The project "Make This Make Sound" started as a way to explore my relationship with playing violin. The violin was something I loved to play but it still felt separate from me. I wanted to handcraft instruments that had a more intimate relationship with the player. As the instruments were being created, I was interested to see how other players would feel about the instruments together in an ensemble, since playing in an ensemble was something that made me feel more comfortable as a musician. The instruments lend themselves to an experimental music making process as they do not have a history that must adhere to traditional Western music standards. A series of play sessions, some with only practicing musicians, and the rest with only amateur musicians were facilitated to gather feedback on how the instruments could be played. This was done to investigate the question: How can making new instruments facilitate an experimental music making process with musicians of varying skill levels? / Master of Fine Arts / The project "Make This Make Sound" started as a way to explore my relationship with playing violin. The violin was something I loved to play but it still felt separate from me. I wanted to handcraft instruments that had a more intimate relationship with the player. As the instruments were being created, I was interested to see how other players would feel about the instruments together in an ensemble, since playing in an ensemble was something that made me feel more comfortable as a musician. The instruments lend themselves to an experimental music making process as they do not have a history that must adhere to traditional Western music standards. A series of play sessions, some with only practicing musicians, and the rest with only amateur musicians were facilitated to gather feedback on how the instruments could be played. This was done to investigate the question: How can making new instruments facilitate an experimental music making process with musicians of varying skill levels?

FLOW operates on two levels, firstly as an engaging live performance environment and secondly as a vehicle to discuss a number of philosophical ideas relating to sound as art. As a performance piece FLOW exists to provide an inclusive interactive environment for musicians and casual visitors alike. A series of sensors allow those who enter the arena to make interventions in an immersive soundscape through their movements, opening up possibilities for the exploration of sound and gestural action within the space. The piece challenges the conventional roles of performer and spectator and offers interactive technology as a means of uniting the two. The artist creates a re-imagination of the performance paradigm based on active engagement rather than passive observance through the establishment of a circular discourse between human and computer. The following paper will also examine the nature of sound as art, suggesting that the poststructural ideas of Derrida and Deleuze and Guattari can be used as a conduit to define sonic emergences and morphologies within a Human/computer discourse, both in terms of timbral nature and spatial diffusion. Central to this is the concept that suggests the relationship between man and machine in interactive sonic art is one of energy transfer from organic fluidity to digital regulation and back to energy in the form of processed sound, according to the processes put in place. This leads into a final discussion of the nature of experimental compositional process, the choice between the determinate and the stochastic and the compromises between these that may need to be made to retain artistic coherence.

Soundpainting is the method of "live composition" invented by New Yorkbased composer and saxophonist Walter Thompson. Using physical gestures for the spontaneous creation of music, Soundpainting therefore shares similarities with other types of gesture-based systems for music performance, such as orchestral conducting. Thompson himself (2006) describes his Soundpainting system as a "universal live composing sign language for the performing and visual arts," and therefore Soundpainting can be considered as a subset of other communication systems such as verbal and written language, kinesics, and paralanguage. This thesis outlines the general principles of Soundpainting as a system for setting into motion spontaneously created music. The author's aim is to describe Soundpainting in relation to the linguistic turn in Thompson's own definition. This opens the way to a sociosemiotic analysis, in which it is susceptible to examination in the light of some theories of language that have emerged in the course of the twentieth century. A theoretical framework is developed drawing on the work of such pioneers of semiotics as Saussure and Peirce, as well as the later work in philosophy of language of Wittgenstein, Barthes, Eco, Derrida, and others. The eclectic concerns of Soundpainting suggest situating Thompson's language in the context of current debates in critical theory about tonality, jazz, and improvisation as strategies for constructing identity. Soundpainting, by demonstrating that musical signification can be negotiated through consensus, problematizes the convention of the composer as the sole legitimating authority of the work. Considering Soundpainting as a processual activity, this dissertation outlines the general principles of Soundpainting as a system for the spontaneous creation of music. Emphasizing the process-based character of Soundpainting (and its affinity with other forms of improvised music) suggests that such categories of musical activity need to be studied from a different vantage point from that of historical musicology. / Thesis (PhD (Music))--University of Pretoria, 2007. / Music / PhD / unrestricted

This dissertation explores experimentation--across experimental music, experimental theatre, and experimental film, in addition to the term's etymology, scientific usage, and colloquial deployment--in order to derive a deeper understanding of what we mean when we say an artwork is experimental, and how this term can help us understand current artistic praxes and products emerging from performance studies contexts. In this document, I advocate for the term experimental performance as both an umbrella term and as a specific genre name for the artistic activity of contemporary artists working between experimental theatre and performance art, often within performance studies contexts. Ultimately, citing the historical richness of experimental art and its long-standing relationship to the academy as evidence, I advocate for the further academic acknowledgement of experimental performance.

