and were also the first to define a sign as a two-fold entity formed by the relationship between the signifier and the signified, which passed through the entire medieval philosophy. The Stoics’ reasoning about the language sign became fundamental for modern philosophy and linguistics. In this era, the problem of the relationship between sound and meaning began to give way to considerations about the symbolic nature of language, in which the ideas of the Stoics were revived. Linguists of the 18th–19th centuries, and namely: V. von Humboldt, H. Shteintal, O.O. Potebnia, continuing the ideas of J. Locke and G.V. Leibniz, supported the Stoics theory, charting new directions for understanding the structure of the language sign. In further historical development, the concept of a sign as a bilateral entity became the basis of semiotics, the origins of which were represented by Ch.S. Pierce and de Saussure. R. Jacobson was the one, who developed Ch.S. Pierce’s theory in a creative way. The world of sounds, reflected in speech, is a world mediated by language consciousness, in which restrictions imposed by the laws of language are added to the restrictions imposed by perception. The paper lays the theoretical foundations for the semiotic interpretation of the soundscape, which creates an auditory world model being the fragment of the language world model., У статті подається теоретичний аспект дослідження джерел і способів лінгвалізації позамовних зву- чань, аналіз підходів до проблеми представників різних шкіл, починаючи з античності аж до сучасності, крізь призму типів мовних знаків, мовного знака як двобічної сутності, знакової природи мови, звука як мовного знака, фонетичної вмотивованості до семантичних універсалій взагалі. Проблема семантичних універсалій безпосередньо пов’язана з проблемою зв’язку звучання і значення, яка розділила давніх мислителів на ідеалістів і номіналістів. Про це йдеться у відомому діалозі Платона «Кратил». Особливо багато пошуків цій проблемі присвятили давньоримські і середньо- вічні граматики і філософи, зокрема Варрон, Сенека, Августин та ін., мимоволі продовжуючи дослідження своїх по- передників. У кінці IV ст. до н. е.–III ст. н. е. стоїки першими осягнули знакову природу мови, запровадили поняття знака, першими визначили знак як двосторонню сутність, утворену відношенням позначуваного і того, що позначає, яке пройшло крізь усю середньовічну філософію. Міркування стоїків про мовний знак стали фундаментальними для філософії і лінгвістики нового часу. У цю епоху проблема співвідношення звука і значення почала поступатися місцем міркуванням про знакову природу мови, у яких відроджувалися ідеї стоїків. Лінгвісти XVIII–XIX ст. В. фон Гумбольдт, Штейнталь, О.О. Потебня, продовжуючи ідеї Дж. Локка і Г.В. Лейбніца, підтримали теорію стоїків, накресливши нові напрямки осмислення структури мовного знака. У подальшому історичному розвитку поняття знака як білате- ральної сутності лягло в основу семіотики, біля витоків якої стояли Ч.С. Пірс і Ф. де Соссюр. Творчо розвинув теорію Ч.С. Пірса P. Якобсон. Навколишній звучний світ, відображений у мові, становить собою світ, опосередкований мовною свідомістю, у якому до обмежень, що накладаються сприйняттям, додаються обмеження, зумовлені закономірностями мови. У статті закладаються теоретичні підвалини для семіотичної інтерпретації звукового пейзажу, що створює слухову картину світу як фрагмент мовної картини світу.

