MUSIC by ALEX PHILLIPS
SPEAKER DANIEL FRANCIS
SUSAN ROGERS
¿Qué le sucede a nuestro cerebro cuando escuchamos música? ¿A través de qué procesos la música nos emociona, nos excita, inspira o consuela? La académica Susan Rogers, que trabajó durante años como ingeniera de sonido de artistas de gran popularidad como Prince, nos cuenta su experiencia.
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GLOSSARY 1 motifs: motivos 2 to remove: eliminar 3 to the forefront: a la vanguardia 4 to target: tener como objetivo 5 timespan: duración 6 to question: cuestionar 7 rise: auge
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usic has evolved with us as human beings. It can be escapism, but equally a way to feel more connected with the world. Over the last century, music has worked around motifs1 , and then removed2 them. It has added lyrics to melody; protest songs or love songs have helped people feel accepted, or at least not alone in the world. Rap and hip-hop have brought language and stories to the forefront 3 of music. Dance music, such as disco or electronica, has targeted4 the body; stretching out the timespan5 of tracks, mixing genres and questioning6 the importance of the original artist with the rise7 of the DJ.
Genres have fused, and the purpose of music has been further explored in genres such as ambient music, designed not to be listened to but to add a background or a mood8 to a room.
LISTEN CAREFULLY For Californian academic9, sound engineer and record producer Susan Rogers, music still needs to function in a particular way for it to be successful. Rogers, who worked with the artist Prince in the 1980s through his most prolific period, has spent a lifetime asking how music works and looking for the answer from a historical, scientific and emotional perspective.
