Mémoire en recherche-création / Creative dissertation / Ce mémoire présente une analyse du rôle du rien, du peu, et du négatif dans cinq œuvres musicales composées dans le cadre de la maîtrise de l’autrice : Obèle, Petite berceuse, Wet Ice and Dead Leaves, Déjà-vu, et Rêve éveillé. Leur démarche de création est analysée parallèlement à d’autres œuvres de ma maîtrise, soit la musique de la pièce de théâtre Scribouillis et celle du court-métrage du même nom. Les angles d’analyse musicale sont la théorie musicale et la cognition incarnée, et la démarche est conceptualisée comme un tout dont les éléments sont interreliés, selon la proposition du concept d’atelier par Donin et Theureux. L’esthétique est mise en contexte avec les courants minimalistes, et est mise en relation avec les buts artistiques, notamment l’inspiration d’affects négatifs et l’encouragement d’une écoute active, métaécoute, ou deep listening. Le texte vise à permettre une appréciation approfondie des œuvres et de la démarche, ainsi qu’à proposer un vocabulaire pour discuter des concepts centraux à ce type d’esthétique et de démarche artistique. La recherche-création de la maîtrise a visé à développer une approche compositionnelle unique et authentique, qui satisfasse à des critères perceptuels de cohérence et d’évocation d’un discours émotionnellement chargé, qui démontre une maîtrise de l’écriture, et qui fasse montre d’une vision artistique forte, innovante, et audacieuse. Le premier chapitre présente les concepts clefs d’analyse et détaille l’inspiration derrière les œuvres. Les motivations de la démarche de création émergent à travers la discussion de concepts tels que le négatif, le rien, le peu, et le silence ainsi que leur place dans le contexte culturel ou évolue l’autrice. L’approche compositionnelle est ancrée dans le timbre, la forme, et la perception. Le chapitre 2 illustre des aspects de la démarche de création par deux collaborations avec le théâtre de marionnettes contemporain. Les présentations des œuvres sont regroupées par similitude dans les chapitres 3 et 4 dédiés aux œuvres vocales et instrumentales, respectivement. Chaque chapitre se divise en sous-section pour les différentes œuvres. Le chapitre 6 conclut le mémoire et propose quelques liens entre les éléments abordés au cours de celui-ci. / This memoir presents an analysis of the role of nothingness, sparseness, and negativity (négatif, in French) in five musical works composed as part of the author’s master’s degree: Obèle, Petite berceuse, Wet Ice and Dead Leaves, Déjà-vu, and Rêve éveillé. Their creative process is analyzed alongside other works from the author’s master’s degree, namely the music for the play Scribouillis and the short film of the same name. The perspectives of musical analysis are music theory and embodied cognition, and the process is conceptualized as a whole, whose elements are interrelated, as proposed by Donin and Theureux, under the term atelier. The aesthetic is contextualised in relation to minimalist currents, and is discussed in relation to artistic goals, including the inspiration from negative affect emotions and the encouragement of active listening, meta-listening, or deep listening. The text aims to provide an in-depth appreciation of the works and approach, as well as a vocabulary for discussing the concepts central to this type of aesthetic and artistic approach. The research-creation carried out during the master’s degree aimed to develop a unique and authentic compositional approach that meets perceptual criteria of coherence and evocation of emotionally charged discourse, demonstrates mastery of writing techniques, and displays a strong, innovative, and audacious artistic vision. The first chapter presents the key concepts of analysis and details the inspiration behind the works. The motivations for the creative process emerge through the discussion of concepts such as the negative, the nothing, the little, and the silence as well as their place in the cultural context in which the author evolves. The compositional approach is anchored in timbre, form, and perception. Chapter 2 illustrates aspects of the creative process through two collaborations with contemporary marionette theatre. Presentations of the works are grouped by similarity in chapters 3 and 4, which are dedicated to vocal and instrumental works, respectively. Each is divided into sub-sections for the different works. Chapter 6 concludes the dissertation by proposing links between key elements.

