Nesta dissertação, apresentamos um panorama teórico das propostas de sistemas interativos no live electronics, bem como, os autores discutem e consideram a formulação de interação e interatividade dessa prática. Para isso, iniciaremos com uma breve retrospectiva do que consideramos como live electronics e do que consideramos interação até chegar no atual estado dessa vertente musical. Assim, apresentamos os pontos de discussão acerca de Robert Rowe, Garth Paine, Simon Emmerson, Philippe Manoury e Agostino DiSpio, na qual discutem sobre esta área de composição. Conseguinte, realizamos uma exposição sobre a perspectiva semiológica, nos fundamentando na teoria elaborada por C. S. Peirce, para que entendamos como o fenômeno musical por meio desse viés. Assim, expor a emergência de significação para que possamos compreender como o modelo tripartido de Jean Molino nos inspirou para relacionar suas respectivas dimensões dos processos poiéticos, estésicos e o nível neutro dentro da tríade peirciana de significação. Por fim, realizamos uma análise dos métodos composicionais da obra Traverser la réseau, baseados nas questões expostas sobre a tripartição aplicada para este fim numa obra do tipo live electronics. / In this research, we present a theoretical overview of the proposals of interactive systems in live electronics music, as well as, how the authors who discuss this matter consider interaction on this type of music. To do this, we start with a brief retrospective of what we consider live electronics and what we consider what interaction is until the actual state of discussion to get to the current state of this musical strand. Thus, we present some points of discussion about Robert Rowe, Garth Paine, Simon Emerson, Philippe Manoury and Agostino DiScipio which discuss this area of composition. Consequently, we conduct a exposition about the semiological vision, based on the theory elaborated by C. S. Peirce, for the understanding of the musical phenomenon through this view. Thus, from an emergence of signification for a tripartite model of Jean Molino, we will be inspired to identify the perspective of the poietic, estesic processes and the neutral level within the Peircian triad of signification. Thus, we can have a statistical analysis of the interactive processes of a live electronic work. Finally, we performed an analysis of the processes of the peace called Traverser la r´eseau, based on the questions on tripartition applied for this purpose in a work of type live electronics.

This dissertation examines the repertoire for solo trumpet and electronics through a study of the genre as a whole and discussions of four compositions that represent its main stylistic approaches. An obscure but fascinating genre, current research in this area is limited to discussions of a few of its compositions in other dissertations and lecture recitals. By investigating this music, this dissertation will contribute to an area that has so far seen little research while promoting new repertoire that greatly expands the musical possibilities of solo trumpet performance. Based on the List of Compositions for Solo Trumpet and Electronics compiled by the author, several aspects of this repertoire are described in Chapter Two, including its development from 1965 to 2009 and the relative popularity of its different compositional approaches. The primarily academic background of this repertoire’s composers is discussed as well as the diverse nationalities they represent. The relative obscurity of this repertoire is suggested by the number of compositions for solo trumpet and electronics that have been published and recorded. A discussion of the aesthetic, qualitative and practical aspects of the repertoire is presented in Chapter Three. Based on interviews with leading performers of this repertoire and the composers of the pieces examined in this dissertation, this music is discussed from the perspective of musicians who have significant experience in this field. Their interviews illuminate several important issues that may not be apparent to musicians who are unfamiliar with this repertoire. Chapters Four through Seven discuss four representative compositions from the List. An overview of each piece is given, along with biographical information about its composer, a description of its electronic components, discussion of relevant performance techniques, and formal analysis of the composition. Conclusions based on this investigation and suggestions for future research are suggested in Chapter Eight.

