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Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2017-07-06T11:39:27Z No. of bitstreams: 2 Dissertação - Breno Gervásio Bragança - 2017.pdf: 16896954 bytes, checksum: cd58f68997b0f749202787ff6eed6467 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-07-10T14:35:42Z (GMT) No. of bitstreams: 2 Dissertação - Breno Gervásio Bragança - 2017.pdf: 16896954 bytes, checksum: cd58f68997b0f749202787ff6eed6467 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-07-10T14:35:42Z (GMT). No. of bitstreams: 2 Dissertação - Breno Gervásio Bragança - 2017.pdf: 16896954 bytes, checksum: cd58f68997b0f749202787ff6eed6467 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-31 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This research is divided in two parts: (1) Artistic Production and (2) Article. The first part presents the repertoire and programs notes of pieces chosen for two recitals needed for the conclusion of the research - the first on July fifteen, two thousand sixteen at seven p.m, and the second on March thirty-one, two thousand sixteen at twelve p.m - and other concerts and performances related to the research. The second part propose to approach issues related to the preparation and performance of pieces for percussion and technological mediation, with emphasis in the relationship between the percussionist and the live electronics, starting from preparation and performance of two chosen pieces, namely, `Vibraphone and Electronics' (2012), from Baljinder Sekhon and `SprachSchlag' (2000), from Hans Tutschku. Practical issues, both of relationship between percussionist and electronics as between the percussionist and the instrumental part will be addressed. We also discuss some conceptual issues of the performance, not only the referenced pieces per si, but the repertoire for percussion and live electronics raise. We conclude that the preparation and performance of the chosen works offered challenges regarding both instrumental performance and electronic mediation, but they provided interesting and valid aesthetic experiences and proved to be a response to the technology and society of our time. The historical parallels between the classical western percussion and electronic music, such as aesthetic interest and mutual important composers, jointly with the learning of new techniques and the handling of different instruments and objects present in the canonical repertoire of the percussion are of great value to the musician who works with the repertoire with electronics, which leaves the percussionist in a position of privilege, where some of the skills developed in his metier are also shared with the metier of electronic music. / A pesquisa é dividida em duas partes: (1) Produção Artística e (2) Artigo. A primeira parte apresenta o repertório e notas de programas das obras escolhidas para os dois recitais necessários à conclusão da pesquisa - o primeiro realizado no dia vinte e cinto de Junho de dois mil e dezesseis às dezenove horas e o segundo realizado no dia trinta e um de Março de dois mil e dezessete às doze horas - e demais concertos e performances relacionadas à pesquisa. A segunda parte propõe abordar questões referentes à preparação e performance de obras para percussão e mediação tecnológica, com ênfase na relação entre o percussionista e a eletrônica em tempo real, a partir da preparação e performance de duas obras escolhidas, a saber: Vibraphone and Electronics (2012), do compositor Baljinder Sekhon e SprachSchlag (2000), do compositor Hans Tutschku. Questões de caráter prático tanto da relação do percussionista com a eletrônica quanto com a parte instrumental são abordados. Discutimos também algumas questões conceituais que a performance, não só das obras referenciadas acima, mas do repertório para percussão e eletrônica em tempo real levanta. Concluímos que a preparação e performance das obras escolhidas ofereceram desafios referentes, tanto à performance instrumental quanto à mediação eletrônica, porém proporcionaram experiências estéticas interessantes e válidas e se mostraram como uma resposta à tecnologia e à sociedade de nosso tempo. Os paralelos históricos entre a percussão erudita ocidental e a música eletrônica, tais como interesses estéticos e compositores importantes comuns, juntamente como o aprendizado de novas técnicas e o manuseio de diferentes instrumentos e objetos presentes no repertório canônico da percussão são de grande valia ao músico que trabalha com o repertório com eletrônica, o que deixa o percussionista em uma posição de privilégio, onde algumas habilidades desenvolvidas em seu métier são compartilhadas também com o métier da música eletrônica.

Luigi Nono's work Post-Prae-Ludium No.1 "per Donau" represents a model for the emerging genre of electroacoustic tuba music. It is important to preserve this electroacoustic work because of its value to the tuba literature. Not only is it one of the first electroacoustic works for the tuba, but it also was composed by a man who is highly regarded in the field of music composition. Its preservation will be difficult because of the rapid advancement in technology. Within the last three decades of existence, the technology has evolved three times. An examination of the performance practice in Post-Prae-Ludium was undertaken to understand the demand on the performer required to play this work. This study will look at both non-traditional performance practices, as well as an inherent problem of how the advancement of technology can actually threaten the survival of a work dependent upon a specific version of electronic technology. Nono worked in collaboration with Giancarlo Schiaffini to compose a work for tuba and live electronics. Correspondence with Schiaffini has provided his thoughts on the collaboration of Post-Prae-Ludium with Nono and given a better understanding of how to perform the work. Technology will change, and these current adaptations of Post-Prae-Ludium may not be valid in one or two decades. However, with the description and instruction given by Nono and Schiaffini, in addition to recordings made of Post-Prae-Ludium, there is a record from which to reproduce this work. This study provides a source allowing performers to reproduce this work, thereby preserving it for future performers.