The article considers methods of involving artificial intelligence in artistic practices. Based on the analysis of ways to use this technology in visual arts and music, the basic principles of working with artificial intelligence technology are identified, including: imitation of historical art, implemented in projects The Next Rembrandt and Choral; generative art, which is found in the works “Hyperbolic Composition І” and “Hyperbolic Composition ІІ” of S. Eaton and also in the AIVA program (Artificial Intelligence Virtual Artist). The importance of the mechanisms of neurobiology in the process of working with artificial intelligence on the example of the project “Neural Zoo” of S. Crespo, Iamus program, in which the development of musical material is based on the principle of evolution, is stated. In the application Endel and in the opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera» of E. Perlman, a neural network is used to read information about the human condition and its further processing for modification into a sound landscape or image. The development of artificial intelligence and its use in artistic practices opens up new opportunities, expanding both the field of authors of artistic content and attracting new audience. This phenomenon provokes many issues, including: the ability to think artificially of artificial intelligence, the ability to create works of art without human intervention, as well as issues related to copyright., У статті розглянуто методи залучення штучного інтелекту до мистецьких практик. На основі аналізу шляхів використання названої технології у візуальному мистецтві та музиці визначено основні принципи роботи з технологією штучного інтелекту, серед яких імітація історичного мистецтва, реалізована в проєктах The Next Rembrandt та Choral, генеративне мистецтво, виявлене в роботах «Hyperbolic Composition І» та «Hyperbolic Composition ІІ» С. Ітона, а також у програмі AIVA (Artificial intelligence Virtual Artist). Констатовано важливе значення механізмів нейробіології у процесі роботи зі штучним інтелектом на прикладі проєкту «Нейронний зоопарк» С. Креспо, програми Iamus, у якій розвиток музичного матеріалу відбувається за принципом еволюції. У додатку Endel та в опері «Emotionally intelligent” Artificially Intelligent Brainwave Opera Е. Перлман нейронна мережа використана для зчитування інформації щодо стану людини та подальшої обробки отриманої інформації з метою її модифікації у звуковий ландшафт або зображення. Розвиток штучного інтелекту та його використання в мистецьких практиках відкриває нові можливості, розширюючи поле авторів контенту і залучаючи нові групи аудиторії. Цей феномен провокує безліч питань, серед яких здатність до творчого мислення штучного інтелекту, можливість створення ним мистецьких творів без участі людини, а також питання, пов’язані з авторськими правами.

O mundo está repleto de sons e o silêncio absoluto talvez não exista. Ainda no ventre materno temos os primeiros contatos com o universo sonoro. Quando pensamos em educação musical, não devemos entendê-la de forma desarticulada do ambiente social. O pensar contextualizado e significativo deve estar presente também na vida dos educadores músicos. O aprendizado musical de forma isolada deixa uma enorme lacuna no processo de formação do aluno. Percebemos no projeto educacional de Heitor Villa-Lobos, uma educação musical significativa e contextualizada, onde o princípio do aprendizado coletivo é fundamental. Ilustramos nosso pensamento com a apresentação prática em campo através do Projeto “Orquestra Solar Meninos de Luz”, projeto este em que desenvolvemos a Coordenação geral e Direção artística. Tal projeto é realizado na comunidade Pavão/Pavãozinho/Cantagalo, no Rio de Janeiro, organizamos uma Orquestra com alunos e moradores da comunidade que, sem nenhum contato com o universo musical sistêmico anterior, tiveram a oportunidade de acesso à música nesta proposta que lhes foi apresentada. A cada novo som emitido, o processo de ensino-aprendizagem musical vai se construindo e o repertório vai sendo ajustado ao novo saber construído pelo aluno. A aprendizagem coletiva passa a ser princípio metodológico e não fim do processo de educação musical., The world is full of sounds and absolute silence may not exist. Still in the womb we have the first contacts with the sound universe. When we think of music education, we should not understand it in a disjointed way from the social environment. Contextual and meaningful thinking must also be present in the life of musician educators. Music learning in isolation leaves a huge gap in the student's training process. We see in Heitor Villa-Lobos's educational project, a meaningful and contextualized music education, where the principle of collective learning is fundamental. We illustrate our thinking with the practical presentation in the field through the “Solar Meninos de Luz” Orchestra Project, which we developed the General Coordination and Artistic Direction. This project is held in the Pavão / Pavãozinho / Cantagalo community in Rio de Janeiro. We organized an Orchestra with students and community residents who, without any contact with the previous systemic musical universe, had the opportunity to access the music in this proposal. presented. With each new sound emitted, the musical teaching-learning process is being built and the repertoire is adjusted to the new knowledge built by the student. Collective learning becomes a methodological principle and not an end to the process of music education.

