Escuta e técnica: um enfoque sobre os processos criativos e perceptivos na música mista

Danilo Augusto de Albuquerque Rossetti; Cássia Carrascoza Bomfim

doi:10.36025/arj.v12i1.38250

Authors

Danilo Rossetti Universidade Federal de Mato Grosso (UFMT) https://orcid.org/0000-0001-7690-8048
Cássia Carrascoza Bomfim Universidade de São Paulo (USP) https://orcid.org/0000-0003-4652-8727

DOI:

https://doi.org/10.36025/arj.v12i1.38250

Keywords:

live electronic music, technical mentality, perception, corporeality, creative process

Abstract

In this article, we argue that it is possible to establish a line of continuity between the techniques used in creative processes of live electronic music (composition and performance) and the processes of listening and perception of these compositions. Within this approach, we present as a theoretical reference concepts elaborated by Gilbert Simondon concerning, on the one hand, to the construction of a technical mentality and, on the other, to the study of perception. In this approach, both concepts are mediated by analogous notions of transduction, modulation and corporeality. We discuss this framework by detailing actions in the creative process of the work Interstício de tempo (2020), for flute, live electronics and video, in relation to synthesis, sound processing, spatialization and video. Finally, we seek to articulate the theoretical concepts presented with the technical and perceptual features of the musical work in question.

Downloads

Download data is not yet available.

Author Biographies

Danilo Rossetti, Universidade Federal de Mato Grosso (UFMT)

Danilo Rossetti is a composer, researcher, professor and performer of electroacoustic music. He is the author of compositions for different instrumental, acousmatic, live electronics and multimedia formations (audiovisual installations, music, dance and telematics) presented at national and international events, as well as the author and co-author of several articles on creative processes in music and musical analysis. He is an assistant professor in the Arts Department at Federal University of Mato Grosso, UFMT, a permanent lecturer in the Professional Master's in Music program at UFMT and the Postgraduate in Music program at the Unicamp Arts Institute, State University of Campinas, IA-UNICAMP, and leader of the research group “Composition, analysis and musical performance with computational support” (UFMT/CNPq). He has a PhD in Music from UNICAMP and a doctoral stage at the Research Centre in Informatics and Musical Creation, CICM, of the Paris 8 University. He developed a post-doctoral research at the Interdisciplinary Center for Sound Communication, NICS-UNICAMP, with support from The São Paulo Research Foundation, FAPESP.

Cássia Carrascoza Bomfim, Universidade de São Paulo (USP)

Cássia Carrascoza, flautist, improviser, and media artist, she holds a Ph.D. and M.A. in Arts, specializing in Musicology and Musical Creation. She is a professor at School of Communications and Arts of the University of São Paulo, ECA-USP's Department of Music, where she coordinates LaFlauta – the Flute Laboratory – and the LaFlauta Telematic Ensemble, a remote chamber group with students and international guests. As a visiting researcher at the University of California, Riverside (2021-2024), she focused on telematic music and technology-mediated performance. With over 20 years dedicated to Brazilian contemporary music, she performs as a soloist, chamber musician, and interpreter of new works. She was principal flautist of the São Paulo Municipal Theater Symphony Orchestra (1999-2018) and has performed in the U.S., China, and Europe. Actively engaged in transnational music projects, she regularly publishes on music and technology. Since 2024, she has been Director of the University of São Paulo Symphony Orchestra (OSUSP).

References

ASSIS, Paulo. Gilbert Simondon’s ‘Transduction’ as Radical Immanence in Performance. Performance Philosophy, v. 3, n. 3, 2017, p. 695-716.

BERGSON, Henri. Matéria e memória: ensaio sobre a relação do corpo com o espírito. 2. ed. São Paulo: Martins Fontes, 1999.

BOMFIM, Cássia; Bazarian, Lidia; Rossetti, Danilo. Sound Notebooks: Remote Improvistation. NOWNET ARTS CONFERENCE (3.), 2020, Nova Iorque. Proceedings [...]. Institute of Advanced Computational Science (IACS), Stony Brook University, 2020, p. 21-23.

BORN, Georgina (org.). Music, Sound and Space: Transformations of Public and Private Experience. Cambridge: University Press, 2013.

BRELET, Gisèle. Le temps musical: essai d’une nouvelle musique. Paris: PUF, 1949.

COLAFRANCESCO, Julien; GUILLOT, Pierre; Paris, Eliott. Tutoriel de la bibliothèque HOA pour Max/MSP. Paris: Centre de recherche en Informatique et Création Musicale/Université Paris 8, 2015.

CRITON, Pascale. L’écoute plurielle. In: SOLOMOS, Makis et. al. (org.). Musiques et écologies du son: propositions théoriques pour une écoute du monde. Paris: L’Harmattan, 2016. p. 19-33.

CRITON, Pascale. Variabilité et multiplicité acoustique. In: SOULEZ, Antonia; Vaggione, Horacio (org.). Manières de faire des sons. Paris: L’Harmattan, 2010. p. 119-133.

EMMERSON, Simon; Landy, Leigh. The analysis of electroacoustic music, the different needs or its genres and cathegories. ELECTROACOUSTIC MUSIC STUDIES NETWORK CONFERENCE, 2012. Proceedings [...]. Electroacoustic Music Studies Network, 2012, p. 1-12.

ERBE, Tom. Soundhack: A Brief Overview. Computer Music Journal, v. 21, n. 1, p. 35-38, 1997.

FERRAZ, Silvio. Deleuze, música, tempo e forças não sonoras. Artefilosofia, n. 9, p. 67-76, 2010.

