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O presente trabalho se trata de uma reflexão teórica localizada na intersecção entre os campos da música, das artes sonoras e dos estudos do som, que pretende discutir os limites da escuta a partir de formulações teóricas de um grupo selecionado de autores. Nele comento diferentes posições sobre a escuta e o som, com enfoque em questões epistemológicas, estéticas e políticas, surgidas em diferentes contextos. O primeiro deles é o contexto da música concreta no GRM de Paris entre as décadas de 1950 e 1960, discutido a partir do trabalho de Pierre Schaeffer, que tornou-se um paradigma para o campo da música eletroacústica. O segundo capítulo trata do trabalho de Michel Chion, a partir da década de 1980, que até hoje é fundamental para o pensamento sobre som no audiovisual, de maneira bastante acrítica. Outro contexto, discutido no terceiro capítulo é o dos estudos da paisagem sonora desenvolvido na Simon Fraser University, na década de 1970 e que se torna um conceito chave para o campo de estudos do som, passando por diversas revisões. Faço a discussão a partir de textos de Murray Schafer e também do grande conjunto de trabalhos críticos a noção de paisagem sonora desenvolvidos desde então no campo dos estudos do som. Por fim, trago para a discussão o contexto atual de debate de teorias do som, bastante rico, que se dá no meio acadêmico internacional ligado a arte sonora e aos estudos do som. Este contexto atual é representado aqui por quatro autores de destaque: Christoph Cox, Marie Thompson, Steve Goodman e Rodolfo Caesar. Espero, através desta revisão crítica de conceitos, contribuir com o debate crítico neste campo híbrido da Sonologia no Brasil. / The presente research amounts to a theoretical inquirie localized in the interseccion between the fields of music, sound arts, and sound studies, which intends to discuss the limits of listening parting from theoretical formulationsby a select group of authors. Here I discuss different positions on regard to listening and sound, with an emphasis on matters of epistemology, aesthetics and politics, brought by in different contexts. The first of these contexts is concrete music at the Paris GRM, between the decades of 1950 and 1960, drawing from the work of Pierre Schaeffer, which became a paradigm for the field of electroacoustic music. The second chapter delas with the worl of Michel Chion, following from the 1980s, which, until today, is a fundamental work for the thought in the audiovisual arts, in a rather acritical way. Another context, discussed in the third chapter, is the study of the soundscape, developed at the Simon Fraser University, through the 1970s, and which became a key concept for the field of sound studies, passing through several revisions. I\'ll discuss following from Murray Schafer\'s texts, but also from the great amount of critical work that has been done in the last decades. Finaly, I\'ll bring to the discussion the contemporary context of the debate of sound theories, quite rich, that happens in the international academic context, connected to sound art and sound studies. This contemporary context is presented here with four authors of prominence: Christoph Cox, Marie Thompson, Steve Goodman e Rodolfo Caesar. I hope, with this discussion, to contribute with the critical debate in this hybrid field of Sonologia in Brazil.

Univerzita Karlova v Praze / Pedagogická fakulta / Katedra výtvarné výchovy // Charles University in Prague / Faculty of Education / The Department of Fine Art Education Netradiční výrazové prostředky a techniky Matematické principy v komparaci netradičního výtvarného a hudebního díla UnconventionalMeansofexpressionandtechniques Mathematical principles in comparing unconventional visual and musical art Klára Effenbergerová Výtvarná výchova - pedagogika Prezenční studium, 5. ročník Datum dokončení: květen 2011 Vedoucí práce: Doc. PhDr. Jaroslav Bláha, Ph.D. Abstract The thesis deals with a comparative analysis of a project called Poéme électronique in the Philips Pavilion (1958), while an emphasis is put on its mathematical background and broader interdisciplinal contexts. Particular attention is devoted to grand oldman Iannis Xenakis. The thesis tries to interpret the phenomenon of Electronic poetry, which we understand as an effort to design a multimedia "Gesamtkunstwerk". This brings the necessitate of the multi-specialized synthetic approach in searching of a relationship between the kinds of arts, and the analysis of interactions of individual project components.