A dissertação procura compreender os acontecimentos musicais derivados do contato da denominada Música Experimental com realidades musicais Nativo Ancestrais Indígenas do continente sul-americano. Para isso, realiza uma contextualização histórica da evolução do experimentalismo musical desde 1950, seguindo um percurso linear até a atualidade, onde se destacam trabalhos e pesquisas de compositores ativos, que têm abordado especificamente as relações entre música, cosmovisão indígena e o xamanismo dentro do processo de experimentação sonoro/musical. Nesse contexto, se evidencia a criação de relações transculturais, produzidas entre duas realidades heterogêneas que, na contemporaneidade, se complementam. Para finalizar a presente pesquisa apresenta o trabalho prático, decorrente da criação de partituras gráficas e instruções verbais, desenvolvidas com o grupo de pesquisa em improvisação e experimentação musical Orquestra Errante (ECA-USP), onde foram utilizados elementos conceituais e sonoro/musicais nativo-indígenas e eco-escuta em práticas regulares de improvisação livre, evidenciando as dificuldades e possíveis estratégias para a conjunção entre o nativo-natural e o experimental. / The thesis seeks to understand musical events derivate from the contact of the so called Experimental Music with musical realities of Indigenous Native-Ancestry of the South American continent. To do so, it performs a historical context of the evolution of musical experimentation since 1950, following a linear path to the present, which features work and research of active composers who have specifically addressed the relationship between music, indigenous worldview and shamanism within the process of sound/musical experimentation. In this context, it highlights the creation of cross-cultural relations, produced between two heterogeneous realities that, in contemporary times, complement each other. Finally this research presents the practical work, arising from the creation of graphic scores and verbal instructions, developed with the research group in improvisation and musical experimentation Orchestra Errante (ECA-USP), where are used conceptual and sound/musical elements forma indigenous native-ancestry of South America and eco-listening in regular practices of free improvisation, highlighting the difficulties and possible strategies for the conjunction between two antagonistic elements, native-experimental.