The article highlights the creation of the atmosphere of the film in the broadest sense of the word as a basis, background for the main objects of the frame and events of the film. The composition and interaction of the components of the sound series, such as noise, sound, pause, echo, music, which form an acoustic-symbolic or melodic-harmonic emotional environment - silence, are determined. It is substantiated that the creation of a rich musical and sound score is directly related to the dramatic development and richness of action. Consequently, for a scene where there are central objects (by analogy with the composition of objects in the image frame) and psychologically or emotionally important monologues / dialogues, it is advisable to form an atmosphere in the sonority of silence. Specific features are formulated, such as multicomponentity and the need for a "spotlight effect" to draw attention to the key elements as bread crumbs. On the other hand, it is noted that the absence or inconsistency of the acoustic, sound and emotional environment of the main objects significantly impoverishes, leaves the volume and naturalness, the perception of the picture by the viewer. Polyphonic development between micro-acts, actor's facial expressions and changes of timbre, reflection of sound in space are overtone vibrations, echoes that resonate in the viewer's mind and are responsible for its inclusion, immersion in the events of the film. Aspects of creating the atmosphere are considered, such as: the existence of a stereo base in the middle of multi-channel systems on the example of creating music in a format familiar to the viewer; amplitude-frequency characteristics, where the cloning of a quality object or compliance with certain rules and guidelines is not enough today (the sound a priori should be high quality) and processing by the sound director is based on considerable experience and compliance with style and genre; critical bands of hearing perception in terms of arranging, frequency delimitation and band release for a solo or an important element of action; mid-Side sound analogy by analogy with the composition of the frame, the sound can create oversaturation of the center and literally squeeze the viewer into a chair with a sound, attention is paid to special changing behavior in quiet objects, the influence of echoes on the tone and perception during active movement in close-up and removal and dissolution in the environment. Special attention is paid to the review of the transfer of psychological perception of the environment by the viewer and the formation of the so-called "comfortable background". This function is most often performed by film music without bright melodies and changes that will attract attention in combination with dynamic and bright sound effects - elements of the frame. In the final part, it is also proposed to pay attention to the environmental friendliness of film sound: an overview of the immersiveness of sound simulations, experience and technology of creating sound landscapes that can be used in the film industry, especially in genres involving such "constructors" - fantasy, fantastic, horror and more. Also involve the use of the classification of virtual landscapes, as: imitation (realistic), compositionally artificially created (emotional or sensory), personalized (subjective), integrated scale (diegetic), hybrid. Introduced into professional circulation sound directors terminological definitions and structure of the virtual landscape, formulated in ecological design: keynote tonal center, sound labels (looped objects with reverberation response), sound components (single sounds)., В статье исследовано в нескольких аспектах создание звуковой атмосферы фильма как основы, фона для главных объектов кадра и событий фильма с точки зрения пространственных, психологических, эмоционально-иммерсионных, экологических свойств и особенностей художественной выразительности., У статті в кількох аспектах досліджено створення атмосфери фільму як основи, фону для головних об’єктів кадру та подій фільму з точки зору просторових, психологічних, емоційно-імерсійних, екологічних властивостей та особливостей художньої виразності. Визначено склад і взаємодію таких компонентів звукового ряду, як шум, звук, пауза, відлуння, музика, що утворюють предметно-акустичну знакову або мелодико-гармонічну емоційну атмосферу — тишу. Особлива увага приділена огляду передачі психологічного сприйняття середовища глядачем.

W artykule autorka stawia tezę, iż w tym, jak słyszymy i co słyszymy, zawiera się klucz do zrozumienia kondycji współczesnego człowieka. Kulturę i nasze społeczne otoczenie odbieramy głównie wzrokowo, a dominujący wzrokocentryzm sprawia, że słyszenie staje się dla nas wtórne i mało znaczące, stąd pojawia się potrzeba kontestacji takiej wzrokocentrycznej hegemonii, ograniczonej do jednego zmysłu. Artykuł mieści się w ramach nurtu soundscape studies, który analizuje dźwięk jako istotny zasób środowiska, zarzewie znaczeń i doświadczeń estetycznych. Szczególne miejsce w tekście poświęcone zostało przemianom, zachodzącym w krajobrazie dźwiękowym, zmieniającym się funkcjom dźwięku, a także pozytywnemu wpływowi krajobrazu (w tym dźwiękowego) na dobrostan psychiczny człowieka. In this paper, the author argues that the key to understanding the condition of our contemporaries lies in how and what we hear. We tend to perceive culture and our social environment visually and, because of this dominant visual perspective, we consider hearing to be of secondary importance. That is why we need to contest such vision-centric hegemony limited to one sense only. The paper situates itself within soundscape studies - the field approaching sound as a significant resource of the environment, the fount of meanings and aesthetic experiences. Special attention has been given to transformations occurring in the soundscape, changing functions of sounds as well as the positive impact of landscape (including its soundscape) on people’s mental wellbeing.

