Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-13T14:21:26Z No. of bitstreams: 1 Helena Rojo Estêvão.pdf: 6577841 bytes, checksum: 2d8dafe599598866cc5a731cdee450bd (MD5) / Made available in DSpace on 2016-09-13T14:21:26Z (GMT). No. of bitstreams: 1 Helena Rojo Estêvão.pdf: 6577841 bytes, checksum: 2d8dafe599598866cc5a731cdee450bd (MD5) Previous issue date: 2016-03-21 / Our primary focus is the relationship among musical performances and technology. We try to highlight the importance of performer’s aesthetical position towards technologic mediation so it becomes possible to appear new audibilities, knowing that technology influences directly the artistic doing. It has allowed the creation of musical genres, new methods of musical production and, specially, of diverse sounds and artistic expressions; as well as possibilities of dissemination and public access from also new technological basis. To get there, we go through examples from analogic to digital contrasting determining proprieties of analogical musical action and reception with current musical doings – digitals – that are spread primarily on the internet. It is not about register and reproduce what is made anymore, but to construct the work in its form of dissemination. The performance is as scenic, as it is placed to the audience, as musical, regarding what concerns instruments used as performer extensions, given that the performer’s perception is altered according as other technologies and, therefore, new extensions are implanted. The same occurs to the public. This work will look at some authors such as Marshall McLuhan, Raymond Murray Schafer, Paul Zumthor, that had analyzed different moments and issues of musical doing – with special attention to MPB – since the music made in analogical times until the digital era music, leading into consideration changes in culture, determinant to the work outcome / Nosso foco principal é a relação das performances musicais com a tecnologia. Pretende-se destacar aqui a importância do posicionamento estético do performer frente à mediação tecnológica para que se torne possível o surgimento de novas audibilidades, tendo em vista que a tecnologia influencia diretamente o fazer artístico. Isso tem permitido a criação de gêneros musicais, novos modos de produção musical e, em especial, de sonoridades diversas e expressões artísticas; além de possibilidades de difusão e acesso do público a partir de bases tecnológicas igualmente novas. Para tanto, percorremos exemplos que vão do analógico ao digital contrapondo propriedades determinantes da atuação e recepção musical analógica com os fazeres musicais atuais – digitais – que se encontram difundidos, basicamente, na internet. Não se trata mais de registrar e reproduzir o que é apresentado, mas da construção de obras já na forma de sua difusão. A performance é tanto cênica, tal como se coloca frente ao público, quanto musical, no que diz respeito aos instrumentos que são utilizados como extensões do performer, tendo em vista que a percepção deste se altera na medida em que outras tecnologias e, portanto, novas extensões são implantadas. O mesmo ocorre com o público. Este trabalho busca em autores tais como Marshall McLuhan, Raymond Murray Schafer, Paul Zumthor, que analisaram diferentes momentos e questões do fazer musical – com uma atenção especial para a MPB – desde a música realizada na era analógica até a música da era digital, levando em consideração as transformações na cultura, determinantes para o resultado da obra

Cette thèse a pour objet principal la notion de dissociation élémentielle associée à la spatialisation, principalement en musique instrumentale. Elle inclut quatre compositions accompagnées des partitions et des enregistrements de même qu’un texte écrit comprenant les analyses des quatre œuvres présentées. Dans le chapitre I, le texte expose d’abord la notion de dissociation élémentielle, explique que celle-ci naît de l’autonomie des éléments musicaux les uns par rapport aux autres et traite de l’influence exercée sur ma démarche par le compositeur Charles E. Ives. J’aborde aussi l’importance de la spatialisation musicale et de la notion de paysage sonore composé. Je retrace également quelques exemples de dissociation des éléments dans le répertoire et je fais un parallèle avec la musique électroacoustique. Le chapitre II s’attarde à la dissociation "élémentielle" tant en ce qui a trait aux procédés techniques qu’à l’écriture et à la mise en forme. Le chapitre III traite de la perception auditive en situation "élémentielle" et spatialisée au regard de la psychoacoustique ainsi que des pistes de recherches ultérieures possibles. Les chapitres suivants ont pour objet les analyses des quatre œuvres présentées : 21 courtes pièces sur des textes d’Étienne Lalonde, L’Être et la réminiscence, Les passants et L’autre (le cor étranger). / The primary focus of this thesis is the notion of what I have termed elemential (élémentiel) dissociation associated with spatialization, particularly in instrumental music. It includes four compositions accompanied by scores and recordings, as well as a written text comprising the analyses of the four works presented. In Chapter I, the text presents the notion of elemential (élémentiel) dissociation, explains that it arises from the autonomy of musical elements in relation to each other, and contextualizes the influence of the composer Charles E. Ives' approach upon my own. I also address the importance of musical spatialization and the concept of the complex sound landscape. Additionally, I delineate some examples of the dissociation of elements in the repertoire and draw a parallel to electroacoustic music. Chapter II elaborates upon elemential (élémentiel) dissociation as much in terms of technical processes as of writing and formal structure. Chapter III deals with auditory perception in elemential (élémentiel) and spatialized contexts with regard to psychoacoustics, as well as possible areas for further research. The following chapters are comprised of the analyses of the four works presented: 21 courtes pièces sur des textes d’Étienne Lalonde, L’Être et la réminiscence, Les passants et L’autre (le cor étranger).