Cette version de la thèse a été tronquée des certains éléments protégés par le droit d’auteur. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / Si Norman McLaren (1914-1987) œuvre principalement dans le domaine onirique de l’animation, David Cronenberg (1943-), parfois surnommé « The Baron of Blood », réalise des films de fiction appartenant à un genre singulier qu’il a lui-même développé, celui de « l’horreur intérieure ». Que peuvent donc partager ces deux cinéastes aux univers a priori si distincts ? Chacun a construit une relation à long terme avec un compositeur : Maurice Blackburn (1914-1988) pour le premier, Howard Shore (1946-) pour le second. Mais si les univers des deux réalisateurs ont été maintes fois investigués, l’apport de leurs compositeurs respectifs demeure peu examiné. Or, d’un univers à l’autre, la musique semble jouer un rôle de toute première importance, chacun des compositeurs étant impliqué très tôt dans le processus cinématographique. Cette implication précoce dans la création collective est indicatrice de la place et du rôle centraux qu’occupent Blackburn et Shore et leur musique au sein de l’œuvre de McLaren, d’une part, et de Cronenberg, de l’autre. De la sorte, les partitions semblent ne pouvoir être considérées comme une simple illustration sonore des films, mais comme une composante tout à fait fondamentale, relançant dès lors la question du rôle de la musique au cinéma : comment le définir ? En outre, au fil de la rencontre continue sur plusieurs films, musique et cinéma en sont venus à un entrelacement tel qu’un style singulier de musicalisation des images se serait développé : quels sont les traits qui définissent ce style ? D’une collaboration à l’autre, cette thèse cherche à établir une poïétique de la création musico-filmique ; elle cherche à décrire et à comprendre les processus créateurs filmique et musical qui déterminent la composition d’une musique de film et, plus encore, une musicalité de tout le complexe audio-visuel. À travers des portraits examinant la pratique et le discours des créateurs et quatre analyses de bandes sonores (A Phantasy de Norman McLaren, Jour après jour de Clément Perron, Crash et A Dangerous Method de David Cronenberg), des liens se tissent peu à peu entre les pensées et les pratiques des deux compositeurs qui développent des stratégies similaires et originales face aux problèmes que leur posent les œuvres de McLaren (l’indissociabilité de la musique et de l’image) et de Cronenberg (la « transformation de l’esthétique humaine »). D’un binôme à l’autre, le cinéma se transforme en un laboratoire musico-filmique où chacun élabore une « méthode dangereuse » qui force l’analyste à explorer de nouvelles avenues méthodologiques. / Norman McLaren’s (1914-1987) animation work evokes a primarily dream-like world. David Cronenberg (1943-), also sometimes known as the “Baron of Blood,” makes fiction films that belong to a singular genre he developed: the “inner horror.” So what can these two filmmakers possibly have in common? They both built a long-term relationship with composers: Maurice Blackburn (1914-1988) for the former and Howard Shore (1946-) for the latter. Though the distinct approaches of these two directors have been widely studied, the weight of the contributions of their respective composers remains largely unmeasured. And this, despite the fact that music seems to play a primary role in these two directors’ process since, in each instance, the composer is involved very early on. This unusually early involvement of the composer, and the ongoing collaboration it entails, are indicative of the central place and role held by Blackburn and Shore’s music in McLaren’s work on the one hand, and Cronenberg’s on the other. This considered, their scores must no longer be seen as direct sound illustration of the films, but rather as essential components of the films, even though such a stance forces us to rethink how we define the role of music in film. Furthermore, from film to film, music and cinema become so intertwined that a singular style of musicalization of the image develops, begging the question: what are the characteristics of this style? From one collaboration to the other, this thesis seeks to establish a poietic of film-music creation; it looks to describe the cinematic and musical creative processes that determine the composition of film music and, beyond that, the musicality of the entire audio-visual complex. Through portraits that investigate the practice and discourse of creators and through the analysis of four soundtracks (A Phantasy by Norman McLaren, Day After Day by Clément Perron, Crash and A Dangerous Method by David Cronenberg), the thoughts and practices of the two composers, who develop similar innovative strategies to solve the problems posed by the works of McLaren (the inseparability of music and image) and Cronenberg (the “transformation of human aesthetics”), are gradually connected. From one duo to another, cinema becomes a musical and cinematic laboratory where each develops a “dangerous method” which forces the analyst to explore new methodological avenues.