O presente artigo é resultado parcial de uma pesquisa ainda em curso no sentido de entender a ou as paisagens sonoras das procissões, ao longo dos tempos, em Castelo Branco. Através de um levantamento de informações, utilizando os periódicos e documentos vários pertencentes ao acervo da Biblioteca Municipal, Sé Catedral, Arquivo Municipal e Câmara Municipal, propõe-se descrever o percurso, itinerário ou trajeto das procissões e as suas conexões com a atividade musical da cidade, desde o século XVIII ao princípio do século XX. A leitura destes documentos possibilitou o registo e posterior análise de informações sobre diversos eventos musicais, assim como os agentes que estiveram na origem do desenvolvimento desta atividade. Assim propõe-se contribuir para o resgate histórico da música em Castelo Branco The present article is a partial result of an ongoing research into the understanding of the sound landscape, or the various sound landscapes, of the processions, over the years, in Castelo Branco. Through a survey of information, using journals and various documents belonging to the collection of the Municipal library, the cathedral, the municipal archives and the City Hall, the present text aims to outline the processions´ journey and its implications on the musical life of the city, from the 18th century until the early years of the 20th century. The study of these documents enabled the record and subsequent analysis of information on various musical events and on the main agents at the origin of the development of this activity. Thus, the purpose of the present article is to contribute to the historical rescue of music in Castelo Branco.

RESUMO: Este artigo problematiza a importância da paisagem sonora para a experiência estética e a educação musical de crianças. Destaca a cidade como produto e produtora de subjetividades, com inúmeras oportunidades educativas. As discussões decorrem da análise, fundamentada em Vygotsky e Bakhtin, de acontecimentos protagonizados por crianças cegas em seus encontros com a cidade. O estudo aponta como fundamentais as experiências sonoras das crianças para a construção dos conhecimentos sobre os lugares visitados, bem como possibilita compreender a potência da cidade para a educação musical. ABSTRACT: This article problematizes the importance of the sound landscape for the aesthetic experience and musical education of children. It highlights the city as product and producer of subjectivities with innumerable educational opportunities. Based on Vygotsky and Bakhtin, the discussions elapse from the analysis of occurrences starred by blind children in their encounters with the city. The study points out the sound experiences for children in the construction of knowledge about the visited places as fundamental, and they enable the comprehension of the city’s potency for musical education.

