Alors qu’il est interrogé sur la nature fragmentaire de l’écriture se faisant jour dans ses dernières œuvres, Luigi Nono affirme : « la logique du discours est pour moi quelque chose de terrifiant. » En signifiant ainsi son opposition au discours musical, le compositeur italien ne revendique pas seulement le refus du principe de déduction et l’univocité du développement : c’est le fondement même de l’expression musicale occidentale qu’il considère comme caduc. Car la musique écrite appartient aux disciplines du logos, domaine de la pensée et de sa loi d’intelligibilité auquel elle a longtemps été inféodée, même lorsque ses théoriciens ont revendiqué son autonomie. Aussi, la notion de discours musical se rapporte à un modèle de raisonnement hérité de la pensée syllogistique issue de la rhétorique aristotélicienne. Décliné au cours de son Histoire sous les méthodes du contrepoint, du développement ou encore de la variation, le principe d’engendrement causal de la forme révèle néanmoins son aporie à partir de la première moitié du XXe siècle. La génération de compositeurs se retrouvant à Darmstadt au lendemain de la Seconde Guerre Mondiale se confronte alors à une double difficulté. D’une part, le renouvellement des structures logiques de la musique apparaît comme une véritable urgence afin de libérer l’écriture musicale de la rigidité des systèmes qui l’ont dirigée depuis la fin de la Renaissance. D’autre part, l’avènement des nouvelles technologies dévoile la richesse du phénomène sonore et intime à repenser l’expression musicale au contact de ce matériau inédit qui ne peut se réduire aux procédés compositionnels instrumentaux. Dès lors, l’acte d’écriture s’enrichit d’une responsabilité critique, en ce qu’il doit se satisfaire à l’exigence d’une articulation logique tout en rompant avec la rigidité d’un discours univoque imposé à l’écoute. C’est dans ce contexte que Pierre Boulez et Luigi Nono propose une esthétique musicale mixte fondée sur la virtualité, l’espace et la résonance au cours des années 1980, instaurant un régime discursif unifiant l’hétérogène sans le contraindre ni l’abolir. / When he is questioned about the fragmentary nature of the writing appearing in his last works, Luigi Nono asserts: “the logic of the discourse is something terrifying for me.” By standing against the musical discourse, the Italian composer does not just claim his refusal of the principle of deduction and the univocity of the development: he also considers the foundation of the western musical expression as obsolete. Indeed, written music belongs to the disciplines of the logos, the domain of the thought and its law of comprehensibility in which it was enfeoffed for centuries, even when the theorists claimed its autonomy. So, the notion of musical discourse relates to a model of reasoning inherited from the syllogistic thought of the Aristotelian rhetoric. Declined during its History under the methods of the counterpoint, the development or the variation, the principle of causal establishment of the form reveals its aporia since the first half of the 20th century.Then, the composers who went to Darmstadt after the World War II confront themselves with a double difficulty. On one hand, the renewal of the logical structures of the music appears as an urgency to release the musical writing of the rigidity of the systems which managed it since the end of the Renaissance. On the other hand, the advent of the new technologies reveals the richness of the sound phenomenon and suggest to reconsider the musical expression in order to integrate this material, which cannot be reduced to the writing processes of instrumental music. Therefore, the act of composing is enhanced by a critical responsibility because the composer has to fulfill the requirement of a logical articulation while he abolished the rigidity of an unambiguous discourse imposed on the listening. It is in this context that Pierre Boulez and Luigi Nono propose an electroacoustic aesthetics based on virtuality, space and resonance during the 1980s, establishing a discursive regime which unifies the heterogeneous without forcing it nor abolishing it.

