¿Es la banda sonora un proceso creativo global de segundo orden? Primera aproximación a partir de una secuencia del compositor 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.