Este documento indaga por las relaciones entre la disciplina musical, el docente y el estudiante, como componentes de una trilogía que de manera permanente se influencian al interior de la institución educativa. Se desarrolla a partir de una propuesta sonora alterna, con instrumentos no convencionales para el deslinde conceptual con otros formatos como los de orquesta sinfónica, banda sinfónica o coro. Se apoya en desarrollos conceptuales como los de paisaje sonoro, diálogo de saberes, experiencia celebratoria, musicar, y eros y ágape. Metodológicamente acude a la investigación-acción en búsqueda de elementos conceptuales que permitan el diálogo y la construcción de un currículo amplio en lo conceptual de la disciplina musical y que además considere al estudiante como fuente decisiva en la formulación de las relaciones entre instituciones, comunidad educativa y profesionales de la educación. Se constituye en línea base para el desarrollo de conceptos como los de ‘niño musical’, el ‘atrilero de los estudiantes’ y ‘el palabrero’, en la búsqueda de llevar a la práctica los hallazgos sobre relaciones interinstitucionales e intrainstitucionales, del sector público de la cultura y de la educación en la ciudad de Bogotá (Secretaría de Educación, Secretaría de Cultura, Recreación y Deporte, y sus entidades descentralizadas: OFB e ID ARTES). Es una oportunidad para abordar el ecosistema educativo musical de la ciudad y la constitución de un proceso dialógico entre las fuerzas instituidas del sector, altamente burocratizadas y las fuerzas instituyentes de los estudiantes y los docentes como constructores de comunidad académica y espacio de desarrollo personal. This document explores the relationships between the musical discipline, the teacher and the student, as components of a trilogy that are permanently influenced within the educational institution. It is developed from an alternative soundproposal, with non-conventional instruments for conceptual demarcation with other formáis such as symphonic orchestra, symphonic band or chorus. It is based on conceptual developments such as sound landscape, dialogue of knowledge, celebratory experience, music, and eros and agape. Methodologically goes to the action research in search of conceptual elements that allow the dialogue and the construction of a broad curriculum in the conceptual of the musical discipline and that also considers the student as a decisive source in the formulation of relations between institutions, educational community and education professionals. It constitutes a baseline for the development of concepts such as the 'musical child', the 'student atelier' and 'thepalabrero', in the search to put intopractice the findings on interinstitutional and intrainstitutional relations, of the public sector of culture and education in the city of Bogotá (Education, Culture, Recreation and Sports, and its decentralized entities: OFB and IDARTES). It is an opportunity to address the musical educational ecosystem of the city and the constitution of a dialogical process between the instituted forces of the sector, highly bureaucratized and the instituting forces of students and teachers as builders of the academic community and personal development space. Magíster en Música Maestría

The sounds produced by temples have psycho-spiritual values. Celebrations are verbalized by respect and admiration by the faithful ones. Due to the acoustic inadequacy of these places, religion sounds invade public space and reach the neighborhood, leading to possible sound disturbance. Facing the variety of sounds perceived in urban environment, sound evaluation methods present in norms and law are not satisfactory. These methods do not rely on qualitative analysis, thus not favoring sound subjectivity. For satisfactory evaluating the sounds of faith, it is necessary to adopt, beyond quantitative parameters, qualitative paramenters data in order to achieve better understanding of these sounds and their insertion in the local soundscape. Therefore, soundscape line of research fits the objective of meeting a qualitative evaluation of sound, because it takes in consideration context and perception of individuals. In view of the above, this work aims to characterize Village Campestre allotment’s soundscape, located in Maceió-AL, and verify impacts of sounds produced by temples in this scenario. In order to accomplish this case study, a mixed qualitative evaluation method has been adopted (interviews with the residents and identifying sound events) and quantitative evaluation (acoustic measurements and computational simulation sound mapping). Case study characterization, acoustic data gathering, sound mapping for the area of study, qualitative description of the identified sound events and interviews with residents regarding sound perception of the place have been made. With the results analysis it has been realized that quantitative acoustic data reaches beyond the limits of what is suggest by brazilian norms, with high sound levels that can cause discomfort to the residents. However, qualitative data has proved that psycho-spiritual factor interferes on the interpretation of faith sounds. In regards to the local soundscape characterization, it has been noticed religious sound insertion and their acceptance by the dwellers perceptions. It the low potential to provoke positive sensations in the individuals by the identified sounds. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior Os sons produzidos nos templos possuem valores psicoespirituais. As celebrações são balizadas por respeito e admiração dos fiéis. Devido à inadequação acústica desses invólucros, os sons religiosos invadem o espaço público e atingem a circunvizinhança, podendo causar incômodo sonoro. Diante da variedade de sons percebidos no ambiente urbano, os métodos de avaliação sonora presentes nas normas e legislações não são satisfatórios. Esses métodos não contam com análises qualitativas o que desfavorece a subjetividade do som. Para uma avaliação acústica satisfatória dos sons da fé, faz-se necessário adotar, além dos parâmetros quantitativos, os parâmetros qualitativos para obter melhor compreensão desses sons e a sua inserção na paisagem sonora local. Dessa forma, a linha de pesquisa sobre paisagem sonora se enquadra no objetivo de atender a uma avaliação qualitativa, pois leva em consideração o contexto e a percepção dos indivíduos. Diante do exposto, esse trabalho tem como objetivo caracterizar a paisagem sonora do loteamento Village Campestre, localizado em Maceió-AL, e verificar os impactos dos sons produzidos por templos no contexto urbano. Para a realização desse estudo de caso foi adotado o método misto de avaliação qualitativa (entrevistas com os moradores e identificação dos eventos sonoros) e avaliação quantitativa (medições acústicas e mapeamento sonoro por simulação computacional). Foi realizada a caracterização do estudo de caso, coleta de dados acústicos, mapeamento sonoro da área em estudo, descrição qualitativa dos eventos sonoros identificados e, por fim, a aplicação do questionário aos moradores sobre percepção sonora do lugar. Na análise de resultados, percebeu-se que os dados acústicos quantitativos extrapolam os limites sugeridos pelas normas brasileiras, com níveis sonoros elevados capazes de causar incômodo aos moradores. Porém, os dados qualitativos comprovaram que o fator psicoespiritual interfere na interpretação dos sons da fé. Quanto à caracterização da paisagem sonora local foi possível perceber a inserção dos sons religiosos e o reconhecimento dos mesmos por meio da percepção dos moradores. Constatou-se a baixa potencialidade dos sons identificados para provocar sensações positivas nos indivíduos.

