The purpose of the essay is to find an understanding of people's experiences of musical creation. How do we experience creative creation? What is happening in the process? Who decides what is music? Through observations and interviews I have analyzed the concepts that emerge when my informants talk about a creative process. Based on hermaneutical assumptions that a process is interpretable and leads from one point to another, I have wanted to get a deeper understanding of what is interpretable in the informants' experiences of the process. The starting point is that the truth changes a bit for each time a new experience takes place. A so-called transformation. In order to address the essence (the "truth") in my question I have used qualitative research and tried to embrace a phenomenological perspective. I have applied a deductive approach to the analysis of the empirical material. The results show that many of my assumptions are confirmed as regards the transformation as requested. A problem identified in the study is that the creative processes are difficult to measure and assess. In a time driven by economic concerns, they are also not as valued as mathematics, engineering, or physics. / Syftet med uppsatsen är att utforska upplevelsen av musikaliskt skapande. Hur upplever vi ett kreativt skapande? Vad är det som sker i processen? Vem är det som bestämmer vad som är musik? Genom observationer och intervjuer har jag analyserat vilka begrepp som kommer fram när mina informanter pratar om en kreativ process. Utifrån hermaneutiska antaganden om att en process är tolkningsbar och leder från en punkt till en annan har jag önskat få en djupare förståelse för vad som är tolkningsbart i informanternas upplevelser av processen. Utgångspunkten är att sanningen förändras lite för var gång en ny erfarenhet äger rum. En så kallad transformation. För att få fatt på essensen (”sanningen”) i mina frågeställningar har jag använt mig av kvalitativ forskning och försökt att inta ett fenomenologiskt perspektiv. Med deduktiv ansats har jag förhållit mig till den data jag har fått fram. Resultatet visar på att många av mina antaganden bekräftas vad gäller den transformation som efterfrågades. En problematik som framkommit i studien är den att kreativa processer är svåra att mäta och bedöma. De är inte heller lika värderade i en ekonomistyrd samtid som matematik, teknik eller fysik.

Este trabalho se destina a investigar a técnica de composição conhecida como Gráfico para Fixar a Melodia das Montanhas do Brasil, utilizada pelo compositor Heitor Villa-Lobos (1887-1959) nas peças orquestrais: New York Sky-Line Melody (1939) e Sinfonia No. 6 - sobre as linhas das montanhas (1944). A hipótese lançada é de que a referida técnica não se sustenta enquanto método que responda integralmente pela construção do discurso musical de tais obras, mas simplesmente como procedimento utilizado para a elaboração de seus principais temas. / The aim of this work is to analyze the compositional technique known as Gráfico para Fixar a Melodia das Montanhas do Brasil,[where composers translate physical shapes to musical parameters, or millimetrization] used by the composer Heitor Villa-Lobos (1887-1959) for New York Sky-Line Melody (1939) and Symphony No. 6 - sobre as linhas das montanhas (1944).The launched hypothesis is that this technique cannot be sustained as a method that addresses the full construction of the musical discourse of such works, but simply as a procedure used for the preparation of its main themes.