Starting in the mid-2010s VR's high cost of entry became low enough for consumers and artists to explore and experiment with the technology. There have been a few VR operas developed by medium to large sized teams such as Michel Van Der Aa's Eight (2018) and Alexander Schubert's ⁂ASTERISM⁂ (2021), but no widespread work has been produced by a small team comprising only a librettist and composer. Vessels engages in this process with a libretto written by Bea Goodwin and music, audio processing, visual design, and programming by Christopher Poovey. The first step in the process of creating Vessels was the creation of the song cycle Songs from Vessels for soprano, extended tenor, flute, bass flute, A clarinet, viola, contrabass, percussion, and live electronics. These songs are the basis of the micro-opera Vessels which presents recordings of the songs with live processing alongside two songs exclusive to the opera in a VR environment with immersive projections and audio. The development of an ensemble and electronic work along with a VR micro-opera necessitates the implementation and creation of software. Both the Grainflow and cpDelayNetworks packages for Cycling ‘74 Max are pivotal to audio processing in both versions of the work. In addition to these packages and other programming done in Max, the VR opera version of the work relies on custom scripts and implementations of tools for VR interaction, networking, spatial audio, and procedural animations to create an immersive environment to be shared between a VR participant and their audience.

Ce mémoire décrit ma réflexion et mon approche méthodologique de la composition et de l'analyse des oeuvres produites dans le cadre du Gamelan Elektronik, un terme que j'utilise pour englober mon approche et mes techniques de composition. Ce dernier se concentre sur la recherche et la collecte de diverses méthodes et techniques adaptées à la combinaison du gamelan balinais et de la musique électronique. La recherche a été influencée par l'apprentissage de théories, de techniques et de pratiques de composition musicale qui crée un pont entre les mondes disparates du gamelan et de l'électronique, tout en développant un cadre d'analyse de ces compositions. Gamelan Elektronik vise donc à intégrer la pratique, la composition et la culture du gamelan à l'étude de l'histoire, de la technique et de la pratique de la musique électronique. En documentant mes façons créatives d'utiliser la technologie et sa relation avec les approches du gamelan balinais, J'espère que cette recherche pourra servir de point de départ à d'autres compositeurs créatifs et chercheurs dans ces domaines. / This Master’s thesis describes my thinking and methodological approach in composing and analyzing works that have been produced under the umbrella of Gamelan Elektronik, a term I use to encompass my perspective and methods in my compositional process. Gamelan Elektronik focuses on seeking and collecting various methods and techniques suitable for combining Balinese gamelan and electronic music. The research was affected through learning theories, techniques, and practices for composing music which bridges the disparate worlds of gamelan and electronics, while developing a framework for analyzing these compositions. Therefore, Gamelan Elektronik aims to integrate gamelan practice, composition and culture, with a study of electronic music history, technique and practice. By documenting my creative ways of using technology and its relationship to Balinese gamelan approaches, I hope this research can be a point of departure for future development by other innovative composers and researchers in these fields. / Tesis ini menguraikan pemikiran dan pendekatan metodologis saya dalam menyusun dan menganalisis karya-karya yang dihasilkan di bawah payung Gamelan Elektronik, sebuah istilah yang saya gunakan untuk menjabarkan sudut pandang dan metode dalam proses komposisi saya. Gamelan Elektronik berfokus pada pencarian dan pengumpulan berbagai metode dan teknik yang cocok untuk menggabungkan gamelan Bali dan musik elektronik. Penelitian ini dipengaruhi melalui pembelajaran teori, teknik, dan praktik untuk menggarap musik yang menjembatani perbedaan dunia gamelan dan elektronik, sekaligus mengembangkan kerangka kerja untuk menganalisis komposisi tersebut. Oleh karena itu, Gamelan Elektronik bertujuan untuk mengintegrasikan praktik, komposisi, dan budaya gamelan dengan kajian sejarah, teknik, dan praktik musik elektronik. Dengan mendokumentasikan cara-cara kreatif saya dalam menggunakan teknologi dan hubungannya dengan pendekatan gamelan Bali, saya berharap penelitian ini dapat menjadi titik tolak pengembangan di masa depan oleh para komposer dan peneliti inovatif di bidang ini.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Cette thèse présente la démarche compositionnelle relative à six œuvres de musique mixte interactive pour hyper-flûtes, soit des flûtes traversières munies de capteurs gestuels électroniques reliés à un ordinateur. Le jeu instrumental est ainsi augmenté par des composantes électroacoustiques qui peuvent être contrôlées par l’interprète. Une grande partie de cet ouvrage est consacrée à la recherche autour de ces œuvres. On peut y lire un bref historique de la musique mixte qui souligne l'apport de la flûte à la musique électroacoustique. On se penche sur les défis de synchronisation du son instrumental et électronique auxquels font face les compositeurs depuis les années 1950, pour ensuite déterminer en quoi consiste la composition interactive. Après avoir défini la notion de geste instrumental, en particulier en ce qui concerne le jeu de la flûte traversière, on aborde les détails de la lutherie électronique de l’hyper-flûte et de l’hyper-flûte-basse. Ces descriptions techniques sont précédées de commentaires sur différents instruments augmentés et spécifiquement sur les différentes flûtes connues. Cette partie se termine par un exposé concernant l’interaction et les stratégies de mappage des données gestuelles vers les correspondances sonores. La suite est consacrée aux compositions. On peut d’abord y lire mon point de vue sur la composition interactive et l’improvisation. Six chapitres décrivent ensuite en détail chacune des œuvres. On y présente les sources d’inspiration et une analyse formelle sommaire de chaque pièce, puis on élabore sur les composantes instrumentales et électroacoustiques, en explicitant les types d’interactions utilisés. Soulignons que quatre de ces œuvres ont été élaborées autour de textes poétiques. Finalement, une courte conclusion résume les objectifs artistiques réalisés dans le cadre de ce doctorat et les pistes envisagées pour la poursuite de mon travail créateur avec les hyper-flûtes. / This dissertation presents the compositional processes of six pieces with live interactive electronics for hyper-flutes: flutes equipped with electronic motion sensors connected to a computer. Instrumental techniques are thus augmented by electroacoustic components that can be controlled by the performer. A significant portion of this document is focussed on the research framing these works. A brief history of «musique mixte» is presented, underlining the contribution of the flute to electroacoustic music. The challenges associated with the synchronization of instrumental and electronic sounds with which composers have been faced since the 1950’s are then addressed, providing the context for establishing the essential nature of interactive composition. After having defined the notion of instrumental gesture, particularly as it concerns flute techniques, details of the electronic design of the hyper-flute and the hyper-bass-flute are considered. The descriptions of these techniques are prefaced by observations about other augmented instruments and more specifically the different known flutes. This part concludes with a presentation of the interaction and mapping strategies of gestural data as it relates to the corresponding audio elements. The sections that follow focus attention on the compositions. I begin by elaborating my own perspective on interactive composition and improvisation. Six chapters then provide detailed descriptions of each of the pieces, starting with the sources of inspiration and a brief formal analysis. I go on to explain their instrumental and electroacoustic components, detailing the types of interactions used. Of particular note is the fact that four of these works were developed based on poetic texts. Lastly, a short conclusion summarizes the artistic objectives realized during my doctoral tenure as well as the potential opportunities for the continuation of my creative work with the hyper-flutes.