La música y la religión han tenido un rol fundamental para las comunidades afrovenezolanas. Han sido utilizadas como símbolos de su identidad étnica y lucha social desde tiempos inmemorables. El estudio de los mitos y ritos de estas comunidades, permite conocer sus particulares formas de cultivo espiritual, su construcción de la realidad, sus valores y el sentido trascendental de la vida. En este artículo se describe el uso del paisaje sonoro de la fi esta del chimbángueles en la delimitación del espacio-tiempo, creado para el reencuentro de los afrodescendientes con sus antepasados y dioses, en el sur del Lago de Maracaibo. Music and religion have had a fundamental role for afro-venezuelan communities. They have been used as symbols of their ethnic identity and social struggle since immemorial time. Th e study of the myths and rites of these communities allows us to know their particular forms of spiritual cultivation, their construction of reality, their values and the transcendental meaning of life. Th is article describes the use of the sound landscape of the chimbangueles feast in the space-time delimitation, created for the reunion of afro-descendants with their ancestors and gods, in the south of Maracaibo Lake. 53-68 emoraqueipo@hotmail.com jeanca72@gmail.com djrichardmcguire@yahoo.es e.emmanuel@hotmail.com Semestral

The chansons de geste and chivalric romances from the 12th and 13th centuries are a faithful testimony of the reality of their time, and sensory perceptions are among these testimonies. The written word provides not only descriptive and objective information, but also the impressions perceived and conveyed by the author, which are the sensations the reader has to get acquainted with in order to make the story their own. Mentions to sound effects and the sound features of a particular space are remarkable, and a compilation of these references from various texts allows us to study the sounds, resonances, and spaces through which the sound event gains prominence in the narrative. These include confined spaces such as halls and palaces, and open spaces such as woods, and war and hunting scenes. The voices, cries, sounds of instruments, sound gestures, and sound experiences of spaces thus acquire a theatrical quality that becomes part of the reading experience. The authors often evoke the effect of a resonance, an echo, a reverberation or a stereophonic effect, thus endowing the text with the emotional qualities of a soundtrack., Les cançons de gesta i els romans cavallerescos dels segles XII i XIII són un fidel testimoni dela realitat del seu temps, i d’entre aquests testimonis s’hi compten les percepcions sensorials.La literatura no només narra un fets descriptius i objectius sinó també les impressions quepercep i transmet qui escriu, sensacions de les quals cal que s’impregni el lector per tal de fer-seseva la narració. Els esments respecte a efectes sonors i a les qualitats sonores dels espais sónremarcables, i un buidatge d’aquestes cites en els textos literaris permet analitzar els sons, lesressonàncies o els espais en què el fet sonor pren protagonisme en l’esdevenir del discurs, jasiguin espais tancats com sales i palaus o bé espais oberts com el bosc o les escenes de batallao de cacera. La veu, el crit, el toc d’instruments, el gest sonor o la vivència sonora de l’espaiprenen així un caràcter teatral que forma part de la lectura, i els autors evoquen sovint l’efectede la ressonància, l’eco, la reverberància i l’efecte estereofònic, conferint al text les qualitatsemocionals d’una banda sonora.

