Master of Music / The use of error by composers as a means of adding colour to a musical text has a long history, but the device is ultimately ineffective. Material whose significance is its incongruity is incorporated by recontextualization, and in time, becomes familiar and unremarkable. ‘Glitch’ is a stylistic mannerism within electroacoustic composition that emerged in the late 1990s. Glitch, or ‘microsound’, as it is known in an academic context, observes the conventions of music concrète, drawing on material sampled from the real world, and fashioning this into sonic narratives. Its signature is the ‘sound of failure’, sonorities characteristic of electronic devices malfunctioning or mis-used: clicks, crackles, distortions, fractured digital files. Glitch/microsound has already diminished from a movement to a mannerism, but its legacy is a refreshment of our palette of sonorities, and an interrogation of the very act of listening. This essay is short examination of the use (and nature) of noise a musical ingredient and the significance of glitch/microsound for electroacoustic composers. It concludes that this ‘style’ is little more than a nuance, and that its advent and advocacy were less to do with a new musical movement, than with a new generation of electronic composers attempting to distinguish itself.

Swan is a multimedia work for conducted ensemble with amplified instruments, electronics and video projections. Swan is about going out: going out to the street, to the club, to a ritual, to a party or a funeral. It’s about real places with real people, but less about the realities of these places and more about their vibe. It’s about getting out of home, the studio, the institution, going to places where people connect and do things, sing, dance, laugh, cry, perform or celebrate. The music of Swan come from ‘outside.’ Swan’s aesthetic is a blend of Turkish/Islamic and pop-cultural elements. The opening section, Korridor, is a drone/ambient movement with a big trance synth part. It is ritual music. It is big, dense, heavy, and it moves slowly, like lava. Karaoke Mahshar is a Turkish Trance-Pop hybrid. It is a very melancholic, dark piece of music. The instrumental choir sing an emotional pop/“fantasy music” (a Turkish genre) melody in unison over a flamboyant electronic track. It’s the soundtrack to a club for the wasted, for emotional after-hours karaoke. The final section, Rod Modell, is a dub-techno influenced ambient movement. It is the sound of a giant, post-apocalyptic mosque - a mosque sunken in chalky waters. This section evolves to a big, stretched monophonic melody, a song from the old times, which finally cadences to an electronically processed “tilâvet”. I started composing Swan in July 2016 in Turkey, before the military coup attempt took place. The work is not programmatic, however, the sound materials I worked with, the musical references and the sonic and visual iconography it incorporates are rather influenced by and derive from the sounds, sights and emotions I experienced during my stay. By the end of my visit, a person who had been very dear to my heart, Ferhunde Köke, had passed away. I recorded the sounds of her burial accompanied by a hafız’s recitation of the Surah Al-Baqarah 2:156 from the Holy Qur’an which I edited, processed and ended this work with.

Este memorial consiste na reflexão estética e técnica do processo de composição musical realizado na peça Anamnesis, pertencente à área da Música Eletroacústica Mista, que configurou o trabalho artístico do curso de mestrado. O trabalho escrito está dividido em três partes: a primeira aborda a postura do compositor frente aos sons e a música, suas motivações, expectativas, influências e inspirações estéticas; a segunda compreende reflexões composicionais sobre o processo criativo, a descrição de procedimentos e técnicas adotadas, além do relato de dificuldades encontradas; a terceira apresenta uma reflexão da experiência após a realização da obra em recital e após a escrita das duas primeiras partes deste memorial, com a finalidade de identificar as contribuições para o desenvolvimento do compositor e para o meio musical. / This Masters Dissertation comprises an aesthetical and technical reflection on the compositional process of Anamnesis, a live electroacoustic music composition. It is divided into three sections, of which the first discusses the positioning of the composer in relation to sounds and music, his motivations, influences and aesthetical inspirations. The second part reflects on the creative process and describes its procedures and techniques, as well as the difficulties that arose during the composition. The third and last part presents a post-recital reflection and a reflection on the first two parts of the Dissertation. Its aim is to identify the contributions that this Masters Dissertation might present to its writer as well as to the musical milieu.

