Este trabalho analisa o uso de interfaces físicas digitais na criação e performance da música eletroacústica em tempo real, sobretudo pelo conceito de gesto musical. Para tal propósito, primeiramente, foi realizado um estudo sistemático de dois objetos centrais para pesquisa, a saber, as interfaces digitais e o conceito de gesto em música. Revisitamos alguns elementos sobre a construção de instrumentos musicais digitais, acrescentado novas perspectivas à luteria digital a partir da concepção de gesto musical, como por exemplo, na concepção de mapeamento. Além disso, levantamos algumas questões estéticas referentes tanto a compreensão destas interfaces como instrumentos musicais quanto seu uso na composição musical e na performance do live electronics. O conceito de gesto musical, por usa vez, é compreendido neste trabalho como uma questão emergente da prática musical na contemporaneidade. Apontamos para os diferentes entendimentos das pesquisas em música sobre os significados contidos neste conceito, como suas dimensões corporal e sonora e suas capacidades cinética e semântica. Assim, expandimos o conceito de gesto musical em um contexto que utiliza estas interfaces para ideias como as de corporalidade, fisicalidade e causalidade. Posteriormente, propomos a junção entre os elementos presentes no conceito de gesto musical com os elementos constitutivos das interfaces e com a prática de criação musical e performance mediada por elas, principalmente sobre o ponto de vista da causalidade. Desta maneira reconhecemos que o relacionamento entre as ações corporais e os movimentos sonoros contribuem para a significação musical nas práticas que utilizam interfaces físicas digitais. Identificamos que estas relações de causalidade podem se apresentar desde modelos físico-naturais de coerência gestual, como em relações artificiais entre gesto e som e seus substituintes. Finalmente, é apresentada uma metodologia de análise para performances que utilizam estas interfaces, como aqui compreendidas, que contemplam tanto como a interface se apresenta para o músico que a toca quanto como a relação entre performer e interface podem ser compreendidas pelo espectador-ouvinte. Estas proposições demonstram como as interfaces estão inseridas em um contexto que considera o corpo como um elemento estético na criação da música eletroacústica ao vivo. / This research analyzes the use of digital physical interfaces in the creation and performance of electroacoustic music in real time, especially the concept of musical gesture. For this purpose, first, we conducted a systematic study of two central objects for research, namely, digital interfaces and the concept of gesture in music. We revisit some core elements of the construction of digital musical instruments, added new perspectives to digital luthiery from the concept of musical gesture as the mapping. In addition, we raised some aesthetic issues both an understanding of these interfaces as musical instruments as their use in musical composition and performance of live electronics. The concept of musical gesture, in turn, is understood in this study as an emerging issue of musical practice nowadays. We pointed to the different understandings of research in music about the meanings contained in this concept, as body and sound dimensions and kinetic and semantic capabilities. Thus, we have expanded the concept of musical gesture in a context that uses these interfaces to ideas such as corporeality, physicality and causality. Subsequently, we propose the junction between the elements present in the concept of musical gesture with the constituent elements of the interfaces and the practice of music creation and performance mediated by them, especially on the point of view of causality. Thus we recognize that the relationship between bodily actions and sound movements contribute to the musical significance in practices that use digital physical interfaces. We identify that these causal relationships may present from physical and natural models of gestural coherence, as artificial relationship between gesture and sound and their surrogates Finally, it is presented a methodology for performances that use these interfaces, as here understood, which include both how the interface is presented to the musician that plays much like the relationship between performer and interface can be understood by the viewer-listener. These proposals demonstrate how the interfaces are inserted in a context that considers the body as an aesthetic element in the practice of the live electroacoustic music.