Na década de 1990 assistimos a uma tendência na música experimental localizada em diferentes países, a qual pode ser reconhecida como uma volta para o silêncio. Essa tendência é identificada na música do coletivo internacional de compositores-performers Wandelweiser com sede na Alemanha, no estilo Berlin Reductionism da cena Echtzeitmusik na cidade de Berlim, no Onkyô na cidade de Tóquio, no estilo lowercase/quiet microsound que é descentralizado geograficamente, além de outros. A notável relação com o silêncio de 4\'33\" composta em 1952 por John Cage, considerado o criador da música experimental, levanta questões sobre se essa volta para o silêncio poderia ser uma farsa como a recuperação de um dispositivo das vanguardas de meados do século XX ou se ela seria algo diferente disto. O primeiro objetivo deste trabalho é o de \'compreender\' a escuta desse \'novo silêncio\'. Nota-se que o aspecto conceitual do silêncio dessa nova tendência na música experimental é algo de menor expressão se comparado com o seu aspecto \'afetivo\'. Dessa forma, optou-se por uma metodologia especulativa para saber o que o silêncio da recente música experimental \'faz\' no ouvinte ao invés de saber o que esse silêncio \'significa\'. A metodologia é fundamentada pela Teoria do Afeto que consiste em uma volta no início deste século para a filosofia da imanência de Baruch Spinoza, ressignificada por Gilles Deleuze, Félix Guattari e outros. O método utilizado é o de meta-modelização de Guattari em que a interação de conceitos geram novos conceitos desconhecidos que, dessa forma, permite o devir de elementos que frequentemente escapam dos modelos baseados na representação. Argumentamos primeiramente que a escuta do silêncio na recente música experimental é uma escuta corporal, visto que seu silêncio é afetivo. Para chegarmos a tal resultado, partimos inicialmente de uma análise dos choques tanto das manifestações vanguardistas quanto os do mundo capitalista que, embora sejam de domínios diferentes ambos expressam um potencial para o estudo da recepção corporal. Em seguida, definimos uma noção de recepção corporal por meio do conceito de Corpo-sem-Órgãos. Em um terceiro momento discutimos a possibilidade de um modelo teórico que aborde a escuta para o que está além do som, ou seja, uma escuta corporal do som inaudível, indicando um uso estendido dos modelos \'correlacionistas\' de escuta de Pierre Schaeffer e de Seth Kim-Cohen. Então apresentamos uma série de pesquisas e trabalhos artísticos sob a luz da Teoria do Afeto, além dos conceitos de \'masoquismo produtivo\', \'ruído afetivo\' e \'escuta afetiva\'. Finalmente apresentamos as recentes cenas da música experimental silenciosa que, com o auxílio da interação entre os conceitos discutidos anteriormente e o discurso de músicos e pesquisadores envolvidos com essas cenas torna-se possível especular que o seu silêncio afetivo pode promover um agenciamento para restabelecer a capacidade micropolítica da escuta atuar no ambiente. Essa pesquisa pretende assim contribuir com uma investigação sobre música no campo da Teoria do Afeto e uma investigação do afeto nos campos dos Estudos do Som e da Musicologia. / In the 1990s we witnessed in different countries a trend in experimental music that can be acknowledged as a turn to silence. Such a trend is verified in the musical expression of the Wandelweiser Group; in the Berlin Reductionism style from the Echtzeitmusik scene; on Onkyô scene; in the lowercase/quiet microsound style and others. The noteworthy connection with the silence of 4\'33\" composed in 1952 by John Cage arouses questions about whether this turn to silence could be a \'farse\' or if it would be diverse something. The first aim of this research is to \'understand\' listening to this \'new silence\'. It is observed that the \'conceptual\' aspect of the silence related to this new trend in experimental music is something exposing lower expression if compared with its \'affective\' feature. Thus, we elected a speculative methodology in order to know what the silence of this experimental music \'does\' in the listener rather than knowing what that silence \'means\' indeed. This selected methodology is based on the Affect Theory, which consists of a turn at the beginning of this century to Baruch Spinoza\'s philosophy of immanence whose work was restated by Gilles Deleuze and Félix Guattari afterward. The method used is Guattari\'s meta-modelisation in which the interaction of concepts bears new concepts that, in this way, also allows for the becoming of elements that frequently escape from models based on representation. We argue first that the listening of silence in the current experimental music is a bodily listening, since its silence is affective. In order to arrive at such a viewpoint, we start from an analysis of the shocks of both avant-garde and capitalist manifestations that, although from different fields both express a potential for the investigation of bodily reception. Next, we conceive a notion of bodily reception through the Artaud\'s concept of Body-without-Organs. In a third moment we discussed the possibility of a theoretical model that approaches listening for what is beyond sound, that is, a bodily listening of the inaudible sound, pointing to an extended usage proposition of the \'correlation\' models of listening by Pierre Schaeffer and Seth Kim - Cohen. Then we present a sequence of researches and artistic works under the prism of the Affect Theory, as well as the concepts of \'productive masochism\', \'affective noise\' and \'affective listening\'. At last we offer an overview of the current scenario related to silent experimental music that, with the aid of the interaction between the concepts discussed beforehand and as well the discourse of musicians and researchers involved with these musical prospects, it becomes possible to speculate that their affective silence could promote an agency to reestablish the micropolitic capacity of listening which is able to act in the environment. Therefore this research intends to contribute with an investigation on music in the field of Affect Theory and an investigation of affect in the Sound Studies and Musicology.

