El canto sigue rodando: una exploración de la repetición y la autenticidad en las canciones de Bob Dylan

Tesis de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Inglesa (Literatura de los Países de Lengua Inglesa), leída el 13/07/2017The present dissertation explores the figure of repetition and the concept of authenticity as meaningful elements of Bob Dylan’s renovated use of songs like distinctive artistic discourses. Albeit described as a member of the American popular music scene, he has been lately awarded the Nobel Prize for Literature due to his restoration of the poetical and the literary in the realm of music processing and the oral tradition. However, literature is not the sole discipline and language Bob Dylan’s songs bring forward. The language of communication, or a middle term use of songs as discourses, makes them a great support for Dylan’s communicative objectives. On the one hand, the musical frame provides them with a great intersubjective power. On the other hand, lyrics imitate and refer to language intercourse, and the voice of the interpreter is related to the voice of the author –a distinct coincidence of songwriters. All these facts add to the way he uses the code of authenticity as understood in the folk community, in the existentialist philosophy, the era of rock ‘n’ roll and the 60s countercultural movements. This aspect of his works help to improve the reliability of his song’s discourse as it is explained in this investigation, and it gives Bob Dylan’s voice a special reliability which could be the reason why his discourses have a lot of pressure meaning something, illuminating people’s minds, because the singersongwriter is more compromised with his speech than any other artist...La presente disertación explora la figura de la repetición y el concepto de la autenticidad en las canciones de Bob Dylan. Consideradas elementos esenciales para describir el renovado uso que el artista norteamericano hace de las formas populares y tradicionales de la música Americana, su canciones ponen en cuestión, al igual que harían los recitales de poesía de la generación Beat, la hegemonía de la palabra escrita en el discurso literario. Aunque siempre se haya descrito a Dylan como un miembro crucial de la escena popular Americana, por las resonancias venidas de muchos de sus géneros y por su clara renovación del estilo del canta-autor, recientemente ha sido galardonado con el Nobel de Literatura debido, en parte, a su restauración del lenguaje poético y literario en la recepción musical y la oralidad. Esta tesis trata de situarse a medio camino entre el lenguaje literario y musical de las canciones de Dylan, apelando a la convivencia de otros muchos lenguajes en el análisis de este tipo de discursos. Para ello, se centra más en describir los procesos poético –referido a la composición de las canciones– y estético –su recepción y la mediación de estrategias comunicativas entre ambos participantes. Debido a esto, he reflexionado sobre los dos momentos de interacción y en cómo cambian sendos modos de reproducción y recepción en cada canción. Refiriéndome, claro está, a la reproducción musical o la performance como un echo inherentemente repetitivo y constitutivo del haber musical. Se parte del reconocimiento de las canciones de Bob Dylan como textos de distinta naturaleza a otras manifestaciones artísticas, que contienen varios tipos de lenguajes ejecutados en sincronía. Uno de estos lenguajes es el de la comunicación o el uso pragmático y retórico de la lengua, que el cantautor usa de un modo novedoso para lograr sus objetivos comunicativos y un mejor procesamiento de sus mensajes. Como se decía entre su círculo de conocidos, Dylan siempre ha sido más bien huraño e introvertido en el trato personal, pero elocuente en lo que se refiere a salmodiar las historias de sus canciones. Otros lenguajes destacados son el musical, el lingüístico, el lenguaje escénico y el literario, cuyos signos componen la canción y la actuación como producto final. Por otro lado, y una vez realizado el recorrido por su obra, se percibe la influencia de una cualidad que aparece repetidas veces en la obra de Bob Dylan, ya sea como resultado de uno de sus mensajes, de una asociación con los conceptos venidos las tradiciones folk y rock del país, del concepto de artista que implanta el canta-autor, los temas que aborda en su obra, o las decisiones que toma en escena. Esta cualidad es la autenticidad, venida de la filosofía existencialista y de aquellos autores que hicieron populares términos como la virtud, la responsabilidad, el individualismo, la moral, etc. Así mismo esta cualidad está relacionada y así aparecerá en muchas instancias poéticas de Bob Dylan, con los movimientos literarios del Romanticismo y el Trascendentalismo...Depto. de Estudios Ingleses: Lingüística y LiteraturaFac. de FilologíaTRUEunpu

Iterative musical collaboration as palimpsest: Suite Inversée and The Headroom Project

Suite inversée is a musical work, co-composed by the two authors asynchronously online by means of file transfer alone and digitally presented using a self-made web app called The Headroom Project. The Headroom Project mediates the compositional project during creation as well as allowing the listener to browse a historical thread that weaves through the developmental process: through this app, each audio file that was shared between the two composers can be heard and considered both in and out of the context of its creation. The framework of the project provided the opportunity for the authors to reflect on issues of remote digital collaboration and the palimpsest nature of a work revealed in varying stages of evolution through a novel mode of presentation. This paper discusses the mode of creation by situating it within narratives of composition and technology

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music

The Politics of Virtue: Post-liberalism and the Human Future

Contemporary politics is dominated by a liberal creed that champions ‘negative liberty’ and individual happiness. This creed undergirds positions on both the right and the left – free-market capitalism, state bureaucracy and individualism in social life. The triumph of liberalism has had the effect of subordinating human association and the common good to narrow self-interest and short-term utility. By contrast, post-liberalism promotes individual fulfilment and mutual flourishing based on shared goals that have more substantive content than the formal abstractions of liberal law and contract, and yet are also adaptable to different cultural and local traditions. The book apply this analysis to the economy, politics, culture, and international affairs. In each case, having diagnosed the crisis of liberalism, it proposes post-liberal alternatives, notably new concepts and fresh policy ideas. The book demonstrates that, amid the current crisis, post-liberalism is a programme that could define a new politics of virtue and the common good