Alors qu’il est interrogé sur la nature fragmentaire de l’écriture se faisant jour dans ses dernières œuvres, Luigi Nono affirme : « la logique du discours est pour moi quelque chose de terrifiant. » En signifiant ainsi son opposition au discours musical, le compositeur italien ne revendique pas seulement le refus du principe de déduction et l’univocité du développement : c’est le fondement même de l’expression musicale occidentale qu’il considère comme caduc. Car la musique écrite appartient aux disciplines du logos, domaine de la pensée et de sa loi d’intelligibilité auquel elle a longtemps été inféodée, même lorsque ses théoriciens ont revendiqué son autonomie. Aussi, la notion de discours musical se rapporte à un modèle de raisonnement hérité de la pensée syllogistique issue de la rhétorique aristotélicienne. Décliné au cours de son Histoire sous les méthodes du contrepoint, du développement ou encore de la variation, le principe d’engendrement causal de la forme révèle néanmoins son aporie à partir de la première moitié du XXe siècle. La génération de compositeurs se retrouvant à Darmstadt au lendemain de la Seconde Guerre Mondiale se confronte alors à une double difficulté. D’une part, le renouvellement des structures logiques de la musique apparaît comme une véritable urgence afin de libérer l’écriture musicale de la rigidité des systèmes qui l’ont dirigée depuis la fin de la Renaissance. D’autre part, l’avènement des nouvelles technologies dévoile la richesse du phénomène sonore et intime à repenser l’expression musicale au contact de ce matériau inédit qui ne peut se réduire aux procédés compositionnels instrumentaux. Dès lors, l’acte d’écriture s’enrichit d’une responsabilité critique, en ce qu’il doit se satisfaire à l’exigence d’une articulation logique tout en rompant avec la rigidité d’un discours univoque imposé à l’écoute. C’est dans ce contexte que Pierre Boulez et Luigi Nono propose une esthétique musicale mixte fondée sur la virtualité, l’espace et la résonance au cours des années 1980, instaurant un régime discursif unifiant l’hétérogène sans le contraindre ni l’abolir. / When he is questioned about the fragmentary nature of the writing appearing in his last works, Luigi Nono asserts: “the logic of the discourse is something terrifying for me.” By standing against the musical discourse, the Italian composer does not just claim his refusal of the principle of deduction and the univocity of the development: he also considers the foundation of the western musical expression as obsolete. Indeed, written music belongs to the disciplines of the logos, the domain of the thought and its law of comprehensibility in which it was enfeoffed for centuries, even when the theorists claimed its autonomy. So, the notion of musical discourse relates to a model of reasoning inherited from the syllogistic thought of the Aristotelian rhetoric. Declined during its History under the methods of the counterpoint, the development or the variation, the principle of causal establishment of the form reveals its aporia since the first half of the 20th century.Then, the composers who went to Darmstadt after the World War II confront themselves with a double difficulty. On one hand, the renewal of the logical structures of the music appears as an urgency to release the musical writing of the rigidity of the systems which managed it since the end of the Renaissance. On the other hand, the advent of the new technologies reveals the richness of the sound phenomenon and suggest to reconsider the musical expression in order to integrate this material, which cannot be reduced to the writing processes of instrumental music. Therefore, the act of composing is enhanced by a critical responsibility because the composer has to fulfill the requirement of a logical articulation while he abolished the rigidity of an unambiguous discourse imposed on the listening. It is in this context that Pierre Boulez and Luigi Nono propose an electroacoustic aesthetics based on virtuality, space and resonance during the 1980s, establishing a discursive regime which unifies the heterogeneous without forcing it nor abolishing it.

This portfolio of compositions investigates the adaptation of state-space models, frequently used in engineering control theory, to the electroacoustic composition context. These models are mathematical descriptions of physical systems that provide several variables representing the system’s behaviours. The composer adapts a set of state-space models of either abstract, mechanical or electrical systems to a music creation environment. She uses them in eight compositions: five mixed media multi-channel pieces and three mixed media pieces. In the portfolio, the composer investigates multiple ways of meaningfully mapping these system’s behaviours into music parameters. This is done either by exploring and creating timbre in synthetic sound, or by transforming existing sounds. The research also involves the process of incorporating state-space models as a real-time software tool using Max and SuperCollider. As real-time models offer several variables of continuous evolutions, the composer mapped them to different dimensions of sound simultaneously. The composer represented the model’s evolutions with either short/interrupted, long or indefinitely evolving sounds. The evolution implies changes in timbre, length and dynamic range. The composer creates gestures, textures and spaces based on the model’s behaviours. The composer explores how the model’s nature influences the musical language and the integration of these with other music sources such as recordings or musical instruments. As the models represent physical processes, the composer observes that the resulting sounds evolve in organic ways. Moreover, the composer not only sonifies the real-time models, but actually excites them to cause changes. The composer develops a compositional methodology which involves interacting with the models while observing/designing changes in sound. In that sense, the composer regards real-time state-space models as her own instruments to create music. The models are regarded as additional forces and as sound transforming agents in mixed media pieces. In fixed media pieces, the composer additionally exploits their linearity to create space through sound de-correlation.