Orientador: Marisa Trench de Oliveira Fonterrada / Banca: Dorotéa Machado Kerr / Banca: Elizabeth M.F. de Araújo Lima / Resumo: Nesta pesquisa investiga-se a atuação do Coral Cênico Cidadãos Cantantes, grupo vinculado à ONG .SOS Saúde Mental, Ecologia e Cultura. que conta com o apoio técnico do CECCO . Centro de Convivência e Cooperativa Parque Ibirapuera, ligado à Coordenadoria de Saúde de São Paulo . Subprefeitura Vila Mariana. Criado em 1992 como desdobramento das atividades do CECCO, visava atingir um grupo heterogêneo pelo interesse na construção artística, que reunisse portadores de sofrimento mental, pessoas marginalizadas ou excluídas socialmente, e pessoas da população em geral, tendo sido estabelecido como local de trabalho o Centro Cultural São Paulo (CCSP). A importância da pesquisa se dá, tanto do lado da produção artística, buscando ressaltar as diferentes condutas musicais escolhidas pelo grupo, quanto do lado terapêutico e social, na relevância deste trabalho para a vida das pessoas com ele envolvidas, sejam técnicos ou freqüentadores, colaborando assim, para a construção de uma sociedade que possa lidar melhor com suas diferenças. A pesquisa se fez pelo desejo de se percorrer um caminho de descobertas dos sentidos existentes no trabalho realizado pelo Coral, a partir do enfoque dado à sua história, produção artística e constituição como grupo heterogêneo. Este estudo recupera o sentido da arte como um atributo humano capaz de transformar atitudes, lugares do saber, lugares de existência e, por conseqüência, capaz de alterar a qualidade de vida. A prática musical em grupos que apresentam esse perfil, mostra-se, portanto, não só possível, como instigadora, para se pensar novas possibilidades para o Canto Coral, além de novos agenciamentos relacionais e territórios de existência. / Abstract: In the conducted research is analyzed the performance of Theatrical Choral .Cidadãos Cantantes. (Singing Citizens), a group attached to the NGO .SOS Saúde Mental, Ecologia e Cultura. (SOS Mental Health, Ecology and Culture) which counts with technical support from CECCO . Centro de Convivência e Cooperativa Parque Ibirapuera (Convivence Center and Cooperative Ibirapuera Park), connected to Coordenadoria de Saúde de São Paulo . Subprefeitura Vila Mariana. Created in 1992 as an extension of CECCO.s activities, it focused on a heterogeneous group by interest on artistic construction, which could gather people suffering from mental illness, marginalized or socially excluded, and others from general population, having been established as a workplace .Centro Cultural São Paulo.. The importance of such research is given, on one hand, by their artistic production, looking to stress the distinct musical procedures chosen by the group; and also by the therapeutic and social aspects, its relevance and effects on the lives of the several different people involved, whether they were technicians or attendants, contributing, this way, to the construction of a society better prepared to deal with its own differences. The research was conducted by the desire to walk a course of discoveries of the meanings that are inherent to the work developed by the Theatrical Choral through the focus given on its history, artistic production and constitution as a heterogeneous group. This study recovers the sense of art as a human attribute capable of transforming attitudes, knowledge spaces, existence spaces and, as a consequence, it.s also able to alter one.s quality of life. Musical practice in groups who present this profile installs itself, therefore, not only as possible, but instigative in fomenting new possibilities for choral music, new establishment of relations and existence territories. / Mestre

Este trabalho se destina a investigar a técnica de composição conhecida como Gráfico para Fixar a Melodia das Montanhas do Brasil, utilizada pelo compositor Heitor Villa-Lobos (1887-1959) nas peças orquestrais: New York Sky-Line Melody (1939) e Sinfonia No. 6 - sobre as linhas das montanhas (1944). A hipótese lançada é de que a referida técnica não se sustenta enquanto método que responda integralmente pela construção do discurso musical de tais obras, mas simplesmente como procedimento utilizado para a elaboração de seus principais temas. / The aim of this work is to analyze the compositional technique known as Gráfico para Fixar a Melodia das Montanhas do Brasil,[where composers translate physical shapes to musical parameters, or millimetrization] used by the composer Heitor Villa-Lobos (1887-1959) for New York Sky-Line Melody (1939) and Symphony No. 6 - sobre as linhas das montanhas (1944).The launched hypothesis is that this technique cannot be sustained as a method that addresses the full construction of the musical discourse of such works, but simply as a procedure used for the preparation of its main themes.

