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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

The basis of this research project stems from reflections upon the process of composition for electroacoustic audio-visual music. These are fixed media works in which sound and image materials are accessed, generated, explored and configured in creation of a musically informed audio-visual expression. Within the process of composition, the composer must decide how to effectively draw relationships between these time based media and their various abstract and mimetic materials. This process usually has no codified laws or structures and results in relationships that are singular to the individual artworks. The composer uses their own experience and intuition in assessing how best to associate sounds and images and they will use their own interpretation of the materials to evaluate the how successful they are in realising their intentions. But what is there to say that the interpretation made by the composer bares any resemblance to interpretations made by audiences? The current research sought to assess any trends or commonalities in how people interpret such works. Utilising a combination of empirical research, composition and scholarly study, the project investigated various theoretical approaches to interpretation and the occurrence of correlation between compositional intention and audience interpretation. Models from different theoretical disciplines were combined in order to build up a picture of the processes involved in making interpretations, and to aid in the rationalisation of empirical data. The application of three methodological approaches allowed for the topic to be considered from a diversity of perspectives, and for triangulation to take place in confirmation of the research outcomes. The way in which individuals build up interpretations from non-codified abstract and mimetic materials also provided a suitable case study for the critique and assessment of various theoretical approaches to interpretation. The project challenges structuralist approaches to interpretation, drawing together theoretical materials and empirical research findings in support of a post-structrualist model of interpretation that demonstrates the absolutely vital role played by context - the framing of the artwork in the consciousness of the individual audience member.

François Bayle (né en 1932), compositeur de musique électroacoustique et directeur du Groupe de Recherches Musicales (GRM) de 1966 à 1997, a toujours affirmé son intérêt pour les arts plastiques. Ce constat nous incite à penser qu'il existe une incidence importante des éléments picturaux sur le processus de création, et par conséquent des répercussions majeures sur l'écoute et la perception d'un style particulier au compositeur.Une première partie aborde les notions de lumière et d'obscurité, qui semblent correspondre à deux pôles musicaux récurrents (transparence/brouillage), tandis que le modèle de la couleur concernerait des données musicales s'appliquant à une pièce entière, et s'apparenterait à l'idée de ton général, au sens pictural du terme.Les modèles du fond et de la forme graphique se comprennent comme description des variations sonores sur une petite échelle de temps. L'étude de leurs rapports, notamment par l'établissement d'une typologie des situations d'écoute, permet de mettre en évidence des choix esthétiques basés sur des axes sonores équilibrés, et une musique pensée comme doublage du monde sonore réel.Une dernière partie s'interroge sur les possibilités d'intégration de modèles picturaux, par définition statiques, dans une structure musicale dynamique. Il apparaît que, si les procédés de juxtaposition sont prédominants, la structure générale n'en est pas moins orientée, offrant une double lecture de la pièce ou du cycle. / François Bayle (born 1932), French composer of electroacoustic music and head of the Groupe de Recherches Musicales (GRM) from 1966 to 1997, has always claimed an interest in plastic arts. This leads us to think that pictorial elements have an important impact on our perception of the composer's style.The first section addresses the notions of light and darkness, which seem to match two poles (transparency/blur), while the model of color is related to the whole piece, and could be compared to the general tone of a painting.The models of background and graphical form can be understood as descriptions of sonic variations on a short time scale. The study of their relation to one another, in particular thanks to a typology of listening situations, enables us to bring to light esthetical choices based on balanced axes, and conveys the music as a double of the real sonic world.The last section investigates the integrational possibilities of pictorial models, which are static by definition, within a dynamic musical structure. Even if juxtaposition processes prevail, the general structure is oriented, and offers a second reading to the piece.Keywords : composition, electroacoustic music, musical analysis, François Bayle, painting, plastic arts, Groupe de Recherches Musicales (GRM), color, form, morphology

As the bassoon has evolved over time, the music written for the instrument has evolved around it, and was many times the catalyst for its evolution. Bassoon music of the seventeenth through early twentieth centuries has defined much of the curricula for bassoon studies, and has established how we consider and experience the bassoon. We experience, write, and consume music in vastly different ways than just a generation ago. Humans use technology for the most basic of tasks. Composers are using the technology of our generation to compose music that is a reflection of our time. This is a significant aspect of art music today, and bassoonists are barely participating in the creation of this new repertoire. Performance practice often considers only the musical score; interactive electronic music regularly goes beyond that. The combination of technological challenges and inexperience can make approaching electroacoustic music a daunting and inaccessible type of music for bassoonists. These issues require a different language to the performance practice: one that addresses music, amplification, computer software, hardware, the collaboration between performer and technology, and often the performer and composer. The author discusses problems that performers face when rehearsing and performing interactive electroacoustic works for bassoon, and offers some solutions.