In this thesis, the author explored an alternative way of composing contemporary western art music, being inspired by thoughts regarding post-genre. The composition method incorporated the use of the Digital Audio Workstation (DAW) software Cubase. Musical gestures were recorded with two musicians which where used as samples in the DAW to compose the piece Lines. The role of the score was shifted by moving it’s realisation to after the aural result was completed. The process was inspiring and was perceived to work well for a textural piece of music. Using a DAW when composing contemporary western art music is something that could be explored by classically trained composers in favour of working solely in a notation software. The result was the digitally made recording of Lines and two scores; one aimed to reproduce the recorded version (where only violin and violoncello where used) and another where adjustments where made, mainly in the instrumentation, to facilitate live performances by string orchestras.

Orientador: Denise Hortência Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:41:57Z (GMT). No. of bitstreams: 1 Mamedes_ClaytonRosa_M.pdf: 56445719 bytes, checksum: 5aa77ec88f4cefec6634aaef3a7bb216 (MD5) Previous issue date: 2010 / Resumo: A presente pesquisa objetiva realizar um panorama da produção de música eletroacústica paulista entre as décadas de 1990 e 2000, focando-se no trabalho desenvolvido por doze compositores desta que consideramos a primeira geração a empregar o computador como ferramenta básica de suporte à composição. Foi aqui estudada a produção dos compositores José Augusto Mannis, Flo Menezes, Edson Zampronha, Denise Garcia, Rodolfo Coelho de Souza, Lívio Tragtenberg, Lelo Nazário, Fernando Iazzetta, Sílvio Ferraz, Ignacio de Campos, Wilson Sukorski e Jônatas Manzolli. Neste trabalho enfocamos obras características destes compositores, através das quais localizamos sua área de atuação específica no gênero eletroacústico, classificando-os de acordo com a mídia proeminente dentre o escopo de suas respectivas produções, construindo desta forma um quadro sucinto do período / Abstract: The present research aims to produce a panoramic view of the musical production on Brazilian electroacoustic music from the State of São Paulo from 1990 to 2000. It studies works produced by twelve composers of the first generation which worked exclusively with computers as a compositional tool. We studied here the production of the composers José Augusto Mannis, Flo Menezes, Edson Zampronha, Denise Garcia, Rodolfo Coelho de Souza, Lívio Tragtenberg, Lelo Nazário, Fernando Iazzetta, Sílvio Ferraz, Ignacio de Campos, Wilson Sukorski and Jônatas Manzolli. In this dissertation we focused main works of these composers, among which we localized their specific area of actuation in the electroacoustic genre, classifying them to the most important media of their production, building an approach of that period / Mestrado / Processos Criativos / Mestre em Música

