A escritura da interatividade: o diálogo entre música instrumental e eletroacústica através da música mista em tempo real
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Data
2023-06-27
Autores
Domiciano, Raphael Vilani [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Esta pesquisa tem o objetivo de entender o papel da interatividade na música mista em tempo real como mediadora do diálogo entre os universos da música instrumental e eletroacústica. Para investigar essa questão, partimos de uma abordagem multidisciplinar que busca entender em que contexto social, cultural e tecnológico esse repertório surge, e quais questões estéticas estão associadas com sua forma de interação entre performance e meios eletrônicos. Em seguida, investigamos as particularidades da transmissão dessa música, entendendo como as ideias musicais são implementadas tecnicamente, o papel de instituições e colaboradores no processo de criação, e as implicações que os dispositivos técnicos e institucionais têm para a análise e preservação do repertório. Na segunda parte deste trabalho, tratamos diretamente sobre peças do repertório que trazem questões importantes a respeito da escritura da interatividade. As obras estudadas são Pluton (1988-1989) e Tensio (2010), de Philippe Manoury; Anthèmes II (1997), de Pierre Boulez; TransScriptio (2013), de Flo Menezes; über (2015), de Mark Andre; Sortir du Noir (2016), de Sasha J. Blondeau; e Inside-Out (2017), de Carmine Emanuele Cella. Por último retratamos o processo de criação da parte eletrônica de Oposicantos (2019-2023), ópera de Flo Menezes, com o objetivo de contribuir e registrar como as ideias do compositor são implementadas na prática.
This dissertation aims to understand the role of interactivity in real-time mixed music as a mediator of dialogue between the realms of instrumental and electroacoustic music. To investigate this question, we adopt a multidisciplinary approach that seeks to understand the social, cultural, and technological context in which this repertoire emerges, as well as the aesthetic issues associated with its mode of interaction between performance and electronic means. We then delve into the specifics of transmitting this music, examining how musical ideas are technically implemented, the role of institutions and collaborators in the creative process, and the implications that technical and institutional devices have for the analysis and preservation of the repertoire. In the second part of this dissertation, we focus directly on pieces from the repertoire that raise important questions regarding the writing of interactivity. The studied works include Pluton (1988-1989) and Tensio (2010) by Philippe Manoury; Anthèmes II (1997) by Pierre Boulez; TransScriptio (2013) by Flo Menezes; über (2015) by Mark Andre; Sortir du Noir (2016) by Sasha J. Blondeau; and Inside-Out (2017) by Carmine Emanuele Cella. Lastly, we depict the process of creating the electronic part of Oposicantos (2019-2023), an opera by Flo Menezes, with the goal of contributing to and documenting how the composer’s ideas are implemented in practice.
This dissertation aims to understand the role of interactivity in real-time mixed music as a mediator of dialogue between the realms of instrumental and electroacoustic music. To investigate this question, we adopt a multidisciplinary approach that seeks to understand the social, cultural, and technological context in which this repertoire emerges, as well as the aesthetic issues associated with its mode of interaction between performance and electronic means. We then delve into the specifics of transmitting this music, examining how musical ideas are technically implemented, the role of institutions and collaborators in the creative process, and the implications that technical and institutional devices have for the analysis and preservation of the repertoire. In the second part of this dissertation, we focus directly on pieces from the repertoire that raise important questions regarding the writing of interactivity. The studied works include Pluton (1988-1989) and Tensio (2010) by Philippe Manoury; Anthèmes II (1997) by Pierre Boulez; TransScriptio (2013) by Flo Menezes; über (2015) by Mark Andre; Sortir du Noir (2016) by Sasha J. Blondeau; and Inside-Out (2017) by Carmine Emanuele Cella. Lastly, we depict the process of creating the electronic part of Oposicantos (2019-2023), an opera by Flo Menezes, with the goal of contributing to and documenting how the composer’s ideas are implemented in practice.
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Palavras-chave
Música instrumental, Eletroacústica, Música - Acústica e física, Composição (Música)