Este memorial consiste na reflexão estética e técnica do processo de composição musical realizado na peça Anamnesis, pertencente à área da Música Eletroacústica Mista, que configurou o trabalho artístico do curso de mestrado. O trabalho escrito está dividido em três partes: a primeira aborda a postura do compositor frente aos sons e a música, suas motivações, expectativas, influências e inspirações estéticas; a segunda compreende reflexões composicionais sobre o processo criativo, a descrição de procedimentos e técnicas adotadas, além do relato de dificuldades encontradas; a terceira apresenta uma reflexão da experiência após a realização da obra em recital e após a escrita das duas primeiras partes deste memorial, com a finalidade de identificar as contribuições para o desenvolvimento do compositor e para o meio musical. / This Masters Dissertation comprises an aesthetical and technical reflection on the compositional process of Anamnesis, a live electroacoustic music composition. It is divided into three sections, of which the first discusses the positioning of the composer in relation to sounds and music, his motivations, influences and aesthetical inspirations. The second part reflects on the creative process and describes its procedures and techniques, as well as the difficulties that arose during the composition. The third and last part presents a post-recital reflection and a reflection on the first two parts of the Dissertation. Its aim is to identify the contributions that this Masters Dissertation might present to its writer as well as to the musical milieu.

abstract: “by my death...” is a composition in three movements for chamber ensemble and laptop ensemble, with the instrumentation of clarinet in Bb, French horn in F, percussion, violin, double bass, and at least three laptops. The total duration of the piece is approximately twenty minutes. However, since the timing of the first and third movement is flexible, the total duration may vary. “by my death...” is the creative culmination of my research into representations of the Holocaust in music. More specifically, it corresponds to my analysis of three Holocaust-based works by the Israeli composer Arie Shapira (1943-2015): Gideon Kleins Marterstrasse (1977), Gustl in Theresienstadt (1998-9), and Achtung Rapunzel (2007). I applied findings from the analysis in my own music, resonating Shapira's style, techniques, and expressive means. In a sense, “by my death...” is a homage to this composer, who had a strong influence on my path to dealing with the Holocaust in music. My composition, however, is not necessarily about the Holocaust alone. It concerns the larger Jewish historical narrative that is characterized by destruction and construction, with the Holocaust as a central, pivotal event. It reflect about the Holocaust within links between tradition and innovation, past and future, death and life, that are inherent to any aspect of Israeli culture, and that are intertwined within the Jewish narrative of extermination and resurrection. / Dissertation/Thesis / MAX/MSP Patches / Doctoral Dissertation Music 2016

Submitted by FLIBLIO FERREIRA DE SOUZA null (fliblio@hotmail.com) on 2017-08-17T08:50:13Z No. of bitstreams: 1 Dissertação de Mestrado em Música – Fliblio Ferreira de Souza.pdf: 13041972 bytes, checksum: 3441fe83726c4f8c9d78a03b9f410e7b (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-08-23T16:50:48Z (GMT) No. of bitstreams: 1 souza_ff_me_ia.pdf: 13041972 bytes, checksum: 3441fe83726c4f8c9d78a03b9f410e7b (MD5) / Made available in DSpace on 2017-08-23T16:50:48Z (GMT). No. of bitstreams: 1 souza_ff_me_ia.pdf: 13041972 bytes, checksum: 3441fe83726c4f8c9d78a03b9f410e7b (MD5) Previous issue date: 2017-06-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho aborda os aspectos cognitivos e os fundamentos composicionais da música eletroacústica para o audiovisual segundo Michel Chion, objetivando, assim, a realização de uma obra musical autoral de acordo com os princípios encontrados. Para tanto, foi realizada uma revisão bibliográfica crítica de sua obra, de modo a extrair ferramentas para a análise e para a composição dessa categoria de música. Com essas ferramentas, e sob o ponto de vista da interação do som com a imagem, foram analisadas obras “áudio-visuais” do próprio Michel Chion e a obra autoral na qual culminou este trabalho. De acordo com nossos estudos, o escopo desta pesquisa é algo inédito na produção acadêmica brasileira. / This research approaches the cognitive aspects and the compositional basis of the electroacoustic music to the audiovisual, according to Michel Chion. With this, it was aimed to do an authorial musical composition supported on the researched basis. To do that, a critical bibliographical research of Chion’s works was made in order to extract tools to the analysis and to the composition of this category of music. With this tools and focusing on the interaction of sound with image, it was analyzed selected audio-visual works by Michel Chion and the authorial one in which this work culminate. As far as we know, the scope of this research is something still undone in the Brazilian scientific academy.