Na década de 1990 assistimos a uma tendência na música experimental localizada em diferentes países, a qual pode ser reconhecida como uma volta para o silêncio. Essa tendência é identificada na música do coletivo internacional de compositores-performers Wandelweiser com sede na Alemanha, no estilo Berlin Reductionism da cena Echtzeitmusik na cidade de Berlim, no Onkyô na cidade de Tóquio, no estilo lowercase/quiet microsound que é descentralizado geograficamente, além de outros. A notável relação com o silêncio de 4\'33\" composta em 1952 por John Cage, considerado o criador da música experimental, levanta questões sobre se essa volta para o silêncio poderia ser uma farsa como a recuperação de um dispositivo das vanguardas de meados do século XX ou se ela seria algo diferente disto. O primeiro objetivo deste trabalho é o de \'compreender\' a escuta desse \'novo silêncio\'. Nota-se que o aspecto conceitual do silêncio dessa nova tendência na música experimental é algo de menor expressão se comparado com o seu aspecto \'afetivo\'. Dessa forma, optou-se por uma metodologia especulativa para saber o que o silêncio da recente música experimental \'faz\' no ouvinte ao invés de saber o que esse silêncio \'significa\'. A metodologia é fundamentada pela Teoria do Afeto que consiste em uma volta no início deste século para a filosofia da imanência de Baruch Spinoza, ressignificada por Gilles Deleuze, Félix Guattari e outros. O método utilizado é o de meta-modelização de Guattari em que a interação de conceitos geram novos conceitos desconhecidos que, dessa forma, permite o devir de elementos que frequentemente escapam dos modelos baseados na representação. Argumentamos primeiramente que a escuta do silêncio na recente música experimental é uma escuta corporal, visto que seu silêncio é afetivo. Para chegarmos a tal resultado, partimos inicialmente de uma análise dos choques tanto das manifestações vanguardistas quanto os do mundo capitalista que, embora sejam de domínios diferentes ambos expressam um potencial para o estudo da recepção corporal. Em seguida, definimos uma noção de recepção corporal por meio do conceito de Corpo-sem-Órgãos. Em um terceiro momento discutimos a possibilidade de um modelo teórico que aborde a escuta para o que está além do som, ou seja, uma escuta corporal do som inaudível, indicando um uso estendido dos modelos \'correlacionistas\' de escuta de Pierre Schaeffer e de Seth Kim-Cohen. Então apresentamos uma série de pesquisas e trabalhos artísticos sob a luz da Teoria do Afeto, além dos conceitos de \'masoquismo produtivo\', \'ruído afetivo\' e \'escuta afetiva\'. Finalmente apresentamos as recentes cenas da música experimental silenciosa que, com o auxílio da interação entre os conceitos discutidos anteriormente e o discurso de músicos e pesquisadores envolvidos com essas cenas torna-se possível especular que o seu silêncio afetivo pode promover um agenciamento para restabelecer a capacidade micropolítica da escuta atuar no ambiente. Essa pesquisa pretende assim contribuir com uma investigação sobre música no campo da Teoria do Afeto e uma investigação do afeto nos campos dos Estudos do Som e da Musicologia. / In the 1990s we witnessed in different countries a trend in experimental music that can be acknowledged as a turn to silence. Such a trend is verified in the musical expression of the Wandelweiser Group; in the Berlin Reductionism style from the Echtzeitmusik scene; on Onkyô scene; in the lowercase/quiet microsound style and others. The noteworthy connection with the silence of 4\'33\" composed in 1952 by John Cage arouses questions about whether this turn to silence could be a \'farse\' or if it would be diverse something. The first aim of this research is to \'understand\' listening to this \'new silence\'. It is observed that the \'conceptual\' aspect of the silence related to this new trend in experimental music is something exposing lower expression if compared with its \'affective\' feature. Thus, we elected a speculative methodology in order to know what the silence of this experimental music \'does\' in the listener rather than knowing what that silence \'means\' indeed. This selected methodology is based on the Affect Theory, which consists of a turn at the beginning of this century to Baruch Spinoza\'s philosophy of immanence whose work was restated by Gilles Deleuze and Félix Guattari afterward. The method used is Guattari\'s meta-modelisation in which the interaction of concepts bears new concepts that, in this way, also allows for the becoming of elements that frequently escape from models based on representation. We argue first that the listening of silence in the current experimental music is a bodily listening, since its silence is affective. In order to arrive at such a viewpoint, we start from an analysis of the shocks of both avant-garde and capitalist manifestations that, although from different fields both express a potential for the investigation of bodily reception. Next, we conceive a notion of bodily reception through the Artaud\'s concept of Body-without-Organs. In a third moment we discussed the possibility of a theoretical model that approaches listening for what is beyond sound, that is, a bodily listening of the inaudible sound, pointing to an extended usage proposition of the \'correlation\' models of listening by Pierre Schaeffer and Seth Kim - Cohen. Then we present a sequence of researches and artistic works under the prism of the Affect Theory, as well as the concepts of \'productive masochism\', \'affective noise\' and \'affective listening\'. At last we offer an overview of the current scenario related to silent experimental music that, with the aid of the interaction between the concepts discussed beforehand and as well the discourse of musicians and researchers involved with these musical prospects, it becomes possible to speculate that their affective silence could promote an agency to reestablish the micropolitic capacity of listening which is able to act in the environment. Therefore this research intends to contribute with an investigation on music in the field of Affect Theory and an investigation of affect in the Sound Studies and Musicology.

