Is the Soundtrack a Global Creative Process of Second Order? First Approach Using a Sequence by the Film Composer Pascal Gaigne.
Abstract This article is based on an empirically proven fact according to which a feature film is sometimes the result of a Global Creative Process (GCP), understanding this term as that which is constituted as the sum of several individual creative processes (ICPi) from different artistic disciplines. The aim of these ICPi is, by using interactions with the object, the initial general process established by the director or interacting themselves, the achievement of an unique object. The result of all these interactions is positively affected by virtue of the synergies generated.In the following sections the thesis according to which a soundtrack —understood not only as a musical soundtrack, but as everything that is heard in the final audio mix— is the result of another GCP is raised for the first time, being this GCP, therefore, a second order GCP.For this, statements taken from the most recent theories that affect the process of recording and mixing the soundtrack will be used, as well as different aspects related to the interaction between music and sound design.A first step to realizing the practical application of this approach is to apply it directly to a specific case. Furthermore, using real extracts justifies the relevance of this approach and its usefulness. On this occasion, and with this objective in mind, two specific moments of a sequence by composer Pascal Gaigne will be explored in greater depth.
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Cueto, R. (2003). El lenguaje invisible : entrevistas con compositores del cine espan?ol. Alcalá de Henares: ALCINE33.
Davis, R. (2008): Creative Ownership and the Case of the Sonic Signature or, 'I'm listening to this record and wondering whodunit?, Proceedings of the 4th Art of Record Production Conference, 14th-16th November. Lowell: University of Massachusetts Lowel.
Díaz Yerro, G. (2011). El análisis de música cinematográfica como modelo para la propia creación musical en el entorno audiovisual. Tesis doctoral dirigida por José Luis Correa y Fernando Bautista. Las Palmas de Gran Canaria: Departamento de didácticas especiales, Universidad de Las Palmas de Gran Canaria.
Fraile Prieto, T. (2010). Mu?sica de cine en Espan?a : sen?as de identidad en la banda sonora contempora?nea. Badajoz: Diputación provincial de Badajoz.
Howlett, M. (2007). Fixing the Volatile - studio vocal performance techniques, Proceedings of the 3rd Art of Record Production Conference. Queensland University of Technology, December 10-11. Brisban. Recuperado de: https://eprints.qut.edu.au/33275/1/c33275.pdf
Juan de Dios Cuartas, M. A. (2016). La producción musical como objeto de estudio musicológico: un acercamiento metodológico a su análisis. Cuadernos de Etnomusicología, 8, 20-47. Recuperado de: http://bit.ly/2jmDZJM
Lasuén, S. (2018). La armonía en las bandas sonoras del cine español de los noventa. Alicante: Investigación y Publicación.
Lluís i Falcó, J. (1995). Paràmetres per a una anàlisi de la banda sonora musical cinematogràfica. D'art (Revista del Departament d'Historia de l'Arte), 21, 169-186.
McIntyre, P. (2007). Rethinking Creativity: Record Production and the Systems Model. En Proceedings of the 3rd Art of Record Production Conference. Queensland University of Technology, December 10-11. Brisbane. Disponible en: https://www.academia.edu/6288649/McIntyre_P._2007_Rethinking_Creativity_Record_Production_and_the_Systems_Model_3rd_Art_of_Record_Production_International_Conference_Queensland_University_of_Technology_Brisbane_Dec_10-11_2007
Sempere, A. (2002). Roque Ban?os: pasio?n por la mu?sica. Madrid: Ocho y Medio, Libros de cine.
Tingen, P. (2010). SSecrets Of The Mix Engineers: Veronica Ferraro. Sound on Sound. Recuperado de: https://www.soundonsound.com/people/secrets-mix-engineers-veronica-ferraro
Lasuén, S. (2019). Is the Soundtrack a Global Creative Process of Second Order? First Approach Using a Sequence by the Film Composer Pascal Gaigne. Popular Music Research Today: Revista Online De Divulgación Musicológica, 1(2), 57–69. https://doi.org/10.14201/pmrt.20690
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