This dissertation examines the repertoire for solo trumpet and electronics through a study of the genre as a whole and discussions of four compositions that represent its main stylistic approaches. An obscure but fascinating genre, current research in this area is limited to discussions of a few of its compositions in other dissertations and lecture recitals. By investigating this music, this dissertation will contribute to an area that has so far seen little research while promoting new repertoire that greatly expands the musical possibilities of solo trumpet performance. Based on the List of Compositions for Solo Trumpet and Electronics compiled by the author, several aspects of this repertoire are described in Chapter Two, including its development from 1965 to 2009 and the relative popularity of its different compositional approaches. The primarily academic background of this repertoire’s composers is discussed as well as the diverse nationalities they represent. The relative obscurity of this repertoire is suggested by the number of compositions for solo trumpet and electronics that have been published and recorded. A discussion of the aesthetic, qualitative and practical aspects of the repertoire is presented in Chapter Three. Based on interviews with leading performers of this repertoire and the composers of the pieces examined in this dissertation, this music is discussed from the perspective of musicians who have significant experience in this field. Their interviews illuminate several important issues that may not be apparent to musicians who are unfamiliar with this repertoire. Chapters Four through Seven discuss four representative compositions from the List. An overview of each piece is given, along with biographical information about its composer, a description of its electronic components, discussion of relevant performance techniques, and formal analysis of the composition. Conclusions based on this investigation and suggestions for future research are suggested in Chapter Eight.

This thesis explores the expansion of the piano performance environment, using technology to augment the sound, the playing area of the piano and its surroundings, and/or the performer's own body in controlling electronic elements of the music. In particular I examine the extension of piano technique and how this is affected by adding technology. I also discuss collaborative compositional processes in creating co-authored musical works and have given a critical appraisal of the different technological systems used in all of these pieces. I have also introduced ideas about developing the structure of the piano to better suit contemporary techniques and the addition of technological elements in piano playing. These ideas are represented by my own "Inside-out Piano", illustrated within the thesis. Throughout this work many new pieces for piano and live electronics have been generated and I hope these may also be useful as a resource for other pianists exploring their own interactions with the piano.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-29T19:31:40Z No. of bitstreams: 2 Dissertação - Lucas Moysés Ceccato Neves - 2016.pdf: 5891923 bytes, checksum: ba4b1d2ea0af41afc00de7aded5b6957 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-02T13:06:42Z (GMT) No. of bitstreams: 2 Dissertação - Lucas Moysés Ceccato Neves - 2016.pdf: 5891923 bytes, checksum: ba4b1d2ea0af41afc00de7aded5b6957 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-10-02T13:06:42Z (GMT). No. of bitstreams: 2 Dissertação - Lucas Moysés Ceccato Neves - 2016.pdf: 5891923 bytes, checksum: ba4b1d2ea0af41afc00de7aded5b6957 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective is to relate the concept of soundscape with the electroacoustic composition techniques. Some important concepts defining soundscape as well as the ideas that have originated electroacoustic music are discussed herein. This work is divided into two parts: the first one, a review in the literature regarding critical and conceptual matters, as can be seen in Part A, and the second one, the search of urban acoustic environments in order to capture the soundscape, which wasperformed throughout the research, being the compositions arisen in this study described in Part B. / O objetivo deste trabalho é relacionar o conceito de paisagem sonora com as técnicas composicionais eletroacústicas. Buscamos discutir e compreender conceitos importantes para a definição de paisagem sonora e também ideias fundamentais que deram origem a música eletroacústica. Este trabalho está dividido em duas partes. A primeira, sobre um estudo feito através de pesquisa bibliográfica. A segunda, sobre uma descoberta de espaços e ambientes acústicos urbanos. De início, com intuito crítico e conceitual, tal como poderemos conferir na Parte A. Depois, para a captação de paisagens sonoras. Esta prática foi realizada ao longo de toda a pesquisa, cujas composições produzidas a partir desses estudos práticos se encontram descritas na Parte B.

The present thesis comprises a musical score and a set of specifications for a programmer to employ in the creation of a computer patch required to run the electronics. Scored for symphony orchestra and solo cello, the work also incorporates a computer operator and sound engineer who function as performers, following detailed instructions to store, activate, shape, spatialize, and regulate electronic material. The computer patch manifests two main components: the recording and playback of live sound (with the solo cello acting as the input source) and a virtual instrument feedback module. Electronic superimpositions of solo cello samples, ranging in density between a single layer and many simultaneous layers, intertwine with the live instrumentalist, forming timbrally distinct polyrhythmic contrapuntal lines. The feedback component allows for an interaction between the soloist and electronics, in which the computer operator manipulates faders connected to a series of feedback sub-patches, each employing a range of diverse delay parameters. The musical language of the work, which evolves from a series of expanding and contracting pitch clusters, continually transmutes, shifting back and forth from atonality, tonality, and polytonality. Formally, the work both opposes and espouses traditional paradigms; and it is this dichotomy, the tension created between old and new, which ultimately unifies the structure. Finally, the expansion of the role of the soloist, which entails not only the integration of multiple superimposed electronic layers but of the immersive diffusion of sound in multidimensional space, broadens the concerto form.