Nesta dissertação, buscou-se realizar um estudo histórico e analítico acerca do desenvolvimento da poética e dos processos da música eletroacústica na trilha sonora - principalmente na trilha musical - do cinema de ficção científica norte-americano. A música eletroacústica, a começar por suas primeiras manifestações através dos instrumentos eletrônicos e de técnicas de manipulação de tape magnético, esteve associada, desde o início do cinema sonoro, à ficção científica e ao terror. Na década de 1950, com o início da era de exploração espacial no cinema norte-americano, os sons eletrônicos se associaram ao universo alienígena e às narrativas de futuro. Nos anos seguintes, os gestos e funções indiciais desses primeiros instrumentos foram adaptados aos sintetizadores e às novas gerações de dispositivos eletrônicos. Assim, lentamente se consolidou uma tradição que relacionaria, durante os anos subsequentes, a música eletroacústica às narrativas de suspense, terror e ficção científica. Para entender como se deu a utilização de sons eletrônicos no cinema de ficção científica ao longo do século XX, partimos da exposição de alguns pressupostos metodológicos de análise audiovisual e de música eletroacústica. Estes, por sua vez, serviram como norteadores para as análises realizadas no final da dissertação. Posteriormente, seguimos por dois caminhos: um, cujo objetivo é descrever o desenvolvimento dos processos formadores da poética da música eletroacústica e seu uso no cinema; e outro, onde tentamos delinear o desenvolvimento da trilha sonora de filmes de ficção científica que se apropriaram de elementos advindos da música eletroacústica. No último capítulo, realizamos a análise de quatro filmes de diferentes períodos. Cada filme selecionado pode ser considerado representativo no uso de processos e técnicas da música eletroacústica de sua época; são eles: O planeta proibido (1956), THX 1138 (1971), Tron: uma odisseia eletrônica (1982) e A última profecia (2002). / The electroacoustic music, starting with its first manifestations such as electronic instruments and magnetic tape manipulation techniques, have been associated, since the beginning of movies with sound, to science fiction and horror. In the 50\'s, with the beginning of an era of space exploration in north-american motion pictures, the electroacoustic sounds were definitely associated with the alien\'s universe and futuristic narratives. In the following years, the gestures and functions of those first instruments were adapted to the synthesizers and to the new electronic device generation. Thus, it slowly consolidated a tradition that would relate the electroacoustic music to suspense, horror and science fiction narratives for the subsequent years. In order to understand how the use of electronic sounds in science fiction movie pictures happened during the twentieth century, we will start with the exposure of some methodological assumptions of audio-visual and electroacoustic music analysis. These will, on the other hand, work as guides for the final analysis in the end of this dissertation. Afterwords, we followed through two paths: one of them aimed to describe the developmental processes of electroacoustic music\'s poetic since its origin and its use in the cinema; and for the other path we tried to outline the soundtrack\'s development of science fiction motion pictures that made use of elements coming from electroacoustic music. Each selected movie may be considered representative of its own time in this use of electroacoustic music\'s processes; which are: Forbidden Planet (1956), THX 1138 (1971), Tron (1982) and The Mothman Prophecies (2002).

Solos for euphonium with electronic media present the unique challenge of incorporating an active, physical involvement in the live accompaniment through sound-altering technology such as guitar pedals or digital processors. Instructions for this solo genre are often vague and demand a general knowledge of how to use non-traditional devices. Due to the lack of information available on newly-composed pieces for this medium, students and professionals easily overlook the artistic merit of electroacoustic music. This dissertation provides a comprehensive performance guide that aids in the set-up and operation of advanced technology and presents a methodical approach to performing common musical and technical challenges found in modern euphonium repertoire with electronic media. Included in this dissertation are tables of common audio vocabulary and images of connectors, safety precautions, equipment recommendations with performance settings, a list of required connectors, adapters, cables, speakers, and amplifiers, performance set up diagrams, background information, and analyses of both the technical and musical aspects of each piece. In the appendices are signal flow charts, visual illustrations of polar recording patterns, and an updated catalog of published and unpublished original, adapted, and arranged euphonium solos with live electronics and electronic media accompaniment between 1970 and 2017.

This paper discusses technical and conceptual approaches to incorporate 3D spatial movement in electroacoustic music. The Ambisonic spatial audio format attempts to recreate a full sound field (with height information) and is currently a popular choice for 3D spatialization. While tools for Ambisonics are typically designed for the 2D computer screen and keyboard/mouse, virtual reality offers new opportunities to work with spatial audio in a 3D computer generated environment. An overview of my custom virtual reality software, VRSoMa, demonstrates new possibilities for the design of 3D audio. Created in the Unity video game engine for use with the HTC Vive virtual reality system, VRSoMa utilizes the Google Resonance SDK for spatialization. The software gives users the ability to control the spatial movement of sound objects by manual positioning, a waypoint system, animation triggering, or through gravity simulations. Performances can be rendered into an Ambisonic file for use in digital audio workstations. My work Discords (2018) for 3D audio facilitates discussion of the conceptual and technical aspects of spatial audio for use in musical composition. This includes consideration of human spatial hearing, technical tools, spatial allusion/illusion, and blending virtual/real spaces. The concept of spatial gestures has been used to categorize the various uses of spatial motion within a musical composition.

