[en] The filming of musical performances in fiction cinema has developed in parallel with innovations and technical improvements, but it has also done so as a function of different sociocultural considerations of musical genres or styles. The interrelation of different audiovisual languages, techniques or aesthetics, including those of television, video clips or social networks, have led to more dynamic musical filming, as well as more experimental audiovisual editing./nApart from the technical consideration of these audiovisual records, the musical interpretations present in contemporary cinema also offer us the possibility of reflecting on the way in which the spectators, within the film itself, observe or interact with the numbers. musicals. Based on the proposals of Chiantore (2021) about the concept of ?classical music?, the consideration of interpretation as ?performance? (Cook, 2013) and the differentiation between ?performatic? and ?performative? (L?pez Cano, 2008) we have carried out a filmic and sociocultural analysis of representative films made between 1975 and 2018, focusing attention on the so-called ?aesthesic level? (Nattiez, 1987). This approximation has allowed us to establish a differentiation between ?performatic spectator? and ?performative spectator? and to verify that the attitude of the cinematographic spectators who attend a musical performance within the film itself offers us some decisive references on the listening paradigms, as well as on the sociocultural consideration of the artistic experience.

[es] La filmaci?n de interpretaciones musicales en el cine de ficci?n se ha desarrollado de forma paralela a las innovaciones y mejoras t?cnicas, pero tambi?n lo ha hecho en funci?n de las diferentes consideraciones socioculturales de los g?neros o estilos musicales. La interrelaci?n de diferentes lenguajes, t?cnicas o est?ticas audiovisuales, incluyendo las propias de la televisi?n, el videoclip o las redes sociales, han propiciado unas filmaciones musicales cinematogr?ficas m?s din?micas, as? como una edici?n audiovisual m?s experimental./nAl margen de la consideraci?n t?cnica de estos registros audiovisuales, las interpretaciones musicales presentes en el cine contempor?neo nos ofrecen tambi?n la posibilidad de reflexionar sobre la forma en la que los espectadores, dentro del propio film, observan o interact?an con los n?meros musicales. A partir de las propuestas de Chiantore (2021) sobre el concepto de ?m?sica cl?sica?, de la consideraci?n de la interpretaci?n como ?performance? (Cook, 2013) y de la diferenciaci?n entre ?perform?tico? y ?performativo? (L?pez Cano, 2008), hemos realizado un an?lisis f?lmico y sociocultural de films representativos realizados entre 1975 y 2018, focalizando la atenci?n en el denominado ?nivel est?sico? (Nattiez, 1987). Esta aproximaci?n nos ha permitido establecer una diferenciaci?n entre ?espectador perform?tico? y ?espectador performativo? y constatar que la actitud de los espectadores cinematogr?ficos que asisten a una performance musical dentro del propio film nos ofrece unas referencias decisivas sobre los paradigmas de escucha, as? como sobre la consideraci?n sociocultural de la experiencia art?stica.