La notion d'instrumentalité peut être définie comme la relation corporelle entre un humain et un objet physique, dit instrument. Ce corps à corps intime, qui adresse simultanément les différents canaux sensoriels d'action et de perceptions humaines, constitue un vecteur pour la connaissance enactive. Cette relation instrumentale joue notamment un rôle clé pour la richesse expressive des instruments musicaux.Dans le contexte informatique, un vaste champ de recherche concerne l'interaction sensorielle avec des entités virtuelles par le biais de capteurs et d'actionneurs, notamment l'interaction gestuelle avec les systèmes à retour d'effort. D'une part, les Réalités Virtuelles, historiquement centrées sur la visualisation, focalisent essentiellement l'interaction gestuelle sur des propriétés spatiales, souvent au détriment de qualités dynamiques. D'autre part, les Instruments Musicaux Numériques sont essentiellement centrés sur le contrôle interactif de processus de synthèse sonore numériques, basés sur le traitement de l'information. Ces deux scénarii synthétisent des phénomènes sensoriels destinés à différents canaux perceptifs selon une approche multimodale, l'objet virtuel étant décomposé en sous-parties, liées entre elles par des relations de contrôle.Il est néanmoins possible de concevoir des systèmes permettant l'interaction instrumentale avec un objet virtuel simulé, avec une cohérence énergétique bidirectionnelle totale, du geste au son et réciproquement. Il est alors nécessaire de regrouper (a) un formalisme de modélisation physique permettant la création d'objets virtuels intrinsèquement multisensoriels, possédant à la fois des propriétés visuelles, acoustiques et haptiques, (b) des systèmes à retour d'effort de grande performance dynamique et (c) des architectures de calcul spécialisées, permettant une boucle de simulation synchrone réactive à haute vitesse.Le travail de cette thèse consiste en l'extension et la convergence des concepts et techniques ci-dessus pour la mise en œuvre d'une plateforme de création musicale instrumentale, dite MSCI (modeleur-simulateur pour la création instrumentale), en proposant une répartition multifréquence du calcul de simulation des instruments virtuels sur une nouvelle architecture matérielle synchrone. Un environnement de modélisation permet de concevoir intégralement l'instrument virtuel sur des principes mécaniques et physiques et de configurer le couplage physique entre celui-ci et l'utilisateur du monde réel lors de la simulation à retour d'effort.Il adresse entre autre la question de la répartition de la chaine instrumentale en zones à caractère majoritairement non-vibrant, dont la dynamique est de l'ordre du geste sensori-moteur humain, et en zones vibrantes, productrices du son. Ces deux parties de l'instrument peuvent être simulées à des fréquences différentes, adaptées aux phénomènes physiques dont elles sont le siège. Dans le cadre d'un formalisme de simulation physique garantissant la cohérence énergétique des objets simulés, la séparation multifréquence est une problématique nouvelle qui nécessite d'être abordée avec précaution, pour des questions de respect du couplage physique ainsi que de stabilité numérique.Il s'agit, à notre connaissance, du premier environnement de création musicale par modélisation physique modulaire permettant la manipulation instrumentale d'instruments virtuels multisensoriels, respectant une cohérence énergétique entre homme et instrument, et permettant de jouir du potentiel créatif de la synthèse sonore tout en retrouvant l'intimité et la richesse de l'interaction gestuelle instrumentale. Au delà du cadre musical, ce travail pose les bases et les outils technologiques pour un véritable art multisensoriel, adressant conjointement la vision, l'oreille ainsi que le geste humain. / The notion of instrumentality can be defined as the corporal relationship between a human and a physical object, called an instrument. This intimate situation simultaneously addresses the various human action and perception sensory canals, and constitutes a vector for enactive knowledge. In particular, this instrumental relationship plays a key role in the expressiveness of musical instruments.In the digital context, a vast area of research concerns sensory interactions with virtual entities, by means of sensors and actuators, including gestural interaction with force feedback systems. On the one hand the Virtual Reality domain, historically focused on visual aspects, generally focus gestural interaction on spatial features, often losing the focus of dynamic features. On the other hand, Digital Musical Instruments are essentially centered on interactive control of digital sound synthesis processes, grounded in information technologies and signal processing. These two approaches synthesize sensory phenomena destined to different perceptive channels following a multimodal approach, the virtual object being decomposed into subsections, linked together by control relations.It is however