A interpretação eletroacústica: reflexões sobre o papel do intérprete de difusão na música mista
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Data
2021-04-07
Autores
Scucuglia, Fábio [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
A presente tese tem por objetivo discutir o papel do intérprete de música eletroacústica na montagem de obras mistas. Além do ponto de vista técnico (através do qual elencam-se e qualificam-se os instrumentos necessários para a captação, o tratamento e a difusão de objetos sonoros), são abordados elementos semióticos da performance musical, a fim de delimitar o circuito da comunicação musical e emancipar o responsável pela difusão eletroacústica ao patamar do intérprete tradicional. Para isso, recorreu-se ao mapeamento do caminho percorrido pela informação musical no circuito da fala musical, refletindo sobre a potencial carga semântica de seus signos pelos diferentes atores envolvidos. Reflexões acerca dos contatos possíveis entre compositores e intérpretes são conduzidas, a fim de determinar os diferentes graus de criação artística possíveis. Nesse sentido, estabelece-se a escritura musical como processo criativo, podendo, inclusive, ser aplicada aos processos das escolhas interpretativas. Auxiliando no aprofundamento do tema, que coaduna elementos semióticos da linguagem musical a elementos técnicos da produção eletroacústica, analisam-se os percursos eletrônicos possíveis do sinal de áudio (que pode ser de natureza acústica, elétrica, eletrônica ou digital) durante uma situação de concerto de música mista, realizando-se também uma discussão sobre situações hipotéticas e as escolhas envolvidas na interpretação. Concluindo a reflexão sobre a práxis da música eletroacústica mista, o presente trabalho conta, ainda, com uma composição musical que dialoga com os temas propostos.
This thesis aims to discuss the role of the interpreter of electroacoustic music in the assembly of mixed works. In addition to the technical point of view (through which the necessary instruments for the capture, treatment and diffusion of sound objects are listed and qualified), semiotic elements of musical performance are addressed, in order to delimit the circuit of musical communication and emancipate the musician responsible for electroacoustic diffusion to the level of the traditional performer. For this, the mapping of the path taken by musical information in the circuit of musical communication was used, reflecting on the potential semantic load of their signs by the different agents involved. Reflections on the possible contacts between composers and performers are conducted in order to determine possible different degrees of artistic creation. In this sense, musical scripture is established as a creative process, which can even be applied to the interpretative choices. Aiding in deepening the theme, which combines semiotic elements of musical language with technical elements of electroacoustic production, the possible electronic pathways of the audio signal (which may be of an acoustic, electrical, electronic or digital nature) are analyzed during a situation of mixed music concert, and there is also a discussion about hypothetical situations and the choices involved in the interpretation. Concluding the reflection on the praxis of mixed electroacoustic music, the present work also includes a musical composition that dialogues with the proposed themes.
This thesis aims to discuss the role of the interpreter of electroacoustic music in the assembly of mixed works. In addition to the technical point of view (through which the necessary instruments for the capture, treatment and diffusion of sound objects are listed and qualified), semiotic elements of musical performance are addressed, in order to delimit the circuit of musical communication and emancipate the musician responsible for electroacoustic diffusion to the level of the traditional performer. For this, the mapping of the path taken by musical information in the circuit of musical communication was used, reflecting on the potential semantic load of their signs by the different agents involved. Reflections on the possible contacts between composers and performers are conducted in order to determine possible different degrees of artistic creation. In this sense, musical scripture is established as a creative process, which can even be applied to the interpretative choices. Aiding in deepening the theme, which combines semiotic elements of musical language with technical elements of electroacoustic production, the possible electronic pathways of the audio signal (which may be of an acoustic, electrical, electronic or digital nature) are analyzed during a situation of mixed music concert, and there is also a discussion about hypothetical situations and the choices involved in the interpretation. Concluding the reflection on the praxis of mixed electroacoustic music, the present work also includes a musical composition that dialogues with the proposed themes.
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Palavras-chave
Composição eletroacústica, Semiótica musical, Interpretação musical, Instrumentação musical