The Listener “In Fabula”

Main Article Content

Paolo Bortolameolli
Gonzalo Saavedra

Abstract

Ponle Pausa video capsules are brimming with visual and sound information. In seven minutes’ time, these pieces, designed to go viral, deal each one with a particular aspect of the experience of listening to classical music (the one composed from the 9th Century AD to the present day). Using a frenetic narration that allows going from the transcendent to the laughter in a matter of seconds, it points at some specific aspects to notice, trying to persuade the new audiences that to be exposed to this art form is far from being serious or pompous, but above all, delightful. Instead of teaching a list of technicalities that make the public shun it, Ponle Pausa tries to show that music participates in elements of a more daily experience: silence, expectation, humor; and that, although seldom telling stories in an argumentative way, it does use mechanisms that are common to the narrative, and just like it, requires some interpretative cooperation on the part of the listener.


Article Details

How to Cite
Bortolameolli, P., & Saavedra , G. (2016). The Listener “In Fabula”. Diseña, (10), 18-27. https://doi.org/10.7764/disena.10.18-27
Section
Projects
Author Biographies

Paolo Bortolameolli, Independent Music Director

 

B.A. in Music, Pontificia Universidad Católica de Chile. Diploma in Orchestral Conducting, Universidad de Chile. Master of Music in Orchestral Conducting, Yale School of Music. Graduate Performance Diploma, Peabody Institute.

Gonzalo Saavedra , Pontificia Universidad Católica de Chile, School of Journalism

 

Journalist, Pontificia Universidad Católica de Chile. PhD in Communication, Universitat Autònoma de Barcelona. Professor, School of Journalism, Pontificia Universidad Católica de Chile.

References

Balló, J., & Pérez, X. (1998). Yo ya he estado aquí. Ficciones de la repetición. Barcelona: Anagrama.

Borges, J. L. (1974). Obras completas. Buenos Aires: Emecé.

Casablancas, B. (2014). El humor en la música, Barcelona: Galaxia Gutenberg.

Eco, U. (1979). Lector in fabula. La cooperación interpretativa en el texto narrativo. Barcelona: Lumen.

Gann, K. (2010). No Such Thing as Silence: John Cage’s 4’33”. New Haven; Londres: Yale University.

Gianera, P. (2011). Formas frágiles. Improvisación, indeterminación y azar en la música. Buenos Aires: Debate.

Huron, D. (2007). Sweet Anticipation. Music and the psychology of expectation. Cambridge, MA: MIT Press.

Marquard, O. (2006). Felicidad en la infelicidad. Buenos Aires: Katz.

Neuman, A. (2014). Barbarismos. Madrid: Páginas de espuma.

Rabinowitz, P. (1998). Before Reading. Narrative Conventions and the Politics of Interpretation. Columbus: The Ohio State University Press.

Stubbs, D. (2009). Fear of Music. Why People Get Rothko But Don’t Get Stockhausen. Winchester: O Books.