possible to conceive systems that allow for instrumental interaction with a virtual simulated object, maintaining total and bidirectional energetic coherence, from gesture to sound and reciprocally. In this case, it is necessary to bring together (a) a physical modeling formalism that allows creating intrinsically multisensory virtual objects that possess visual, acoustical and haptic properties, (b) force feedback systems with high dynamic performances and (c) specialized computation architectures that allow for a reactive, high rate synchronous simulation loop.The work of this thesis consists in the extension and convergence of concepts and techniques hereby mentioned here-above, in order to create a platform for instrumental musical creation, named MSCI (Modeleur Simulateur pour la Création Instrumentale), proposing a multi-rate architecture for the simulation of virtual musical instruments on a new dedicated simulation architecture. A modeling environment allows complete design of the virtual instrument based on mechanical and physical principles, and to configure the haptic coupling between this instrument and the user during the force-feedback simulation.Notably, it addresses the separation of the instrumental chain into zones which present mostly non-vibrating phenomena within a dynamic range close to the human sensory-motor gesture, and zones which vibrate at acoustical rates, producing sound. These two sections of the instrument may be simulated at different rates, adapted to the physical phenomena that they give birth to. In the scope of a physical modeling formalism that guarantees the energetic coherence of simulated objects, this multi-rate separation is a new topic that requires careful handling, in terms both or respect of the physical coupling and of numerical stability.To our knowledge, this is the first environment for musical creation by means of physical modeling that allows for instrumental manipulation of multisensory virtual instruments, respecting an energetic coherence between the human and the instrument, and therefore allowing embracing the creative potential of digital sound synthesis while disposing of the intimacy and expressiveness of instrumental gestures. Beyond the musical scope, this work provides the basis and the technological tools for the emergence of a true multisensory form of art, jointly addressing vision, hearing and gesture.

Made available in DSpace on 2014-06-11T19:24:37Z (GMT). No. of bitstreams: 0 Previous issue date: 2005Bitstream added on 2014-06-13T20:31:47Z : No. of bitstreams: 1 maluf_jcg_me_ia.pdf: 1718328 bytes, checksum: a0398f98cc38707414ba066c0e66a4ab (MD5) / Universidade Estadual Paulista (UNESP) / Nesta pesquisa investiga-se a atuação do Coral Cênico Cidadãos Cantantes, grupo vinculado à ONG .SOS Saúde Mental, Ecologia e Cultura. que conta com o apoio técnico do CECCO . Centro de Convivência e Cooperativa Parque Ibirapuera, ligado à Coordenadoria de Saúde de São Paulo . Subprefeitura Vila Mariana. Criado em 1992 como desdobramento das atividades do CECCO, visava atingir um grupo heterogêneo pelo interesse na construção artística, que reunisse portadores de sofrimento mental, pessoas marginalizadas ou excluídas socialmente, e pessoas da população em geral, tendo sido estabelecido como local de trabalho o Centro Cultural São Paulo (CCSP). A importância da pesquisa se dá, tanto do lado da produção artística, buscando ressaltar as diferentes condutas musicais escolhidas pelo grupo, quanto do lado terapêutico e social, na relevância deste trabalho para a vida das pessoas com ele envolvidas, sejam técnicos ou freqüentadores, colaborando assim, para a construção de uma sociedade que possa lidar melhor com suas diferenças. A pesquisa se fez pelo desejo de se percorrer um caminho de descobertas dos sentidos existentes no trabalho realizado pelo Coral, a partir do enfoque dado à sua história, produção artística e constituição como grupo heterogêneo. Este estudo recupera o sentido da arte como um atributo humano capaz de transformar atitudes, lugares do saber, lugares de existência e, por conseqüência, capaz de alterar a qualidade de vida. A prática musical em grupos que apresentam esse perfil, mostra-se, portanto, não só possível, como instigadora, para se pensar novas possibilidades para o Canto Coral, além de novos agenciamentos relacionais e territórios de existência. / In the conducted research is analyzed the performance of Theatrical Choral .Cidadãos Cantantes. (Singing Citizens), a group attached to the NGO .SOS Saúde Mental, Ecologia e Cultura. (SOS Mental Health, Ecology and Culture) which counts with technical support from CECCO . Centro de Convivência e Cooperativa Parque Ibirapuera (Convivence Center and Cooperative Ibirapuera Park), connected to Coordenadoria de Saúde de São Paulo . Subprefeitura Vila Mariana. Created in 1992 as an extension of CECCO.s activities, it focused on a heterogeneous group by interest on artistic construction, which could gather people suffering from mental