A dissertação procura compreender os acontecimentos musicais derivados do contato da denominada Música Experimental com realidades musicais Nativo Ancestrais Indígenas do continente sul-americano. Para isso, realiza uma contextualização histórica da evolução do experimentalismo musical desde 1950, seguindo um percurso linear até a atualidade, onde se destacam trabalhos e pesquisas de compositores ativos, que têm abordado especificamente as relações entre música, cosmovisão indígena e o xamanismo dentro do processo de experimentação sonoro/musical. Nesse contexto, se evidencia a criação de relações transculturais, produzidas entre duas realidades heterogêneas que, na contemporaneidade, se complementam. Para finalizar a presente pesquisa apresenta o trabalho prático, decorrente da criação de partituras gráficas e instruções verbais, desenvolvidas com o grupo de pesquisa em improvisação e experimentação musical Orquestra Errante (ECA-USP), onde foram utilizados elementos conceituais e sonoro/musicais nativo-indígenas e eco-escuta em práticas regulares de improvisação livre, evidenciando as dificuldades e possíveis estratégias para a conjunção entre o nativo-natural e o experimental. / The thesis seeks to understand musical events derivate from the contact of the so called Experimental Music with musical realities of Indigenous Native-Ancestry of the South American continent. To do so, it performs a historical context of the evolution of musical experimentation since 1950, following a linear path to the present, which features work and research of active composers who have specifically addressed the relationship between music, indigenous worldview and shamanism within the process of sound/musical experimentation. In this context, it highlights the creation of cross-cultural relations, produced between two heterogeneous realities that, in contemporary times, complement each other. Finally this research presents the practical work, arising from the creation of graphic scores and verbal instructions, developed with the research group in improvisation and musical experimentation Orchestra Errante (ECA-USP), where are used conceptual and sound/musical elements forma indigenous native-ancestry of South America and eco-listening in regular practices of free improvisation, highlighting the difficulties and possible strategies for the conjunction between two antagonistic elements, native-experimental.

Uppsatsen undersöker med konstformen ljudkonst och den konstnärliga hanteringen av ljud i fokus en interaktion mellan finkultur och populärkultur. Fokus ligger på aktörer inom populärkulturen som använt sig av konstnärliga strategier med rötter i finkulturen. Undersökningen spårar ljudkonstens historiska bakgrund och främst de förlopp som bidragit till att det är en gränsöverskridande konstform. Den populärkulturella konstvärldens etablering som en social organisation där konstnärlig verksamhet är möjlig undersöks. / With concentration on the art form sound art and the artistic treatment of sound, this essay investigates an interaction between the fine arts and popular culture. The focus is on participants within popular culture that used artistic strategies with roots in the fin arts. The study traces sound arts historical background and the events that contributed to the fact that it is an interdisciplinary art form. The pop-cultural art world’s establishment as a social organization where artistic activity is possible is studied.

Submitted by Jordan (jordanbiblio@gmail.com) on 2016-10-08T16:23:40Z No. of bitstreams: 1 DISS_2015_Elina Padilha Fernandes.pdf: 2994124 bytes, checksum: 3286c2645efb730b65d06819dd4b5878 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2016-10-08T16:23:58Z (GMT) No. of bitstreams: 1 DISS_2015_Elina Padilha Fernandes.pdf: 2994124 bytes, checksum: 3286c2645efb730b65d06819dd4b5878 (MD5) / Made available in DSpace on 2016-10-08T16:23:58Z (GMT). No. of bitstreams: 1 DISS_2015_Elina Padilha Fernandes.pdf: 2994124 bytes, checksum: 3286c2645efb730b65d06819dd4b5878 (MD5) Previous issue date: 2015-09-17 / Esta pesquisa trata da produção do compositor e maestro brasileiro Jorge Antunes (1942- ), analisando sua poética musical e o gesto político de duas de suas principais obras: Elegia Violeta para Monsenhor Romero (1980) e Sinfonia das Diretas (1984). Através destas obras é possível dimensionar sua militância política e artística – empreendidas durante um momento histórico no Brasil de ditadura militar (1964-1985) – e deixar transparecer sua poética musical inovadora e experimental. / This research deals with the production of the Brazilian composer and conductor Jorge Antunes (1942-), analyzing his musical poetics and the political gesture in two of his major works: Elegia Violeta para Monsenhor Romero (1980) and Sinfonia das Diretas (1984). Through these works it is possible to scale his political and artistic activism – during a historical moment in Brazil's military dictatorship (1964-1985) – and must disclose his innovative and experimental musical poetics.