"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.

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This Bachelor Thesis in composition explores an alternative compositional process for creating improvised music through the approach of sound design. The questions addressed in the thesis are concerned with how the soundscape can be controlled by the composer while still maintaining the expressivity of an improvised performance. Thus, the composer’s role as both sound designer, producer and performer is investigated using live electronics and score design. The theoretical framework for the thesis is to be found in the intersection between Anglo-American experimental music, electronic music, sound design and electroacoustic improvisation. Key influences include indeterminacy as expressed in the music of John Cage, Deep Listening practices pioneered by Pauline Oliveros as well as the aesthetical paradigms of electronic and electroacoustic music. The artistic methods revolved around the following steps: studio workshops with musicians (Fredrik Ekenvi and José Louis Relova Gallego) exploring timbres, playing techniques and music technology in real-time followed by associative discussions about the soundscapes created; composing audio and graphical drafts influenced by the workshops; designing diagrams for the electronics and compiling these to a design document; workshopping and performing the final piece (Towards the Event Horizon). Towards the Event Horizon (for bass clarinet, electric guitar and live electronics) is the final result of the work, comprising a score with accompanying design document as well as a recording of the original performance at Studio Acusticum in Piteå 20th of March 2021. The artefacts and associated documentation are presented in their entirety on the dedicated Research Catalogue exposition. Conclusions include how composition and sound design are tied together and cannot be considered as isolated processes, especially in the context of live electronics; the interrelationship between the improviser, the acoustic soundscape and the artistic associations that inform the improvisation; the importance of form as the defining element of a composition and lastly; how a score for improvised music can be devised in the shape of a blueprint of form and texture, setting certain technical, sonic and gestural conditions while leaving the performer to play freely within this frame. / <p>Konstnärliga artefakter presenteras via Research Catalogue: https://www.researchcatalogue.net/view/1250652/1250651</p>