illness, marginalized or socially excluded, and others from general population, having been established as a workplace .Centro Cultural São Paulo.. The importance of such research is given, on one hand, by their artistic production, looking to stress the distinct musical procedures chosen by the group; and also by the therapeutic and social aspects, its relevance and effects on the lives of the several different people involved, whether they were technicians or attendants, contributing, this way, to the construction of a society better prepared to deal with its own differences. The research was conducted by the desire to walk a course of discoveries of the meanings that are inherent to the work developed by the Theatrical Choral through the focus given on its history, artistic production and constitution as a heterogeneous group. This study recovers the sense of art as a human attribute capable of transforming attitudes, knowledge spaces, existence spaces and, as a consequence, it.s also able to alter one.s quality of life. Musical practice in groups who present this profile installs itself, therefore, not only as possible, but instigative in fomenting new possibilities for choral music, new establishment of relations and existence territories.

Made available in DSpace on 2016-06-02T19:39:52Z (GMT). No. of bitstreams: 1 6565.pdf: 2127817 bytes, checksum: 6f07b96456bd4b87ab9d92b0203e4327 (MD5) Previous issue date: 2015-02-06 / This dissertation sought to investigate the applicants educational processes of social practice of collective musical creation. Through the research presented here aimed to analyze the educational processes generated from 5 collective musical creation activities for boys and girls in social project Tocando à Vida , from Ribeirão Preto, in order to identify whether these processes contribute to the formation these human male and female students. The collective musical creation activities such as social practices, understand that favor togetherness guided dialogue and collaboration, thereby, we seek to understand how these activities can contribute to humanizing music education. For research we propose to carry out the methodology of participatory research where data collection started from an insert within that space was adopted so that observations of these educational processes happen in contact with students and students during the performance of music creation activities collective. The Project Playing to Life, Ribeirão Preto SP provides free group lessons of musical instruments for children 06-13 years. The inserts in order to collect data occurred in the course of eight months, which participated in the activities of collective musical creation proposals 10 male and female students. The data collections were made by observing the activities, and wheels of talks held after the activities. As memory resources records in field diary and recording the wheels of conversations and musical creations of the students were used. The authors that guided the analysis were Paulo Freire, Ernani Maria Fiori, Enrique Dussel, Carlos Rodrigues Brandão, Hans -Joachim Koellreutter , Maria Teresa Alencar de Brito, Jorge Larrosa Bondia, among others. As a result it was possible to observe the changes in the relations between male and female students, with regard to the development of guided dialogue in loveliness, conquest of autonomy and the search for the humanization. The analysis of the educational processes that are generated social practice occurring during collective musical creation activities within the Project Tocando à Vida can contribute to change of view on this kind of activity, generating a favoring of human formation of children who learn music. / Esta dissertação buscou investigar os processos educativos originados da prática social da criação musical coletiva. Por meio da pesquisa aqui apresentada buscou-se analisar os processos educativos gerados a partir de 5 atividades de criação musicais coletivas realizadas por crianças que participam do projeto social Tocando à Vida, Ribeirão Preto SP, a fim de identificar se esses processos que contribuem para a formação musical, também contribuíram para a formação humana destas crianças. Compreendem-se as atividades de criação musical coletivas como práticas sociais que favorecem a convivência pautada no diálogo e na colaboração, Desse modo, buscamos compreender como tais atividades podem contribuir para uma educação musical humanizadora. Entendemos educação musical humanizadora como aquela que não dicotomiza a formação musical do indivíduo da sua formação humana. Ambas caminham juntas em prol de um ensino musical de excelência em que os educandos podem explorar, experimentar, sentir, pensar, questionar, criar, discutir, argumentar etc. Para a investigação que nos propomos realizar, foi adotada a metodologia da pesquisa participante em que a coleta de dados partiu de uma inserção dentro desse espaço, para que as observações desses processos educativos acontecessem no convívio com as