Especially known for its autobiographical content and not for its structure of diary and epistolary, Solus ad solam is a complex book with a philological problem inside. A new way to read it is trying to highlight acoustic and auditive elements, using the definition of ‘soundscape’ given by Schafer in 1977. Collecting and creating an acoustic vocabulary, comparing it to the one in Notturno’s text, it is possibile to find a new way to interpret both of them. Regarding this perspective, sounds, voice and everything connected to the ‘ear’ establish also a predominance of power, control and absence explicated in the structure.

Les cançons de gesta i els romans cavallerescos dels segles XII i XIII són un fidel testimoni de la realitat del seu temps, i d’entre aquests testimonis s’hi compten les percepcions sensorials. La literatura no només narra un fets descriptius i objectius sinó també les impressions que percep i transmet qui escriu, sensacions de les quals cal que s’impregni el lector per tal de fer-se seva la narració. Els esments respecte a efectes sonors i a les qualitats sonores dels espais són remarcables, i un buidatge d’aquestes cites en els textos literaris permet analitzar els sons, les ressonàncies o els espais en què el fet sonor pren protagonisme en l’esdevenir del discurs, ja siguin espais tancats com sales i palaus o bé espais oberts com el bosc o les escenes de batalla o de cacera. La veu, el crit, el toc d’instruments, el gest sonor o la vivència sonora de l’espai prenen així un caràcter teatral que forma part de la lectura, i els autors evoquen sovint l’efecte de la ressonància, l’eco, la reverberància i l’efecte estereofònic, conferint al text les qualitats emocionals d’una banda sonora., The chansons de geste and chivalric romances from the 12th and 13th centuries are a faithful testimony of the reality of their time, and sensory perceptions are among these testimonies. The written word provides not only descriptive and objective information, but also the impressions perceived and conveyed by the author, which are the sensations the reader has to get acquainted with in order to make the story their own. Mentions to sound effects and the sound features of a particular space are remarkable, and a compilation of these references from various texts allows us to study the sounds, resonances, and spaces through which the sound event gains prominence in the narrative. These include confined spaces such as halls and palaces, and open spaces such as woods, and war and hunting scenes. The voices, cries, sounds of instruments, sound gestures, and sound experiences of spaces thus acquire a theatrical quality that becomes part of the reading experience. The authors often evoke the effect of a resonance, an echo, a reverberation or a stereophonic effect, thus endowing the text with the emotional qualities of a soundtrack.

Si, selon Marc Augé, « [l]’opérateur principal de la mise en ‘‘­fiction’’ de la vie individuelle et collective, ­c’est ­l’oubli », ­comment signifier, sans ­commentaire ni dialogue, ­l’oubli ­d’un peuple ? Comment faire en sorte que ce dernier ne se résume pas à un thème ni à une reconstitution et devienne une figure ­d’écriture ?, If, according to Marc Augé, ‘the principal operator of the fictionalisation of the individual and collective life, is forgetting,’ how to signify, without ­commentary or dialogue, the forgetting of a people ? How can we avoid turning this into a theme or a reconstitution and make it become a figure of writing ?