In this text, I aim to provide a critical account of a practice-based process where I composed the pieces: No Future, Futuribile No.2, celycib~, and radiocib~. In this iterative process, practical explorations provided foundations for theoretical development, which in turn, guided the following iteration of the practical work. In addition to this, I will critique the concept of the post-acousmatic, using the theoretical insights that emerged from the iterative process. In presenting the artistic results, I will describe the compositional intentions, the process, the aesthetical decisions I made, and a critical reflection on the results. The outcomes of my compositional journey might be regarded as heterogeneous in terms of musical results, and I strongly regard this occurrence in a positive manner. Despite the heterogeneity of the artistic outcomes, a conceptual framework emerges from the critical reflection on the works, linking them together. The conceptual basis of my work is related to two main aspects: one linked to my interest in political issues, the other to artistic and aesthetic matters. I see the artistic space as an opportunity to stage a potential socio-political scenario, in which different possibilities can be prototyped and explored, showing that a broader horizon of possibility can exists, even if in the confined boundaries of the stage. The artistic and aesthetic matters are related to my interest in acousmatic music. In this text I will show how I frequently make use of acousmatic techniques in a post-acousmatic context, which will be described in the Critical Reflection. The description and the critique of the works will highlight how such techniques contribute to this idea.In this text I will frequently make use of the term acousmatic. I am aware of the ambiguity of using this term, which in my understanding, might refer either to a phenomenon or a music genre (see The Post-Acousmatic section). However, I find it a useful tool to address a set of intentions and compositional strategies, aesthetics, and communities. My political and artistic stands relate to each other through my belief that an experimental approach to arts can contribute, to some extent, to the socio-political context. I regard the compositional approaches developed in relation to the acousmatic condition as the most interesting development in new music of the last century. Nevertheless, in the last decades, a standardized way of composing has emerged from the acousmatic communities. My belief is that this led to a speculation over self-referential aesthetics, and consequently, excluded new audiences to get access to it. On the other side, the absence of acousmatic music is noticeable in the programmes of venues, or the online listeners communities, and therefore, the everyday life of people. My belief is that an experimental approach towards arts, including acousmatic music, might be beneficial for contributing to a less hierarchical society: an experimental attitude in arts is the way to explore a broader horizon of possibility.

In this master’s thesis, a sound-based notation system is explored and developed in the composition and performance of a musical work for live electronics. My approach builds on existing systems for electroacoustic music analysis, most notably Dennis Smalley’s (1997) theory of spectromorphology and the symbolic language of Lasse Thoresen &amp; Andreas Hedman (2007) based on Pierre Schaeffer’s typo-morphology, as well as Mattias Sköld’s (2023) adaptation of this system for composition and transcription (Sound Notation).  By separating the compositional processes from the interpretational process in the creation of a mixed work for live electronics and acoustic instruments, the notation could be explored as an isolated activity in the writing of sound objects, later realized in a studio environment in the form playable instrument patches. This resulted in two performances of the piece Sonic Mechanics (2022) where the author performed the electronics part together with musicians from the ensembles Norrbotten NEO in Piteå (Sweden) and Ensemble mise-en in NYC (USA).  The thesis shows how symbolic notation does not need to be dismissed in live electronic performance, but that a sound-based score can complement the compositional and interpretational processes of instrument design and improvisation. The project thus demonstrates the plausibility of composing electronic music using a reduced sound- based notation system (spectromorphological reduction) and provides an example of how a sound-based score can be executed by an electronic performer, as well as investigating the affordances that this approach has for both the compositional and interpretational process. For composition, the affordances of sound-based notation are that it becomes a technology for thinking about sound and musical structures themselves, without interaction with audio technology. For performance, this approach enables different interpretations for other electronic instruments and setups. / <p>Artistic outcomes are presented in their entirety through the accompanying Research Catalogue Expositions:</p><p>https://www.researchcatalogue.net/profile/show-exposition?exposition=2012206</p><p>https://www.researchcatalogue.net/profile/show-exposition?exposition=2241923</p>