crianças durante a realização das atividades de criação musical coletiva. O Projeto Tocando à Vida, Ribeirão Preto SP oferece aulas coletivas gratuitas de instrumentos musicais para crianças de 06 a 13 anos. As inserções com objetivo de coletar dados ocorreram no decorrer de 8 meses, em que participaram das atividades de criação musical coletiva propostas 10 crianças. As coletas de dados foram feitas por meio da observação das atividades, e de rodas de conversas realizadas após as atividades. Como recursos de memória foram utilizados os registros em diário de campo e a gravação das rodas de conversas e das criações musicais das crianças. Os autores e autoras que nortearam a análise dos dados foram Paulo Freire, Ernani Maria Fiori, Enrique Dussel, Carlos Rodrigues Brandão, Hans- Joachim Koellreutter, Maria Teresa Alencar de Brito, Jorge Larrosa Bondia entre outros. Como resultado foi possivel observar as transformações nas relações entre as crianças, no que diz respeito ao desenvolvimento do diálogo pautado na amorosidade, conquista da autonomia e a busca pela humanização. A análise sobre os processos educativos que são gerados da prática social que ocorrem durante atividades de criação musical coletiva dentro do Projeto Tocando a Vida pode contribuir para uma mudança de visão sobre esse tipo de atividade, gerando um favorecimento da formação humana de crianças que aprendem música.

Ce document présente une démarche de recherche-création, intitulée Worst Practices, développée dans le cadre d’un Doctorat en Composition et Création Sonore effectué au sein de la Faculté de Musique de l’Université de Montréal. Il est lié une série de compositions qui sont le volet pratique de ce projet. Ce texte précise les notions théoriques sur lesquels il s’appuie. Il présente d’abord différentes stratégies compositionelles appliquées au sein de ce projet. Dans un second temps il procédera à une analyse des différentes pièces réalisées en présentant une première série des projets qui ont inspirés cette démarche, un second ensemble de pièces ou les techniques proposées apparaissent plus consciemment, pour enfin présenter deux projets plus conséquents qui ont été entièrement constitués selon le concept de Worst Practices. Cette démarche s’inspire de la notion de bifurcation néguentropique, proposée par le philosophe français Bernard Stiegler, et consiste en une voie artistique en réaction à un environnement où l’accélération technologique est source d’aliénation et ou la surproduction pose la question de la pérennisation de son travail. Ainsi une continuité avec la démarche d’artistes tels que Frank Zappa, Charles Mingus, ou encore Erik Satie, est établie. Par la suite une série de stratégies déviantes est présentée en commençant pas l’analyse de ‘mauvaises’ habitudes de travail volontairement assumées, puis par la description de méthodes artistiques : le détournement, le débordement et la déconstruction-lacération. Ces approches de création seront ensuite identifiées au cours des analyses qui occupent les trois derniers chapitres de ce texte. Dans ce cadre, la manière dont ces pratiques ont évolué au sein de ce projet de recherche-création sera mise en avant pour illustrer le déploiement progressif des Worst Practices dans cette série de compositions. / This document presents a research-creation process, referred to as Worst Practices, developed over the course of a Doctorate in Composition and Sound Creation at the Music Faculty of the University of Montreal. It is linked to a series of compositions that are the practical dimension of this project. This text addresses the theoretical notions on which it rests. It begins by presenting various compositional strategies applied within this project. In a second phase an analysis of the various compositions will be performed starting with a first group of works that inspired this process, a second group where several of the proposed techniques begin to appear more voluntarily, to finally present to more ambitious projects that were entirely formalised through the concept of Worst Practices. This course of action is inspired by the notion of neguentropic bifurcation, developed by the French philosopher Bernad Stiegler, and consists of an artistic path in reaction to an environment in which technological acceleration is the cause for alienation and where overproduction causes artists to question the perennity of their work. It thus establishes a continuity with artists such as Charles Mingus, Frank Zappa and Erik Satie. Following this a series of deviant strategies is presented starting with voluntary ‘bad’ work habits, and then describing artistic methods employed such as diversion, overflowing and shredding. These creative approaches will be identified throughout the analyses in the three final chapters of the text. In this context, the way these practices evolved within this research-creation project will be put forward in order to illustrate the progressive deployment of Worst Practices in this series of compositions.