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Nesta dissertação, buscou-se realizar um estudo histórico e analítico acerca do desenvolvimento da poética e dos processos da música eletroacústica na trilha sonora - principalmente na trilha musical - do cinema de ficção científica norte-americano. A música eletroacústica, a começar por suas primeiras manifestações através dos instrumentos eletrônicos e de técnicas de manipulação de tape magnético, esteve associada, desde o início do cinema sonoro, à ficção científica e ao terror. Na década de 1950, com o início da era de exploração espacial no cinema norte-americano, os sons eletrônicos se associaram ao universo alienígena e às narrativas de futuro. Nos anos seguintes, os gestos e funções indiciais desses primeiros instrumentos foram adaptados aos sintetizadores e às novas gerações de dispositivos eletrônicos. Assim, lentamente se consolidou uma tradição que relacionaria, durante os anos subsequentes, a música eletroacústica às narrativas de suspense, terror e ficção científica. Para entender como se deu a utilização de sons eletrônicos no cinema de ficção científica ao longo do século XX, partimos da exposição de alguns pressupostos metodológicos de análise audiovisual e de música eletroacústica. Estes, por sua vez, serviram como norteadores para as análises realizadas no final da dissertação. Posteriormente, seguimos por dois caminhos: um, cujo objetivo é descrever o desenvolvimento dos processos formadores da poética da música eletroacústica e seu uso no cinema; e outro, onde tentamos delinear o desenvolvimento da trilha sonora de filmes de ficção científica que se apropriaram de elementos advindos da música eletroacústica. No último capítulo, realizamos a análise de quatro filmes de diferentes períodos. Cada filme selecionado pode ser considerado representativo no uso de processos e técnicas da música eletroacústica de sua época; são eles: O planeta proibido (1956), THX 1138 (1971), Tron: uma odisseia eletrônica (1982) e A última profecia (2002). / The electroacoustic music, starting with its first manifestations such as electronic instruments and magnetic tape manipulation techniques, have been associated, since the beginning of movies with sound, to science fiction and horror. In the 50\'s, with the beginning of an era of space exploration in north-american motion pictures, the electroacoustic sounds were definitely associated with the alien\'s universe and futuristic narratives. In the following years, the gestures and functions of those first instruments were adapted to the synthesizers and to the new electronic device generation. Thus, it slowly consolidated a tradition that would relate the electroacoustic music to suspense, horror and science fiction narratives for the subsequent years. In order to understand how the use of electronic sounds in science fiction movie pictures happened during the twentieth century, we will start with the exposure of some methodological assumptions of audio-visual and electroacoustic music analysis. These will, on the other hand, work as guides for the final analysis in the end of this dissertation. Afterwords, we followed through two paths: one of them aimed to describe the developmental processes of electroacoustic music\'s poetic since its origin and its use in the cinema; and for the other path we tried to outline the soundtrack\'s development of science fiction motion pictures that made use of elements coming from electroacoustic music. Each selected movie may be considered representative of its own time in this use of electroacoustic music\'s processes; which are: Forbidden Planet (1956), THX 1138 (1971), Tron (1982) and The Mothman Prophecies (2002).

Este trabalho analisa o uso de interfaces físicas digitais na criação e performance da música eletroacústica em tempo real, sobretudo pelo conceito de gesto musical. Para tal propósito, primeiramente, foi realizado um estudo sistemático de dois objetos centrais para pesquisa, a saber, as interfaces digitais e o conceito de gesto em música. Revisitamos alguns elementos sobre a construção de instrumentos musicais digitais, acrescentado novas perspectivas à luteria digital a partir da concepção de gesto musical, como por exemplo, na concepção de mapeamento. Além disso, levantamos algumas questões estéticas referentes tanto a compreensão destas interfaces como instrumentos musicais quanto seu uso na composição musical e na performance do live electronics. O conceito de gesto musical, por usa vez, é compreendido neste trabalho como uma questão emergente da prática musical na contemporaneidade. Apontamos para os diferentes entendimentos das pesquisas em música sobre os significados contidos neste conceito, como suas dimensões corporal e sonora e suas capacidades cinética e semântica. Assim, expandimos o conceito de gesto musical em um contexto que utiliza estas interfaces para ideias como as de corporalidade, fisicalidade e causalidade. Posteriormente, propomos a junção entre os elementos presentes no conceito de gesto musical com os elementos constitutivos das interfaces e com a prática de criação musical e performance mediada por elas, principalmente sobre o ponto de vista da causalidade. Desta maneira reconhecemos que o relacionamento entre as ações corporais e os movimentos sonoros contribuem para a significação musical nas práticas que utilizam interfaces físicas digitais. Identificamos que estas relações de causalidade podem se apresentar desde modelos físico-naturais de coerência gestual, como em relações artificiais entre gesto e som e seus substituintes. Finalmente, é apresentada uma metodologia de análise para performances que utilizam estas interfaces, como aqui compreendidas, que contemplam tanto como a interface se apresenta para o músico que a toca quanto como a relação entre performer e interface podem ser compreendidas pelo espectador-ouvinte. Estas proposições demonstram como as interfaces estão inseridas em um contexto que considera o corpo como um elemento estético na criação da música eletroacústica ao vivo. / This research analyzes the use of digital physical interfaces in the creation and performance of electroacoustic music in real time, especially the concept of musical gesture. For this purpose, first, we conducted a systematic study of two central objects for research, namely, digital interfaces and the concept of gesture in music. We revisit some core elements of the construction of digital musical instruments, added new perspectives to digital luthiery from the concept of musical gesture as the mapping. In addition, we raised some aesthetic issues both an understanding of these interfaces as musical instruments as their use in musical composition and performance of live electronics. The concept of musical gesture, in turn, is understood in this study as an emerging issue of musical practice nowadays. We pointed to the different understandings of research in music about the meanings contained in this concept, as body and sound dimensions and kinetic and semantic capabilities. Thus, we have expanded the concept of musical gesture in a context that uses these interfaces to ideas such as corporeality, physicality and causality. Subsequently, we propose the junction between the elements present in the concept of musical gesture with the constituent elements of the interfaces and the practice of music creation and performance mediated by them, especially on the point of view of causality. Thus we recognize that the relationship between bodily actions and sound movements contribute to the musical significance in practices that use digital physical interfaces. We identify that these causal relationships may present from physical and natural models of gestural coherence, as artificial relationship between gesture and sound and their surrogates Finally, it is presented a methodology for performances that use these interfaces, as here understood, which include both how the interface is presented to the musician that plays much like the relationship between performer and interface can be understood by the viewer-listener. These proposals demonstrate how the interfaces are inserted in a context that considers the body as an aesthetic element in the practice of the live electroacoustic music.