{"id":26575,"date":"2026-07-01T09:00:00","date_gmt":"2026-07-01T07:00:00","guid":{"rendered":"https:\/\/cienciagandia.webs.upv.es\/?p=26575"},"modified":"2026-07-07T16:29:06","modified_gmt":"2026-07-07T14:29:06","slug":"de-rosalia-opera-i-la-fisica-que-samaga-en-lacustica-dels-concerts","status":"publish","type":"post","link":"https:\/\/cienciagandia.webs.upv.es\/ca\/2026\/07\/de-rosalia-opera-i-la-fisica-que-samaga-en-lacustica-dels-concerts\/","title":{"rendered":"De Rosal\u00eda, \u00f2pera i la f\u00edsica que s’amaga en l’ac\u00fastica dels\u00a0concerts"},"content":{"rendered":"\n

En Berghain<\/em>, una de les can\u00e7ons m\u00e9s recents de Rosal\u00eda, hi ha fragments que poden sorprendre: la veu s’allunya del registre habitual del pop i s’acosta a una manera de cantar que recorda l’\u00f2pera: el fraseig \u00e9s m\u00e9s ampli, el vibrato m\u00e9s sostingut i el so m\u00e9s homogeni i projectat.<\/p>\n\n\n\n

La clau no est\u00e0 nom\u00e9s en com es produeix aquesta veu, sin\u00f3 en com arriba al p\u00fablic. En els concerts de Rosal\u00eda, la veu es captura amb micr\u00f2fons, es processa electr\u00f2nicament i es reprodueix a trav\u00e9s d’altaveus. En canvi, en una representaci\u00f3 d’\u00f2pera tradicional, no s’utilitza amplificaci\u00f3: la veu ha de ser audible amb claredat en tot l’espai per si mateixa. Aquesta difer\u00e8ncia canvia completament el paper de l’ac\u00fastica en l’experi\u00e8ncia musical.<\/p>\n\n\n\n

L’ac\u00fastica darrere de la frustraci\u00f3 dels m\u00fasics<\/strong><\/p>\n\n\n\n

Molts m\u00fasics han viscut alguna vegada una experi\u00e8ncia frustrant ben coneguda: despr\u00e9s d’hores d’estudi i preparaci\u00f3, pugen a l’escenari i el resultat no \u00e9s el que esperaven. No perqu\u00e8 toquen pitjor, sin\u00f3 perqu\u00e8 no es senten b\u00e9 a si mateixos o el p\u00fablic no percep amb claredat el que estan interpretant. En molts casos, el problema no \u00e9s musical, sin\u00f3 ac\u00fastic.<\/p>\n\n\n\n

El que arriba a l’oient \u00e9s una combinaci\u00f3 del so directe de la veu o de l’instrument i de totes les reflexions que es produeixen en parets, sostre i altres superf\u00edcies. Aquesta interacci\u00f3 es pot entendre a partir de dos efectes fonamentals: l’augment del nivell sonor i la persist\u00e8ncia del so en el temps.<\/p>\n\n\n\n

D’una banda, les reflexions fan que el so arribe amb m\u00e9s intensitat i de manera m\u00e9s homog\u00e8nia a diferents punts de la sala. No es tracta nom\u00e9s del so que emet la cantant o l’instrumentista, sin\u00f3 de com l’espai redistribueix aquest so.<\/p>\n\n\n\n

D’altra banda, aquestes reflexions tamb\u00e9 fan que el so es mantinga durant un cert temps despr\u00e9s que la font haja deixat d’emetre’l. Aquest fenomen, conegut com a reverberaci\u00f3, \u00e9s una caracter\u00edstica essencial de qualsevol sala<\/a>. Una certa reverberaci\u00f3 aporta continu\u00eftat i riquesa al so, especialment en la veu oper\u00edstica, perqu\u00e8 en refor\u00e7a la sensaci\u00f3 de plenitud i facilita la projecci\u00f3 dins del teatre.<\/p>\n\n\n\n

Si la reverberaci\u00f3 \u00e9s excessiva, els seus efectes es tornen problem\u00e0tics: el so perd definici\u00f3, els detalls s’esborren i les l\u00ednies r\u00e0pides o articulades es tornen confuses. A m\u00e9s, es redueix la intel\u00b7ligibilitat, \u00e9s a dir, la facilitat per entendre el text cantat. En aquestes condicions, es perd claredat tant en la m\u00fasica com en la paraula.<\/p>\n\n\n\n

La veu i la sala: un sol instrument<\/strong><\/p>\n\n\n\n

En el cas de l’\u00f2pera, tots aquests factors s\u00f3n determinants. La veu i la sala funcionen com un sol instrument que s’est\u00e9n en l’espai m\u00e9s enll\u00e0 de la font sonora. De fet, la t\u00e8cnica vocal l\u00edrica s’ha desenvolupat, en gran part, per adaptar-se a aquestes condicions: projectar el so de manera eficient, mantindre la claredat del text i aprofitar les caracter\u00edstiques ac\u00fastiques del teatre.<\/p>\n\n\n\n