Esta dissertação propõe-se a analisar possíveis interfaces entre a Arquitetura e a Escultura, abordando suas produções realizadas a partir da segunda metade do século XX, período que se caracterizou pelo rompimento de inúmeros paradigmas teóricos e conceituais. Considerando essas manifestações a partir de suas naturezas tridimensionais, busca-se, segundo um enfoque transdisciplinar, apurar significados e novos parâmetros de análise compartilhados por ambas expressões, num processo recíproco de influências conceituais e práticas. A pesquisa divide-se em duas partes. Na primeira delas - Conceitos Tridimensionais - são estudados os fatos históricos e os conceitos filosóficos que influenciaram as concepções teóricas das produções da arquitetura e da escultura desse período. Nesta parte também são estudadas algumas transformações específicas dos universos dessas manifestações, consideradas determinantes para a constituição das obras posteriormente destacadas. Na segunda parte - Processos Tridimensionais - é realizada a leitura de algumas obras arquitetônicas e escultóricas fundamentadas sobre novas organizações produtivas estabelecidas no período estudado. Partindo do repertório transdisciplinar apresentado na primeira parte sobre os conceitos criativos de ambas as manifestações, são definidos parâmetros de análise que abrangem temas fundamentais das interfaces mencionadas. Os conceitos de Paisagem, Tempo, Estrutura, Matéria e Forma são estendidos em definições que conduzem a leitura de cada uma das obras selecionadas. Com isso, são estabelecidos novos conceitos cognitivos dessas construções, demonstrando como se influenciam mutuamente, compartilhando ou não suas intenções. Também é revelado o potencial advindo da proximidade entre Arquitetura e Escultura, oferecendo referenciais teóricos e práticos para que possam ser explorados em futuras produções. Sintetizando os procedimentos específicos destes atos tridimensionais e os conceitos filosóficos de leitura, busca-se demonstrar, a partir da densidade das obras escolhidas, atos singulares da existência humana. / This dissertation aims to analyze possible interfaces between Architecture and Sculpture, approaching their productions made from the second half of the twentieth century, a period that was characterized by disruption of numerous theoretical and conceptual paradigms. Considering these manifestations from their three-dimensional nature, according to a transdisciplinary approach, it seeks to establish new meanings and analysis parameters shared by both expressions, in a reciprocal process of conceptual and practical influences. The research is divided into two parts. The first part - Three-Dimensional Concepts - refers to the historical facts and philosophical concepts that have influenced the theoretical concepts of architectural and sculptural production of this period. In this part are also studied some transformations of the specific universes of these manifestations, which are considered crucial to the creation of the works later analyzed. In the second part - Three-Dimensional Processes - it is presented a reading of some architectural and sculptural works based on new productive organizations established in the studied period. From the transdisciplinary repertoire presented in the first part about the creative concepts of both manifestations analysis, parameters are defined to embrace fundamental themes of the mentioned interfaces. The concepts of Landscape, Time, Structure, Matter and Form are extended in definitions that lead to the reading of each of the selected works. Thus, new cognitive concepts of these constructions are established demonstrating how they influence each other, sharing their intentions or not. The potential arising from the proximity of these two expressions is also shown, offering theoretical and practical references so that they can be explored in future productions. Summarizing the specific procedures of these three-dimensional acts and the philosophical reading concepts, it is aimed to show, from the profundity of the chosen works, single acts of human existence.

Esta dissertação propõe-se a analisar possíveis interfaces entre a Arquitetura e a Escultura, abordando suas produções realizadas a partir da segunda metade do século XX, período que se caracterizou pelo rompimento de inúmeros paradigmas teóricos e conceituais. Considerando essas manifestações a partir de suas naturezas tridimensionais, busca-se, segundo um enfoque transdisciplinar, apurar significados e novos parâmetros de análise compartilhados por ambas expressões, num processo recíproco de influências conceituais e práticas. A pesquisa divide-se em duas partes. Na primeira delas - Conceitos Tridimensionais - são estudados os fatos históricos e os conceitos filosóficos que influenciaram as concepções teóricas das produções da arquitetura e da escultura desse período. Nesta parte também são estudadas algumas transformações específicas dos universos dessas manifestações, consideradas determinantes para a constituição das obras posteriormente destacadas. Na segunda parte - Processos Tridimensionais - é realizada a leitura de algumas obras arquitetônicas e escultóricas fundamentadas sobre novas organizações produtivas estabelecidas no período estudado. Partindo do repertório transdisciplinar apresentado na primeira parte sobre os conceitos criativos de ambas as manifestações, são definidos parâmetros de análise que abrangem temas fundamentais das interfaces mencionadas. Os conceitos de Paisagem, Tempo, Estrutura, Matéria e Forma são estendidos em definições que conduzem a leitura de cada uma das obras selecionadas. Com isso, são estabelecidos novos conceitos cognitivos dessas construções, demonstrando como se influenciam mutuamente, compartilhando ou não suas intenções. Também é revelado o potencial advindo da proximidade entre Arquitetura e Escultura, oferecendo referenciais teóricos e práticos para que possam ser explorados em futuras produções. Sintetizando os procedimentos específicos destes atos tridimensionais e os conceitos filosóficos de leitura, busca-se demonstrar, a partir da densidade das obras escolhidas, atos singulares da existência humana. / This dissertation aims to analyze possible interfaces between Architecture and Sculpture, approaching their productions made from the second half of the twentieth century, a period that was characterized by disruption of numerous theoretical and conceptual paradigms. Considering these manifestations from their three-dimensional nature, according to a transdisciplinary approach, it seeks to establish new meanings and analysis parameters shared by both expressions, in a reciprocal process of conceptual and practical influences. The research is divided into two parts. The first part - Three-Dimensional Concepts - refers to the historical facts and philosophical concepts that have influenced the theoretical concepts of architectural and sculptural production of this period. In this part are also studied some transformations of the specific universes of these manifestations, which are considered crucial to the creation of the works later analyzed. In the second part - Three-Dimensional Processes - it is presented a reading of some architectural and sculptural works based on new productive organizations established in the studied period. From the transdisciplinary repertoire presented in the first part about the creative concepts of both manifestations analysis, parameters are defined to embrace fundamental themes of the mentioned interfaces. The concepts of Landscape, Time, Structure, Matter and Form are extended in definitions that lead to the reading of each of the selected works. Thus, new cognitive concepts of these constructions are established demonstrating how they influence each other, sharing their intentions or not. The potential arising from the proximity of these two expressions is also shown, offering theoretical and practical references so that they can be explored in future productions. Summarizing the specific procedures of these three-dimensional acts and the philosophical reading concepts, it is aimed to show, from the profundity of the chosen works, single acts of human existence.