Em meio a diversas interações midiáticas oriundas do desenvolvimento tecnológico no século XXI, percebemos que a música pode desbravar novos caminhos e conexões em áreas ainda pouco exploradas, como na interdisciplinaridade com o esporte. Este trabalho tem como foco a concepção de um sistema de criação musical interativo controlado por performance coreográfica esportiva, onde o atleta, além de interagir com o processo criativo e com a própria música durante sua performance coreográfica, possa também alterar sua estrutura e redefinir parâmetros de condução e geração sonora. Através de um sensor de movimento o atleta atua em tempo real reorganizando a execução de materiais sonoros previamente elaborados e manipulando processadores de efeito e de dinâmica. Uma composição modular interativa foi realizada para testar o sistema, adotando-se uma estrutura musical modular em tonalidades. Atribuindo ao atleta funções antes exclusivas do nicho profissional do intérprete e/ou compositor musical, o sistema desenvolvido oferece o acesso a processos de criação musical a uma população que não necessariamente detém conhecimento sobre as ferramentas tradicionais de composição musical. Os resultados exploram novas formas de mediações e abrem fronteiras de aplicações intocadas, bem como novos nichos de trabalho para o profissional da música nas áreas de criação, produção e performance. / In the midst of several media interactions that came from technological development in the 21st century, we realized that music can break new ground and connections in areas that are still little explored, such as in interdisciplinarity with sports. This work focuses on the conception of an interactive musical creation system controlled by a choreographic performance, in which the athlete, in addition to interacting with the creative process and with the music itself during its choreographic performance, can also alter its structure and redefine parameters of conduction and sound generation. Through a motion sensor the athlete acts in real time reorganizing the execution of previously elaborated sound materials and manipulating processors of effect and dynamics. An interactive modular composition was performed to test the system, adopting a modular musical structure in shades. By providing the athlete with functions previously unique to the professional niche of the performer and / or music composer, the developed system offers access to music creation processes for a population that does not necessarily have knowledge about traditional musical composition tools. The results explore new forms of mediation and open boundaries of untouched applications, as well as new work niches for the music professional in the areas of creation, production and performance.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-08-16T21:53:25Z No. of bitstreams: 1 DISS_2014_Claudio Alves Benassi.pdf: 12615091 bytes, checksum: 09e2b36f6ddbd818becf968827735091 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-08-21T13:42:58Z (GMT) No. of bitstreams: 1 DISS_2014_Claudio Alves Benassi.pdf: 12615091 bytes, checksum: 09e2b36f6ddbd818becf968827735091 (MD5) / Made available in DSpace on 2017-08-21T13:42:58Z (GMT). No. of bitstreams: 1 DISS_2014_Claudio Alves Benassi.pdf: 12615091 bytes, checksum: 09e2b36f6ddbd818becf968827735091 (MD5) Previous issue date: 2014-03-06 / CAPES / A flauta doce desapareceu do cenário musical e, posteriormente, foi trazida de volta à vida. Difundida por meio da educação, popularizou-se e ganhou status de instrumento profissional. Atualmente, seu uso massivo faz com que seja encarada com preconceito e descrédito. Torna-se necessário ampliar seu repertório de forma que as práticas musicais atuais sejam contempladas. Nessa perspectiva, a presente pesquisa visa colaborar com a ampliação do repertório de música contemporânea de concerto para flauta doce, concebendo uma obra