En canvi, en els concerts amplificats, com els de Rosal\u00eda, el canal de transmissi\u00f3 \u00e9s completament diferent. El sistema electroac\u00fastic (format per micr\u00f2fons, processament digital i altaveus) permet controlar el nivell sonor i modificar el timbre o la sensaci\u00f3 d’espai, recreant qualitats que recorden l’\u00f2pera, per\u00f2 amb unes condicions f\u00edsiques molt diferents.<\/p>\n\n\n\n

Aix\u00f2 no implica que l’ac\u00fastica deixe de ser rellevant; el que canvia \u00e9s la seua funci\u00f3. En lloc de ser el canal principal de transmissi\u00f3, passa a formar part d’un sistema en qu\u00e8 el so es pot ajustar i modelar tecnol\u00f2gicament.<\/p>\n\n\n\n

Per als m\u00fasics, aquesta realitat t\u00e9 una conseq\u00fc\u00e8ncia clara: no es pot separar la interpretaci\u00f3 musical de l’espai on t\u00e9 lloc. Un mateix repertori pot sonar molt diferent segons la sala. Una esgl\u00e9sia amb molta reverberaci\u00f3 pot afavorir la m\u00fasica coral, per\u00f2 dificultar passatges r\u00e0pids. Una sala de concerts moderna, amb massa poca reverberaci\u00f3, pot oferir m\u00e9s precisi\u00f3, per\u00f2 en alguns casos un so poc envoltant.<\/p>\n\n\n\n

Per aix\u00f2, els m\u00fasics professionals dediquen temps a con\u00e8ixer l’ac\u00fastica del lloc on tocaran. Provar l’escenari, ajustar din\u00e0miques o adaptar el tempo no \u00e9s un detall menor: \u00e9s part essencial de la interpretaci\u00f3.<\/p>\n\n\n\n

La sala tamb\u00e9 forma part de la m\u00fasica<\/strong><\/p>\n\n\n\n

La pr\u00f2xima vegada que assistiu a un concert o a una \u00f2pera, proveu de fixar-vos no nom\u00e9s en els m\u00fasics, sin\u00f3 tamb\u00e9 en l’espai: els materials de les parets, si s\u00f3n llisos o irregulars; la forma del sostre; la pres\u00e8ncia de cortines, fusta o superf\u00edcies dures; com canvia el so segons on esteu.<\/p>\n\n\n\n

Molts d’aquests elements formen part del disseny ac\u00fastic de la sala. Les superf\u00edcies irregulars o inclinades ajuden a dispersar el so i evitar ecos molestos, mentre que materials porosos o teles gruixudes absorbeixen part de l’energia sonora i controlen la reverberaci\u00f3.<\/p>\n\n\n\n

En algunes sales modernes tamb\u00e9 s’utilitzen dispositius ajustables i nous materials ac\u00fastics inspirats en la f\u00edsica de les ones (els anomenats metamaterials ac\u00fastics<\/a>) per adaptar la resposta sonora segons el tipus de m\u00fasica.<\/p>\n\n\n\n

La m\u00fasica no nom\u00e9s es fa sobre l’escenari: es configura en l’espai que la porta fins a nosaltres.<\/p>\n\n\n\n

Article publicat en theconversation.com: https:\/\/theconversation.com\/de-rosalia-opera-i-la-fisica-que-samaga-en-lacustica-dels-concerts-281193<\/a><\/strong><\/p>\n\n\n\n

Autor: Rub\u00e9n Pic\u00f3 Vila<\/a>, expert en ac\u00fastica musical del Campus de Gandia de la Universitat Polit\u00e8cnica de Val\u00e8ncia.<\/strong><\/p>\n\n\n\n

Portada: Fotograma del videoclip de \u201cBerghain\u201d, de Rosal\u00eda. Rosal\u00eda\/YouTube<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

En Berghain, una de les can\u00e7ons m\u00e9s recents de Rosal\u00eda, hi ha fragments que poden sorprendre: la veu s’allunya del registre habitual del pop i … Llegir m\u00e9s<\/a><\/p>\n","protected":false},"author":19,"featured_media":26601,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[248],"tags":[],"class_list":["post-26575","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-divulgacio","resize-featured-image"],"yoast_head":"\nDe Rosal\u00eda, \u00f2pera i la f\u00edsica que s'amaga en l'ac\u00fastica dels\u00a0concerts - Campus de Gandia Ciencia - UPV Universitat Polit\u00e8cnica de Val\u00e8ncia<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cienciagandia.webs.upv.es\/ca\/2026\/07\/de-rosalia-opera-i-la-fisica-que-samaga-en-lacustica-dels-concerts\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"De Rosal\u00eda, \u00f2pera i la f\u00edsica que s'amaga en l'ac\u00fastica dels\u00a0concerts - Campus de Gandia Ciencia - UPV Universitat Polit\u00e8cnica de Val\u00e8ncia\" \/>\n<meta property=\"og:description\" content=\"En Berghain, una de les can\u00e7ons m\u00e9s recents de Rosal\u00eda, hi ha fragments que poden sorprendre: la veu s’allunya del registre habitual del pop i ... 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