<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1665-1200</journal-id>
<journal-title><![CDATA[Tópicos del Seminario]]></journal-title>
<abbrev-journal-title><![CDATA[Tóp. Sem]]></abbrev-journal-title>
<issn>1665-1200</issn>
<publisher>
<publisher-name><![CDATA[Benemérita Universidad Autónoma de Puebla, Seminario de Estudios de la Significación]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1665-12002022000100119</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[La selección y la mezcla de timbres en el discurso orquestal: bocetos de una aproximación (ex)tensiva]]></article-title>
<article-title xml:lang="en"><![CDATA[Timbres Selection and Mixing in Orchestral Discourse: Outline of an (Ex) Tensive Approach]]></article-title>
<article-title xml:lang="fr"><![CDATA[Le tri et le mélange de timbres dans le discours orchestral : ébauche d&#8217;une approximation (ex)tensive]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Shimoda]]></surname>
<given-names><![CDATA[Lucas Takeo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de São Paulo  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2022</year>
</pub-date>
<numero>47</numero>
<fpage>119</fpage>
<lpage>135</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1665-12002022000100119&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1665-12002022000100119&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1665-12002022000100119&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Definido comúnmente como el color del sonido o la huella digital sonora, el timbre ha sido analizado por la acústica y por la psicoacústica por medio de la descomposición en sus fases constituyentes. A pesar de sus avances innegables, dicho abordaje morfologizante no logra explicar los fenómenos de selección y mezcla de timbres. Como complemento de la descripción morfológica del timbre, propongo un abordaje de carácter sintagmatizante que pretende explicar satisfactoriamente las restricciones combinatorias, operables gracias a las operaciones de la sintaxis extensiva de selección y mezcla propuestas por Claude Zilberberg (2004, 2016a, 2016b). Estas herramientas conceptuales fueron aplicadas a textos críticos sobre la historia de la constitución de la orquesta europea. Los resultados apuntan a un potencial alto y todavía inexplorado de la aplicación del esquematismo tensivo para un análisis semiótico del timbre.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Usually defined as &#8220;tone color&#8221; or &#8220;sound fingerprint&#8221;, timbre has been often analyzed by acoustics and psychoacoustics by means of decomposition into its constituent phases. Despite its undeniable advances, such a morphological approach still cannot account for phenomena of selection and combination of timbre. In addition to the description of timbre morphology, I propose a syntagmatic approach aiming to satisfactorily explain combinatorial constraints, operable thanks to the extensive syntax operations of sorting and mixing as proposed by Claude Zilberberg (2004, 2016a, 2016b). These conceptual tools were applied to critical texts on the diachronic constitution of the European orchestra. The results point to an untapped high potential to the application of the tensive model for a semiotic account of timbre.]]></p></abstract>
<abstract abstract-type="short" xml:lang="fr"><p><![CDATA[Résumé Communément défini comme « la couleur du son » ou « l&#8217;empreinte digitale sonore », le timbre a été analysé par l&#8217;acoustique et par la psycho-acoustique au moyen de la décomposition en phases constituantes. Malgré des progrès indéniables, cette approche morphologisante n&#8217;arrive pas à expliquer les phénomènes de tri et de mélange des timbres. En complément de la description morphologique du timbre, nous proposons une approche à caractère syntagmatisant qui prétend expliquer de manière satisfaisante les restrictions combinatoires, opérables grâce aux opérations de la syntaxe extensive du tri et du mélange proposées par Claude Zilberberg (2004, 2016a, 2016b). Ces outils conceptuels ont été appliqués à des textes critiques sur l&#8217;histoire de la constitution de l&#8217;orchestre européen. Les résultats laissent présager un fort potentiel, encore inexploré, de l&#8217;application du schématisme tensif pour une analyse sémiotique du timbre.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[sintaxis extensiva]]></kwd>
<kwd lng="es"><![CDATA[timbre]]></kwd>
<kwd lng="es"><![CDATA[orquestación]]></kwd>
<kwd lng="en"><![CDATA[extensive syntax]]></kwd>
<kwd lng="en"><![CDATA[tone colour]]></kwd>
<kwd lng="en"><![CDATA[orchestration]]></kwd>
<kwd lng="fr"><![CDATA[syntaxe extensive]]></kwd>
<kwd lng="fr"><![CDATA[timbre]]></kwd>
<kwd lng="fr"><![CDATA[orchestration]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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