This paper uses the concept of mimesis to clarify the debate concerning the representation of reality in music. Specifically, this study defines the audio reality effect and the three main practices of realism as a way of understanding mimetic practices in multiple artistic media, in particular regarding the multimedia works of the "Landscape series." After addressing the historical debates concerning mimesis, this study develops a framework for the understanding of mimesis in sound by addressing the writings of Weiss, Baudrillard, Barthes, Deleuze, and Prendergast and by examining mimetic practices in 19th-century European painting and multimedia performance works. The audio reality effect is proposed as a meaningful translation of Roland Barthes' literary reality effect to the sonic realm. The main trends of realist practice are applied to electroacoustic music and soundscape composition using the works and writings of Emmerson, Truax, Wishart, Risset, Riddell, Smalley, Murray Schafer, Fischman, Young, and Field. Lastly, this study mimetically analyzes "2 seconds / b minor / wave" by Michael Pisaro and Taku Sugimoto and the works of the "Landscape series" in order to demonstrate the relevance of mimesis for understanding current musical practice.

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This practice-based research is concerned with a collection of fixed media compositions written between 2005 and 2012 with accompanying contextual writing. The primary focus of this research was to produce sound works, but the concept of place has played a significant role throughout both the compositional process and in the reflection of each composition. This research explores how place is ‘heard and felt’ (Feld, 2005) in a composition and how recollected memory impacts on the compositional process. Artistic decisions made with regard to creating the compositions reflect my personal place and associations with these sound materials at a given time whether they are field recordings or synthesised materials. The way in which sound material is subsequently processed and structured reflects this. Place and the compositional practice inform each other in a two-way process. This results in what Katharine Norman (2010) has referred to in her writing on sound art as an ‘autoethnographic’ journey; a representation of the creator’s personal experience. I have begun to reflect on these compositions as art works that represent a particular time or place. The artwork represents the trace of the place from which it was composed (Corringham, 2010). I believe that I cannot totally transport a person to my place; rather, I intend this creative representation to enable the listener to create and inspire their own narrative.

Generative music creates indeterminate systems from which music can emerge. It provides a particularly instructive field for problems of ontology, semiotics, aesthetics, and ethics addressed in poststructuralist literary theory. I outline how repetition is the ultimate basis of musical intelligibility and of memory in general. The extension of these abstractions beyond tonal music to sound in general is afforded by the concrete iterability of audio recording media. Generative systems delineate a music that is repeatable in principle and in certain qualities, though not in specific forms; a music that produces emergent complexities from novel combinations, retaining the potential to surprise. I study how noise is prevailingly presented as complementary to intention, and how music that complicates intention entails discourses of noise and purity. I compare competing narratives for the role of noise in the development of Western music under classical, avant-garde, and experimental traditions. Music functions across these narratives as a proxy for negotiation of individual and collective values, how order is imposed. Expression affirms the metaphysics of presence by averring the socially unmediated interiority of the subject. Experimentalists are skeptical toward expression, yet frequently insist on the asemiotic self-sufficiency of music. Generative musicians extend this animism, imputing living intelligence behind sounds. I further examine discourses surrounding creation and interpretation in the arts and human sciences, in particular how listening is a manner of composition. Poiesthesis is a play of materials as well as signs, facilitated by recording in a recombinant practice distinct from the encodings of notation and the approximate repetitions of aural tradition. Generative music deals in entities that are neither composition nor instrument, and yet both. The music market and the aesthetic field alike struggle to control the valuation of desubstantiated texts of generative systems, producing a kind of agoraphobia. As play is decentered from authorial intent, so must critical evaluation be. I critique the pervasive yet tacit Western notion that human technoculture plays out on a continuum from Africa to robotics, ciphers for bodily essence and intellectual autism. This cultural projection turns out to resonate throughout the history of Western music’s regard of self and other.

Os objetos de estudo específicos deste trabalho são as práticas e os processos de criação e performance de música experimental interativa desenvolvidos na última década no ambiente de pesquisas em sonologia da Universidade de São Paulo (USP). Optamos por realizar uma abordagem ampla destes objetos por entender que o contexto sociocultural no qual ocorrem cria as condições para sua realização e é, de alguma forma, refletido em suas produções. O início do trabalho é dedicado aos contextos gerais e são analisadas questões e características relevantes das sociedades contemporâneas, nas quais, dentre diversos outros processos dinâmicos e plurais, se ampliou o foco de estudo sobre as criações artísticas, englobando também o ambiente sociocultural no qual tais produções são desenvolvidas. Em seguida, observamos o contexto específico da área de sonologia da USP, representada atualmente pelo Núcleo de Pesquisas em Sonologia (NuSom), e sobre como o vínculo entre os participantes (que pode ser estabelecido tanto por afinidades como por questões institucionais), ajuda a formar uma comunidade musical na qual valores estéticos e técnicos são, de algum modo, desenvolvidos. Isto, por sua vez, além de estimular a criação de uma produção artística desta coletividade também permite o compartilhamento, entre os participantes, de ferramentas teóricas que auxiliam na realização de reflexões sobre esta produção. Em um terceiro momento são apresentados os concertos realizados nesta área (como a série ¿Música?), que exibem parte consistente da produção artística realizada neste contexto e são importantes práticas observáveis desta comunidade. São apresentados também alguns exemplos do repertório nos quais o autor do presente trabalho teve participação direta em sua elaboração. Finalmente, a partir deste contexto, são realizadas discussões sobre possíveis relações entre o músico e seu aparato instrumental. Refletimos que este aparato não se trata apenas de ferramentas passivas, mas de componentes tecnológicos que interagem dialeticamente com o criador e/ou performer, alterando seu modo de pensar as atividades de criação e performance / The specific study objects of this work concern the practices and processes of interactive experimental music creation and performance developed in the last decade in the research environment in sonology at the University of São Paulo (USP). We chose to perform a comprehensive approach of these objects for understanding the socio-cultural context in which occur that creates the conditions for its realization and is somehow reflected in their productions. The beginning of the work is devoted to general contexts where some issues and relevant features of contemporary societies are analyzed, in which, among several other plurals and dynamic processes, expanded the focus of study on the artistic creations, also encompassing the socio-cultural environment in which such productions are developed. Then we observe the specific context of the sonology area at USP, currently represented by the Research Center in Sonology (NuSom), and about how the bond between participants (which can be established both by affinities or per institutional issues), helps form a \'musical community\' in which aesthetic and technical values are somehow developed. This scenario besides stimulating the creation of an artistic production of this collective also enables the sharing, between the participants, of theoretical tools that assist in the realization of reflections on this production. In a third moment are presented the concerts held in this area, which exhibit a consistent part of the artistic production held in this context and are important \"observable practices\" of this community. Some examples of repertoire in which the author of this work had direct participation in their preparation are also presented. In conclusion, from this context, discussions are held about possible relationships between the musician and his instrumental apparatus. We reflect that this apparatus is not just passive tools but technological components that interact dialectically with the creator and/or performer, changing his way of thinking the activities of creation and performance