GRISEY, Gérard. À propos de la synthèse instrumentale [1979]. In: GRISEY, Gérard. Écrits ou l’invention de la musique spectrale. Paris: Éditions MF, 2008.

GUATTARI, Felix. As três ecologias. 11. ed. Campinas: Papirus, 2001.

JAFFE, David. Analysis Tutorial, Part 2: Properties and Applications of the Discrete Fourier Transform. Computer Music Journal, v. 11, n. 3, p. 17-35, 1987.

MALHAM, David. El espacio acústico tridimensional y su simulación por medio de Ambisonics. In: BASSO, Gustavo; DI LISCIA, Oscar P. (org.) Música y espacio: ciencia, tecnología y estética. Quilmes: Universidad Nacional de Quilmes, 2009. p. 161-202.

MESSIAEN, Olivier. Traité de rythme, de couleur, et d’ornithologie: Tome 1. Paris: Alphonse Leduc, 1994.

OLIVEROS, Pauline. Deep Listening: A Composer’s Sound Practice. Nova York: iUniverse, 2005.

OUZONIAN, Gascia. Stereophonica: Sound and Space in Science, Technology, and the Arts. Cambridge: The MIT Press, 2020.

ROSSETTI, Danilo. Das imagens à criação de formas sonoras: uma possível epistemologia dos processos de análise e composição com suporte computacional. Revista Vórtex, Curitiba, v. 6, n. 2, p.1-27, 2018.

ROSSETTI, Danilo. Projetando o espectro do som no espaço: Imagens-movimento de parciais e grãos sonoros. Revista Orfeu, v. 5, n. 1, p. 571-594, 2020.

ROSSETTI, Danilo. Transdução e tecnoestética: proposições para uma filosofia do audível. Artefilosofia, v. 36, p. 1-24, 2024.

ROSSETTI, Danilo; ANTUNES, Micael; MANZOLLI, Jônatas. Musical Analysis of Sound Feature Emergences Using Acoustic and Psychoacoustic Descriptors. Música Hodie, v. 22, p. 1-36, 2022.

ROSSETTI, Danilo; BOMFIM, Cássia. Live Electronics, Audiovisual Compositions, and Telematic Performance: Collaborations During the Pandemic. Journal of Network Music and Arts v.3, n.1, p. 1-29, 2021.

ROSSETTI, Danilo; MANZOLLI, Jônatas. Studying the Perception of Sound in Space: Granular Sounds Spatialized in a High-Order Ambisonics System. Opus v. 26, n. 2, p. 1-26, 2020.

SCHAEFFER, Pierre. Traité des objets musicaux: essai interdisciplines. Paris: Seuil, 1966.

SÈDES, Anne; GUILLOT, Pierre; PARIS, Elliot. The HOA Library, Review and Prospects. INTERNATIONAL COMPUTER MUSIC CONFERENCE (40.), 2014, Atenas. Proceedings [...]. International Computer Music Association, 2014, p. 855-860.

SIMONDON, Gilbert. Communication et information: cours et conférences. Chatou: Éditions de la Transparence, 2010.

SIMONDON, Gilbert. Cours sur la perception (1964-1965). Paris: Presses Universitaires, 2014.

SIMONDON, Gilbert. Du mode d’éxistence des objets techniques. Paris: Aubier, 2012.

SIMONDON, Gilbert. L’individuation à la lumière des notions de forme et d’information. Grenoble: Millon, 2005.

SIMONDON, Gilbert. Mentalité technique. Revue philosophique de la France et de l’étranger, Tome 131(3), p. 343-357, 2006. DOI: 10.3917/rphi.063.0343. Disponível em: https://www.cairn.info/revue-philosophique-2006-3-page-343.htm.

SIMONDON, Gilbert. Sobre a Tecnoestética: carta a Jacques Derrida. Tradução de Stella Senra. In: ARAÚJO, H. R. (org.). Tecnociência e cultura: ensaios sobre o tempo presente. São Paulo: Estação Liberdade, 1992. p. 253-266.

SMALLEY, Denis. Spectromorphology: Explaining Sound Shapes. Organised Sound v. 2, n. 2, 1997.

SOLOMOS, Makis. De la musique au son: l’émergence du son dans la musique des XXe – XXIe siècles. Rennes: Presses Universitaires, 2013.

VAGGIONE, Horacio. Vers une approche transformationnelle en CAO. Actes des Journées d’Informatique Musicale 3. Greyc, 1996. Disponível em: http://recherche.ircam.fr/equipes/repmus/jim96/actes/vaggione/VaggioneTEXTE.html

VELLOSO, José Henrique Padovani. Música e técnica: reflexão conceitual, mecanologia e criação musical. Tese de Doutorado em Música. Campinas: Instituto de Artes Unicamp, 2013.

WAKEFIELD, Garry. Third-Order Ambisonics Extensions for Max/MSP with Musical Applications. INTERNATIONAL COMPUTER MUSIC CONFERENCE (32.) 2006, Nova Orleans. Proceedings [...]. International Computer Music Association, 2006, p. 123-126.

Listening and Technique: An Approach to Creative and Perceptual Processes in Live Electronic Music

Authors

DOI:

Keywords:

Abstract

Downloads

Author Biographies

Danilo Rossetti, Universidade Federal de Mato Grosso (UFMT)

Cássia Carrascoza Bomfim, Universidade de São Paulo (USP)

References

Downloads

Published

How to Cite

Issue

Section

License

dados

Information

Developed By