Regímenes aurales a través de la escucha musical: ideologías e instituciones en el siglo XXI

Natalia Bieletto-Bueno

Resumen


¿Existe un régimen aural que impacta en la escucha musical en el siglo XXI? De ser así, ¿cómo es que dicho régimen se configura?, ¿qué prácticas de escucha son sustentadas por qué tipo de instituciones e ideologías y viceversa? Este artículo aproxima posibles interpretaciones a estas preguntas recurriendo para ello a las prácticas contemporáneas de escucha musical. Presenta una definición de trabajo de "régimen aural" y la ilustra a través de tres problemas contemporáneos en torno a la escucha musical, como son el efecto de la ideología del multiculturalismo en la instauración de dicho régimen, el papel de diferentes industrias (musical, entretenimiento y turismo) e instituciones (universidades, centros culturales y archivos) en el establecimiento de pedagogías de la escucha musical y la construcción de subjetividades musicalmente mediadas. Reviso debates en curso tales como la generación de juicios estéticos sobre las músicas no-occidentales y su relación con una posible "condición postmoderna" (García 2012), la omnipresencia de músicas diversas –y no tan diversas– y el problema resultante de la escucha musical atenta (Kassabian 2013), el papel de las tecnologías para la escucha musical (Erickson y Johanson 2017), y el debate sobre la agencia del sí mismo ante la disyuntiva de qué y no escuchar (Filipovic 2012, Lipari 2014).


Citas


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