Este memorial consiste na reflexão estética e técnica do processo de composição musical realizado na peça Anamnesis, pertencente à área da Música Eletroacústica Mista, que configurou o trabalho artístico do curso de mestrado. O trabalho escrito está dividido em três partes: a primeira aborda a postura do compositor frente aos sons e a música, suas motivações, expectativas, influências e inspirações estéticas; a segunda compreende reflexões composicionais sobre o processo criativo, a descrição de procedimentos e técnicas adotadas, além do relato de dificuldades encontradas; a terceira apresenta uma reflexão da experiência após a realização da obra em recital e após a escrita das duas primeiras partes deste memorial, com a finalidade de identificar as contribuições para o desenvolvimento do compositor e para o meio musical. / This Masters Dissertation comprises an aesthetical and technical reflection on the compositional process of Anamnesis, a live electroacoustic music composition. It is divided into three sections, of which the first discusses the positioning of the composer in relation to sounds and music, his motivations, influences and aesthetical inspirations. The second part reflects on the creative process and describes its procedures and techniques, as well as the difficulties that arose during the composition. The third and last part presents a post-recital reflection and a reflection on the first two parts of the Dissertation. Its aim is to identify the contributions that this Masters Dissertation might present to its writer as well as to the musical milieu.

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It also includes description of their elaborations, both musical compositions with existing interfaces as for interfaces built in the light of musical and technological training of this composer. The compositions were presented during the Master's degree in performing arts in SEMPEM XIII, XIV and SEMPEM qualification and defense presentations. This research therefore is divided into two parts: Part A, which consists of the artistic part where the composer presents his work to the public hearing, and Part B, which consists of all written work, the scores and algorithms in computer language to this article. / Este é um trabalho que investiga a possibilidade de composição de obras musicais com interfaces interativas criadas com algoritmos e programas que sejam S oftwares Livres desde o sistema operacional. Inclui também, descrição de suas elaborações, tanto para as composições musicais com interfaces já existentes como para as interfaces construídas à luz da formação musical e tecnológica deste compositor. As composições foram apresentadas durante o curso de mestrado em apresentações artísticas nos SEMPEM XIII, SEMPEM XIV e apresentações de qualificação e defesa. Este trabalho de pesquisa portanto se divide em duas partes: a Parte A, que consiste da parte artística onde o compositor apresenta sua obra para audição pública, e Parte B, que consiste em todo trabalho escrito, das partituras e algorítmos em linguagem computacional ao presente artigo.

Esta pesquisa tem o objetivo de realizar um mapeamento de questões presentes em um conjunto de obras que, a partir de meados da década de 1970, vêm se agrupando sob o termo - arte sonora. Para tanto, este trabalho parte de uma aproximação com o repertório, na medida em que realiza um levantamento e análise, por meio de bibliografia, discografia, catálogos de obras e outras fontes, abordando o trabalho de vários artistas que se destacam nesse âmbito, bem como apontando diversas questões extraídas desse primeiro passo. A partir daí, constatou-se que esse repertório é bastante amplo e divergente, e que a delimitação desse campo pode ser apenas aproximada. Porém, para a realização de um mapeamento do ideário da arte sonora, foi estabelecido um levantamento e análise de obras de artistas que, de uma forma ou outra, influenciaram esse processo. Três referências fundamentais são levantadas e abordadas: a Música Eletroacústica, a Installation Art e a Performance Art. Posteriormente a pesquisa concentrou-se no que, no decorrer da dissertação, chamamos de arte sonora e a partir daí, extraiu-se cinco aspectos considerados fundamentais para a análise e compreensão desse repertório. São eles: Sonoridade, Tecnologia, Interação, Espaço e Tempo. / The main purpose of this research is to map the central aspects that can be observed in a representative repertoire of art works that since the 70\' is been labeled Sound Art. This work starts from the research and analysis of this repertoire based on the available bibliography, audiography, exhibitions\' catalogues and other sources. A representative number of artists are investigated and their work analyzed. From this research it becomes evident that this repertoire is extremely large ample and divergent, and that the delimitation of this field is a difficult task. However, for the accomplishment of a mapping of the main concepts that area related to Sound Art, we proceeded the analysis of a number of works. Three basic references are investigated: Electroacoustic Music; Installation Art and Performance. Afterward the research investigated five aspects that we consider to be of fundamental importance to the comprehension of this repertoire: Sound, Technology, Interaction, Space and Time