The ʻaudiovisual objectʼ is a fusion of sound object and visual object to create an identifiable perceptual phenomenon, which can be treated as a ʻbuilding blockʼ in the creation of audiovisual work based primarily on electroacoustic composition practice and techniques. This thesis explores how the audiovisual object can be defined and identified in existing works, and offers an examination of how it can be used as a compositional tool. The historical development of the form and the effect of the performance venue on audience immersion is also explored. The audiovisual object concept builds upon theories of electroacoustic composition and film sound design. The audiovisual object is defined in relation to existing concepts of the sound object and visual object, while synaesthesia and cross-modal perception are examined to show how the relationship between sound and vision in the audiovisual object can be strengthened. Electroacoustic composition and animation both developed through technological advances, either the manipulation of recorded sounds, or the manipulation of drawn/photographed objects. The key stages in development of techniques and theories in both disciplines are examined and compared against each other, highlighting correlations and contrasts. The physical space where the audiovisual composition is performed also has a bearing on how the work is perceived and received. Current standard performance spaces include acousmatic concert systems, which emphasize the audio aspect over the visual, and the cinema, which focuses on the visual. Spaces which afford a much higher level of envelopment in the work include hemispheric projection, while individual experience through virtual reality systems could become a key platform. The key elements of the audiovisual object, interaction between objects and their successful use in audiovisual compositions are also investigated in a series of case studies. Specific audiovisual works are examined to highlight techniques to create successful audiovisual objects and interactions. As this research degree is in creative practice, a portfolio of 4 composed works is also included, with production notes explaining the inspiration behind and symbolism within each work, along with the practical techniques employed in their creation. The basis for each work is a short electroacoustic composition which has then been developed with abstract 3D CGI animation into an audiovisual composition, demonstrating the development of my own practice as well as exploring the concept of the audiovisual object. The concept of the audiovisual object draws together existing theories concerning the sound object, visual perception, and phenomenology. The concept, the associated investigation of how audiovisual compositions have evolved over time, and the analysis and critique of case studies based on this central concept contribute both theory and creative practice principles to this form of artistic creativity. This thesis forms a basis for approaching the creative process both as a creator and critic, and opens up a research pathway for further investigation.

This portfolio of compositions investigates the adaptation of state-space models, frequently used in engineering control theory, to the electroacoustic composition context. These models are mathematical descriptions of physical systems that provide several variables representing the system’s behaviours. The composer adapts a set of state-space models of either abstract, mechanical or electrical systems to a music creation environment. She uses them in eight compositions: five mixed media multi-channel pieces and three mixed media pieces. In the portfolio, the composer investigates multiple ways of meaningfully mapping these system’s behaviours into music parameters. This is done either by exploring and creating timbre in synthetic sound, or by transforming existing sounds. The research also involves the process of incorporating state-space models as a real-time software tool using Max and SuperCollider. As real-time models offer several variables of continuous evolutions, the composer mapped them to different dimensions of sound simultaneously. The composer represented the model’s evolutions with either short/interrupted, long or indefinitely evolving sounds. The evolution implies changes in timbre, length and dynamic range. The composer creates gestures, textures and spaces based on the model’s behaviours. The composer explores how the model’s nature influences the musical language and the integration of these with other music sources such as recordings or musical instruments. As the models represent physical processes, the composer observes that the resulting sounds evolve in organic ways. Moreover, the composer not only sonifies the real-time models, but actually excites them to cause changes. The composer develops a compositional methodology which involves interacting with the models while observing/designing changes in sound. In that sense, the composer regards real-time state-space models as her own instruments to create music. The models are regarded as additional forces and as sound transforming agents in mixed media pieces. In fixed media pieces, the composer additionally exploits their linearity to create space through sound de-correlation.

In this thesis, the author explored an alternative way of composing contemporary western art music, being inspired by thoughts regarding post-genre. The composition method incorporated the use of the Digital Audio Workstation (DAW) software Cubase. Musical gestures were recorded with two musicians which where used as samples in the DAW to compose the piece Lines. The role of the score was shifted by moving it’s realisation to after the aural result was completed. The process was inspiring and was perceived to work well for a textural piece of music. Using a DAW when composing contemporary western art music is something that could be explored by classically trained composers in favour of working solely in a notation software. The result was the digitally made recording of Lines and two scores; one aimed to reproduce the recorded version (where only violin and violoncello where used) and another where adjustments where made, mainly in the instrumentation, to facilitate live performances by string orchestras.