Esta tesis trata del paisaje sonoro en medio a las tramas de la sincronicidad como un potencial creativo proveniente del reposicionamiento del sonido como matriz de lenguaje y pensamiento artístico en el ámbito de la espacialidad contemporánea de las artes visuales. Se inscribe en el marco de las investigaciones que incluyen la experiencia sensorial auditiva (auralidad) como instancia cualitativa relevante para la cognición estética, la estructuración semántica y simbólica en el campo artístico.. En el marco teórico conceptual y metodológico se incluyen, desde aspectos de la problemática del conocimiento, hasta reflexiones sobre las intersecciones e inter-relaciones entre arte y ciencia. El paradigma sistémico y la semiótica sirven como instrumentales a servicio del proceso descriptivo, analítico y crítico-reflexivo de la producción artística. La fundamentación teórica de este trabajo se apoya, por lo tanto, en el pensamiento sistémico como una plataforma paradigmática y la teoría semiótica de concepción peirciana como un instrumental lógico que nos permite concebir el arte como universo simbólico, un sistema de signos visuales y sonoros. Los TRÁNSITOS SONOROS abordan el paisaje sonoro dentro del ámbito de creación e investigación académica a partir de experiencias y acciones colectivas y colaborativas, realizadas entre los años de 2010 y 2013, entre artistas investigadores de los grupos BR::AC/UB - Universidad de Barcelona e GIIP/UNESP Universidade Estadual Paulista “Julio de Mesquita Filho. TRÁNSITOS SONOROS constituye un breve testimonio de prácticas creativas realizadas dentro del medio académico universitario y afianzadas por la sincronicidad sistémica en la integración cualitativa de artistas investigadores. Una prueba cabal e incisiva de la creciente influencia e importancia que han ganado el sonido, la auralidad y el paisaje sonoro como experiencias sensoriales indispensables en el intrincado proceso de construcción contemporánea de narrativas y diálogos entre el arte, la sociedad, la cultura y el patrimonio cultural intangible., The present thesis is the soundscape amid frames of synchronicity as a creative potential proceeding of the sound repositioning as a language matrix and artistic thinking in the scope of the contemporary spatiality of the visual arts. It forms part of the research include auditory sensory experience (aurality) as relevant qualitative instance for aesthetic cognition, semantic and symbolic structure in the art field. The conceptual and methodological framework include, from aspects of the problem of knowledge, to reflections on the intersections and inter- relationships between art and science. The systemic paradigm and the semiotics serve as instruments in service to the descriptive, analytical and critical-reflexive process of the artistic production. The theoretical foundation of this work is based, therefore, on systemic thinking as a paradigmatic platform, and the semiotic theory of Peirce’s conception as a logical instrument that allows us to conceive the art as a symbolic universe, a system of visual and audible signs. The SOUNDING TRANSITS addresses the soundscape within the scope of creation and academic research from collective and collaborative experiences and actions carried out between 2010 and 2013, including researchers artists of the both group BR : AC / UB - Universidad de Barcelona and GIIP / UNESP Universidade Estadual Paulista “Julio de Mesquita Filho. SOUNDING TRANSITS provides a succinct certification of creative practices within the university academic environment and warranted by systemic synchronicity in the qualitative integration of artist researchers. A clear and incisive proof of the growing influence and importance that sound, aurality and soundscape have gained as indispensable sensory experiences in the intricate process of contemporary construction of the narratives and dialogues among art, society, culture and intangible cultural heritage.

En el presente trabajo proponemos una visión constructiva y esperanzada respecto a la utilización del sonido envolvente 5.1 en las transmisiones futbolísticas en televisión. Entendemos pertinente remarcar que los impedimentos para la transmisión y recepción de señales audiovisuales con sonido 5.1, han sido superados plenamente gracias al desarrollo tecnológico, a la inquietud creativa y a la significativa reducción de los costes. A su vez, y basándonos en experiencias existentes, ponemos de relieve algunas de las numerosas mejoras comunicativas que ofrece el sistema 5.1 frente a los estandarizados sistemas mono, dual y estéreo. Para ello, analizamos comparativamente algunos de los recursos técnico-creativos utilizados en las experiencias con sonido surround en transmisiones futbolísticas en territorio español. Otro punto importante es el beneficio que el citado sistema de sonido envolvente 5.1 puede aportar al usuario desde el punto de vista creativo y pragmático. This paper suggests a constructive, hopeful view about the use of surround sound 5.1 in soccer boroadcasting. We aim to point out that the problems of image and sound 5.1 broadcasting and reception has been solved due the technical devolopment, creative efforts and costs reduction. Our experience alow us to show some communicative improvements that 5.1 system offers against most common solutions such as mono, dual and stereo systems. In order to get it, we analyze in a comparative way some of the technical sources used in soccer broadcasting 5.1 experiences in Spain. Another relevant point deals with the creative and pragmatical benefits that such 5.1 sound system could offer to users. Publicado