Orientador: Stelamaris Rolla Bertoli / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-25T11:37:51Z (GMT). No. of bitstreams: 1 Cunha_IaraBatista_M.pdf: 6288212 bytes, checksum: 6312c88b95bfe2f47d5d98532d33f1ce (MD5) Previous issue date: 2014 / Resumo: Nas práticas litúrgicas da Igreja Católica, fala e música compõem as principais atividades, portanto, a qualidade acústica nas igrejas é essencial. Atualmente, do ponto de vista acústico, a compreensão da palavra é a necessidade mais relevante dos ritos católicos. Os sistemas de reforço sonoro (SRS) são utilizados como auxílio na resolução de alguns problemas recorrentes nestes espaços que atingem a qualidade da compreensão da fala, como a dificuldade do alcance da voz humana a grandes distâncias ou a interferência de ruídos urbanos no ambiente interno. Esta pesquisa se propõe a investigar o uso destes sistemas e sua influência na resposta acústica das igrejas, com ênfase na inteligibilidade da palavra. Para isso, três igrejas católicas de diferentes volumes situadas na cidade de Campinas, SP foram avaliadas segundo os parâmetros acústicos Tempo de Reverberação (TR), Tempo de Decaimento Inicial (EDT) e Definição (D50), em bandas de oitava entre 125Hz e 4kHz, além do Índice de Transmissão da Fala (STI) e da Perda de Articulação de Consoantes (ALcons). As medições foram feitas pelo método de resposta impulsiva, em duas situações: com o sinal ligado no SRS e com o sinal ligado na fonte padrão omnidirecional. Desta forma, caracteriza-se cada ambiente nas condições "com" e "sem" o sistema de sonorização, permitindo a comparação de dados entre estas duas situações. Em todos os casos sem o uso do SRS, os edifícios apresentaram condições acústicas desfavoráveis para a compreensão da fala. O SRS mostrou diferenças favoráveis para inteligibilidade na maior parte dos resultados. No entanto, quando a resposta acústica do edifício não proporciona uma qualidade positiva, o SRS não foi suficiente para elevar a avaliação qualitativa da inteligibilidade para resultados ideais / Abstract: During Catholic services, speech and music are the main activities, thus, acoustical quality in the churches is essential. Currently, from the acoustic view, the understanding of words is the most important need of Catholic rites. The sound reinforcement systems (SRS) are used as a support in solving some recurring problems in these buildings, such as the difficulty for human voice to reach great distances or due to interference from urban noise in the indoor environment. This research intends to investigate the use of these systems and their influence on the acoustic response of the churches, with an emphasis on speech intelligibility. For this, three Catholic churches with different volumes, located in the city of Campinas, SP, were evaluated according to the acoustic parameters Reverberation Time (RT), Early Decay Time (EDT) and Definition (D50), in octave bands between 125 Hz and 4 kHz, and the Speech Transmission Index (STI) and Articulation Loss of Consonants (ALcons). Measurements were made by the impulse response method, through two different situations: with the test signal injected directly on the sound system and using the omnidirectional sound source. In all cases, without the use of SRS, the buildings showed unfavorable conditions for the acoustic speech understanding. The SRS revealed positive differences for intelligibility in most of the results. However, when the acoustic response of the building itself does not provide a good quality for speech understanding, the SRS was not sufficient to raise the quality of intelligibility for optimal results / Mestrado / Arquitetura, Tecnologia e Cidade / Mestra em Arquitetura, Tecnologia e Cidade