para flauta doce e orquestra, utilizando-se das suas técnicas expandidas e aplicando os conceitos de exotopia, responsabilidade e acabamento do pensador e humanista russo Mikhail Bakhtin. Ao longo dos estudos, um bocal de flauta doce que se adapta ao corpo da flauta transversal foi testado, analisado e documentado em publicação de artigo e neste trabalho. Uma análise foi realizada em obras de minha autoria no intuito de visualizar a aplicação dos conceitos selecionados e sua possível aplicação na concepção musical. A obra Requíem para os pássaros mortos em abril foi concebida sob a ótica dos conceitos de exotopia, responsabilidade e acabamento, tendo como fio condutor o número 9 que, na numerologia Pitagórica, é tido como o número dos iniciados. A obra está estruturada em 9 partes, e utiliza-se da obra literária espírita Pássaros mortos em abril para nomear cada uma delas, o que se configura como um movimento cronoexotópico. A obra busca, ainda, em outras obras importantes, motivos para sua enunciação. Essa rememoração, além de tornar a obra uma reenunciação responsável, por meio da apreensão analítica e apreciação/acabamento, mostra um trânsito de ir ao lugar do outro e o retorno ao lugar do eu único e insubstituível. Conclui-se, então, que o texto musical dialógico Requíem para os pássaros mortos em abril apresenta características exotópicas responsáveis e acabamento analítico/apreciativo em sua concepção. Considera-se um texto dialógico na perspectiva bakhtiniana, pois as vozes do autor-criador; autorhomem, autor-pesquisador e autor pesquisado, constituem um diálogo que traz em seu bojo ainda, as vozes de autores outros. / The recorder disappeared from the music scene and, was later, brought back to life. Disseminated through education, it became popular and gained the status of professional instrument. Currently, its massive usage causes its reception to be filled with prejudice and discredit. It is necessary to broaden its repertoire so that the current musical practices are contemplated. In this perspective, this research aims to collaborate to the expansion of the repertoire of contemporary music for recorders, conceiving a piece for recorder and orchestra, using its expanded techniques and applying the concepts of exotopy, responsibility and finishing process of the Russian thinker and humanist Mikhail Bakhtin. Throughout the studies, a mouthpiece of the recorder which fits the body of the flute has been tested, analyzed and documented in an article publication and in this work. An analysis was performed in the works of my own in order to view the application of the selected concepts and their possible application in musical conception. The work Requiem for the birds killed in April was conceived under the perspective of the concepts of exotopy, responsibility and finishing process, having as thread the number 9 that, in Pythagorean numerology, is considered the number of the initiates. The piece is divided into 9 parts, and uses the spiritist literary work Birds killed in April to name each of them, which is configured as a cronoexotopic movement. The piece also takes elements from other important works as a motive for its enunciation. This recollection, besides turning the piece into a responsible re-enunciation, through analytical apprehension and appreciation/finish process, shows a transit of going to the place of the other and returning to the place of the unique and irreplaceable I. Then it is concluded that the dialogical musical text Requiem for the birds killed in April presents characteristics which are exotopical and responsible, and analytical/appreciative finishing process in its conception. It is considered a dialogic text under Bakhtin's perspective, because the voices of the author-creator, author-man, author-researcher and author researched, make up a dialogue that brings with it also, the voices of other authors.