A técnica de Microbalança de Cristal de Quartzo (QCM) tem sido utilizada para a aplicação em biossensores. Esta técnica consiste no monitoramento da freqüência de oscilação do cristal de quartzo e a variação de freqüência está relacionada com a variação de massa na superfície do cristal por meio da equação de Sauerbrey. Porém, sabe-se que há discrepância entre a massa calculada pela equação de Sauerbrey e a massa real aderida na superfície do cristal de quartzo, sendo tal discrepância causada por fatores tais como a viscoelasticidade, o que é especialmente observado para macromoléculas e sistemas biológicos. Com a técnica de Admitância Eletroacústica (AE) é possível analisar a massa real devido à análise em separado dos parâmetros que compõem o circuito equivalente do cristal de quartzo e também inferir informações sobre a estrutura das monocamadas montadas sobre a superfície do cristal de quartzo. Neste trabalho foi utilizada técnica de AE para se potencializar e detalhar o estudo da formação de monocamadas automontadas e interações entre diferentes proteínas e carboidratos. Em muitos casos verificou-se que durante a formação de determinadas monocamadas, grande parte da variação de massa estava relacionada a interações fracas e não-específicas. Também durante a formação das monocamadas de tióis de cistamina, verificou-se que a estrutura da monocamada é extremamente dependente das concentrações iniciais de cistamina utilizadas para formar a monocamada. As interações entre proteínas e carboidratos foram realizadas após formação de multicamadas nas quais as proteínas eram imobilizadas para depois estudar-se, então, sua interação com carboidratos específicos. No caso da Jacalina, um tipo de lectina, observou-se interações bastante específicas com a fetuína e interações fracas com a alfa-lactose. A atividade da enzima GumH também foi testada com sucesso utilizando a técnica de AE. / The Quartz Crystal Microbalance (QCM) has been largely used for biosensor applications. This technique consists on monitoring quartz crystal oscillation frequency. The relationship of quartz crystal frequency variation with mass deposited on the crystal surface is described by Sauerbrey´s equation. However, the relationship is not directly inferred and discrepancy exists caused mainly by viscoelasticity features of mass adsorbed on the quartz crystal surface. The viscoelastic influence is very common to be observed especially for macro-molecules and biological systems. By using Electroacoustic Admittance (EA) technique it is possible to calculate and separate the real mass deposited over the quartz crystal from other contributions. Therefore, the EA was used to infer about self-assembly monolayer structure being deposited over the quartz crystal. In this work EA technique was used to study details of self-assembled monolayer formation and specific interactions between different proteins and carbohydrate molecules. It was observed that during monolayer formation the majority of mass variation was related to non-specific interactions. For instance, regarding cystamine monolayer formation it was observed that the monolayer structure is dependent on the cystamine concentrations in the liquid medium. The study of interactions between proteins and carbohydrates was conducted by means of multilayers approach in which the proteins are immobilized previously to study the interaction between its active sites and carbohydrates. In the specific case of Jacalin, a type of lectin, it was observed a large formation of specific bonding between this protein and alpha-lactose or fetuin. The GumH enzyme activity was also tested successfully by using of EA technique.

Orientador: Denise Hortência Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:41:57Z (GMT). No. of bitstreams: 1 Mamedes_ClaytonRosa_M.pdf: 56445719 bytes, checksum: 5aa77ec88f4cefec6634aaef3a7bb216 (MD5) Previous issue date: 2010 / Resumo: A presente pesquisa objetiva realizar um panorama da produção de música eletroacústica paulista entre as décadas de 1990 e 2000, focando-se no trabalho desenvolvido por doze compositores desta que consideramos a primeira geração a empregar o computador como ferramenta básica de suporte à composição. Foi aqui estudada a produção dos compositores José Augusto Mannis, Flo Menezes, Edson Zampronha, Denise Garcia, Rodolfo Coelho de Souza, Lívio Tragtenberg, Lelo Nazário, Fernando Iazzetta, Sílvio Ferraz, Ignacio de Campos, Wilson Sukorski e Jônatas Manzolli. Neste trabalho enfocamos obras características destes compositores, através das quais localizamos sua área de atuação específica no gênero eletroacústico, classificando-os de acordo com a mídia proeminente dentre o escopo de suas respectivas produções, construindo desta forma um quadro sucinto do período / Abstract: The present research aims to produce a panoramic view of the musical production on Brazilian electroacoustic music from the State of São Paulo from 1990 to 2000. It studies works produced by twelve composers of the first generation which worked exclusively with computers as a compositional tool. We studied here the production of the composers José Augusto Mannis, Flo Menezes, Edson Zampronha, Denise Garcia, Rodolfo Coelho de Souza, Lívio Tragtenberg, Lelo Nazário, Fernando Iazzetta, Sílvio Ferraz, Ignacio de Campos, Wilson Sukorski and Jônatas Manzolli. In this dissertation we focused main works of these composers, among which we localized their specific area of actuation in the electroacoustic genre, classifying them to the most important media of their production, building an approach of that period / Mestrado / Processos Criativos / Mestre em Música

