El concepto de paisaje sonoro de Murray Schaffer aplicado al análisis Goé Payari de Jesús Pinzón Urrea y primer Movimiento de la Sinfonía No. 40 de Wolfgang Amadeu

Abstract

This text explores the potential of the sound landscape concept developed by Murray Schafer applied to the analysis of two works with dissimilar musical and stylistic characteristics and composed almost two centuries apart, the first of which is Goé Payari (1982) by the Colombian composer Jesús Pinzón, whose sound qualities stand out for using the musical language of the convulsed 20th century and, on the other hand, the first movement of the Symphony No. 40 (1788) by WA Mozart, fundamental work of the universal orchestral repertoire. The landscape sound concept proposed by Schafer highlights the presence of several sound planes (background sounds, sound signals and sound marks), each plane plays a role in the sound environment that is under analysis. The main purpose of this study is to provide a tool that allows directors, composers or interpreters to broaden their understanding of a particular work and support the traditional analyzes that are commonly applied to the score, where the harmonic components are exposed, formal, thematic, etc. of the work. The application of the sound landscape concept can provide, from a sound field point of view, a much more enriching understanding for the analyst.