The present thesis comprises a musical score and a set of specifications for a programmer to employ in the creation of a computer patch required to run the electronics. Scored for symphony orchestra and solo cello, the work also incorporates a computer operator and sound engineer who function as performers, following detailed instructions to store, activate, shape, spatialize, and regulate electronic material. The computer patch manifests two main components: the recording and playback of live sound (with the solo cello acting as the input source) and a virtual instrument feedback module. Electronic superimpositions of solo cello samples, ranging in density between a single layer and many simultaneous layers, intertwine with the live instrumentalist, forming timbrally distinct polyrhythmic contrapuntal lines. The feedback component allows for an interaction between the soloist and electronics, in which the computer operator manipulates faders connected to a series of feedback sub-patches, each employing a range of diverse delay parameters. The musical language of the work, which evolves from a series of expanding and contracting pitch clusters, continually transmutes, shifting back and forth from atonality, tonality, and polytonality. Formally, the work both opposes and espouses traditional paradigms; and it is this dichotomy, the tension created between old and new, which ultimately unifies the structure. Finally, the expansion of the role of the soloist, which entails not only the integration of multiple superimposed electronic layers but of the immersive diffusion of sound in multidimensional space, broadens the concerto form.

This study was conducted to assess physical and perceptual properties of a tactile display for a vibrotactile notification system within the CIRMMT Live Electronics Framework (CLEF), a Max-based modular environment for composition and performance of live electronic music. The tactile display was composed of two rotating eccentric mass actuators driven by a PWM signal generated from an Arduino microcontroller. Physical measurements using an accelerometer were carried out in order to estimate intensity and spectral peak frequency as function of duty cycle of the PWM signal. In addition, three user-based studies were conducted to estimate perceptual vibrotactile absolute threshold, differential threshold and temporal differential threshold. Obtained results provided us with precise guidelines that facilitate the design of perceptually robust vibrotactile stimuli for our tactile application. A set of eight simple tactons (vibrotactile icons) was defined, whereafter an absolute identification test was conducted in order to estimate mean tacton recognition rates. Results were promising; mean tacton recognition rate was found to be 74 %. Based on all findings described above, a Max-based prototype used for exploration of tactile stimuli was developed. The prototype contained a library of tactile notification presets to be loaded into CLEF, along with a simple tacton editor for design of customized tactile events. / Syftet med denna studie var att undersöka fysiska och perceptuella egenskaper hos en taktil display som designats för att presentera taktila notifikationssignaler till användare av CIRMMT Live Electronics Framework (CLEF), en Max-baserad modulär miljö för komposition och framförande av musikstycken som involverar Live Electronics. Live Electronics är ett begrepp som innefattar elektronik som används för att generera, processera eller modifiera ljud i realtid. Den taktila display som användes i denna studie var uppbyggd av två roterande excentriska massor, drivna av en pulsbreddsmodulerad signal som genereras av en Arduino mikrokontroller. Accelerometermätningar och tre användarbaserade studier genomfördes för att undersöka följande: intensitet och spektral toppfrekvens som funktion av pulskvot, sensorisk tröskel och intensitetsdiskriminering mellan presenterade stimuli, samt JND i millisekunder för två efterföljande taktila stimuli. Erhållna resultat analyserades varefter riktlinjer för design av perceptuellt robusta signaler för vår taktila display sattes upp. I slutfasen av studien designades åtta taktila signaler, varefter en användarbaserad studie genomfördes för att uppskatta hur lätta dessa signaler var att identifiera. En genomsnittlig identifikationsnivå på 74 % kunde noteras. Baserat på ovan beskrivna resultat utvecklades slutligen en taktil modulprototyp i form av ett bibliotek av fördefinierade taktila stimuli. Denna prototyp inkluderande även en funktion som gav användaren möjlighet att designa och skräddarsy egna taktila signaler.

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