A presente dissertação visa repertoriar e fazer uma reflexão sobre obras e performances de música eletrônica experimental que utilizam músicas e gravações de músicas como material musical. Investiga a colagem musical enquanto prática, em suas diversas possibilidades de emprego. Contextualiza o tema, mostrando antecedentes na tradição da música europeia de concerto e nas artes visuais. Traça uma pequena cronologia a partir do repertório e realiza um histórico quanto às tecnologias empregadas. Introduz categorias importantes, como o sampleamento, o plunderphonics, a citação, o plágio e a intermusicalidade. Aborda o conceito de referencialidade e o coloca como importante fator composicional, relacionando-o a noções como reconhecimento, fontes sonoras e musicais, familiaridade, pastiche. Discorre sobre dois subtemas: o trio bricolagem, assemblagem e descolagem e o período pós-moderno. Conclui pensando a relação entre colagem musical e o caráter de incompletude dos artefatos musicais. / This research aims to make a repertoire of and a reflection upon works and performances of electronic experimental music that use music and musical recordings as compositional material. It investigates the practice of musical collage in its several possibilities of use. It starts by contextualizing the theme: showing some antecedents in the european concert music tradition and in the visual arts; making a small chronology from the repertoire and a historical account of the technologies employed. Introduces important categories such as sampling, plunderphonics, quotation, plagiarism and intermusicality. Addresses the concept of referentiality, treating it as an important compositional aspect and relating it with the notions of recognition, sound and musical sources, familiarity, pastiche. Explores two subthemes: the trio bricolage, assemblage, décollage and the postmodern period. In conclusion, thinks about the relation of musical collage and the incompleteness character of musical artefacts.

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).

Solos for euphonium with electronic media present the unique challenge of incorporating an active, physical involvement in the live accompaniment through sound-altering technology such as guitar pedals or digital processors. Instructions for this solo genre are often vague and demand a general knowledge of how to use non-traditional devices. Due to the lack of information available on newly-composed pieces for this medium, students and professionals easily overlook the artistic merit of electroacoustic music. This dissertation provides a comprehensive performance guide that aids in the set-up and operation of advanced technology and presents a methodical approach to performing common musical and technical challenges found in modern euphonium repertoire with electronic media. Included in this dissertation are tables of common audio vocabulary and images of connectors, safety precautions, equipment recommendations with performance settings, a list of required connectors, adapters, cables, speakers, and amplifiers, performance set up diagrams, background information, and analyses of both the technical and musical aspects of each piece. In the appendices are signal flow charts, visual illustrations of polar recording patterns, and an updated catalog of published and unpublished original, adapted, and arranged euphonium solos with live electronics and electronic media accompaniment between 1970 and 2017.

This project is based on questions about the significance of the acoustic space for kulning (herding calls). Swedish vocal folk music and in particular kulning, is at the center of my expressive, musical language. I was seduced by the tonality, variety, flexibility in Swedish folk singing as well as the individual freedom of expression. In this work I want to reflect past and present, based on the voice and singing style from my own perspective. The questions were: How can I kula if I don´t have a forest, the natural environment for kulning? Can I create a virtual forest indoors, for my voice to sound in a similar way as outdoors, that would feel like kulning outdoors? Can I find an analog or electronic backdoor to a perfect kulning sound in indoor spaces? Can I create new music with the idea that the room is an extension of the kulning sound? and in the end, how do I convey the artistic qualities of kulning to someone else? I have investigated those questions in the artistic project - The Dome - Part I, Part II and Part III by creating spatial music for voices, in two different dome-shaped indoor spaces. The insight that the room is an extension of the sound of kulning made me understand the importance of uncompromising acoustics. I revalue techniques, directions and positions. Try out tools to create - virtual SoundScapesusing digital technology. Experiment with exercises that can give my voice long durability. Try out composition models to get musical ideas to implement in new music. The artistic outcomes of this research are new concepts for kulning in electroacoustic and analog indoor spaces. The result of the project has become a number of methods for composition, improvisation, performing and teaching.    The project has been documented in a website: http://footprints.mariamisgeld.se