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What does it mean to be ludomusicologist?

Abstract

The oft-demanded requirement of autonomy from the academics and the different ludomusicological societies found all over the world to the vast space occupied by musicology´s sciences, do no more but to comply with a purpose recurred over time since ludic-digital studies turn to be a sphere of knowledge approachable by the humanities. Nevertheless, the relentless search of distinguishing elements that may serve to discern ludomusicoloy from traditional musicological sciences, but whose essence is also similar in regards of its research activity, make extraordinarily challenging to validate as autonomous a discipline in pursuit of autonomy. Similarly, it is commonly known to ensure that since the own conception of ludomusicology as a space of study and reflexion of digital titles of ludic nature, the diversification of perspectives and methodologies that shall be utilised by the own members of the ludomusicological community make no more than to hamper any significant attempt to set methodological mechanisms for the diversity and plurality of elements, as so the various objects of study that actually are encompassed within ludomusicological fields of study. Their simplifications when categorizing the discipline could result into bother its scientist pretension. However, the diversity of components that shape into the titles to be studied, which ultimately are the resources from where our premises are developed, raise serious doubts concerning the idyllic profile to fulfil from anyone who may aspire to embark on the ludic-digital side of music.

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