Este trabalho parte da constatação de que existe um lugar em que a música experimental e a arte sonora brasileira se encontram: a gambiarra. Com o objetivo de conhecer as dimensões e fronteiras desse lugar, a jornada desta pesquisa está dividida em três momentos. O primeiro, \"Genealogia da gambiarra\", visa introduzir as características gerais da gambiarra, relacionando-a com aspectos culturais globais e locais. O segundo momento, \"Arte e gambiarra\", aborda a gambiarra por duas perspectivas: \"da arte\" e \"do som\". \"Da arte\" explica como o termo gambiarra deixa de ser uma expressão de uso exclusivo às soluções improvisadas do cotidiano para se tornar presente no fazer e pensar artístico brasileiro, em especial no campo da arte-mídia e midiativismo; \"do som\" ilustra uma série de técnicas e aspectos do experimentalismo sonoro que remetem ao modus opperandi da gambiarra. O terceiro capítulo, \"Artistas do sonoro\", apresenta o repertório que impulsionou a escrita desta tese, o qual torna evidente esse lugar comum entre música experimental e arte sonora brasileira. A jornada termina com a formulação de uma ferramenta de análise que busca evidenciar regimes do sonoro quanto ao uso de materiais e dispositivos técnicos / This work originates from the observation that there is a place in Brazilian society where music and sound art collide: the Gambiarra. In order to trace the dimensions and boundaries of this subject, the journey of this research is divided into three chapters. The first \"Gambiarra\'s genealogy\" introduces the concept and the characteristics of Gambiarra, relating it to global and local cultural aspects. The second \"Art and Gambiarra\" addresses two perspectives: art and sound. The \"art\" perspective explains how the term Gambiarra - which is normally related to the everyday improvisation of solutions from the lack of tools and materials - starts to be a reference in the Brazilian art field, particularly in those of media art and media activism from the beginning of 2000. The \"sound\" perspective illustrates techniques and aspects of experimentation in the field of sound which refers to Gambiarra\'s way. The third chapter, \"Artists\" presents the repertoire that drove the writing of this thesis, which shows the overlap between Brazilian experimental music and sound art. The journey ends by drawing an analytical scheme based on the use of materials and technical devices that allow us to look back at the repertoire from another perspective.

O presente trabalho tem a intenção de, primeiramente, estudar a guitarra elétrica como interface de composição e improvisação através da utilização de novas tecnologias digitais na música experimental; em um segundo momento, propõe uma composição musical utilizando alguns aparatos tecnológicos acoplados à guitarra. Essas ferramentas foram escolhidas após um extensivo mapeamento individual e através de experimentações de suas potencialidades do processamento sonoro quando abordadas com o instrumento. O material composicional foi posteriormente construído a partir de observações e reflexões do autor sobre o uso do instrumento enquanto interface no diálogo com as novas tecnologias digitais presentes na computação móvel. O trabalho traz também o registro autoetnográfico do período de pesquisa de algumas das ferramentas digitais selecionadas quando em uso com a guitarra elétrica e o processo de composição e registro da peça proposta, além de sua posterior análise. Em sua conclusão, são apresentadas, portanto, as observações e reflexões desta interação do instrumento e suas novas formas de instrumenticidade quando acoplado ao computador. / This work intends to, first, study the electric guitar as composition and improvisation interface through the use of new technology in experimental music; in a second moment, proposes a composition using some technological devices attached to the electric guitar. These tools were chosen after an extensive mapping individual trial and through its sound processing capabilities when addressed with the instrument. The compositional material was subsequently constructed from observations and author\'s reflections on the use of the instrument as an interface in dialogue with the new technologies available in mobile computing. The work also brings an auto-ethnography record of the research period of a few digital tools selected when in use with the electric guitar and the writing process and recording of the piece proposed, and its subsequent analysis. In its conclusion, therefore presents the observations and reflections from this interaction of the instrument and its new forms of instrumentness when attached to the computer.

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.

Neste trabalho são observados processos de trabalho envolvidos na criação musical dentro do que se pode chamar de música experimental, observando, particularmente, o trabalho de alguns grupos brasileiros realizado entre os anos de 2000 e 2016. O trabalho é dividido em três partes: na primeira, estabelece-se um contexto, por meio de uma discussão do termo \"música experimental\", da observação de práticas históricas e de uma análise das condições dessa produção no Brasil no período citado. Na segunda, são abordadas práticas desenvolvidas por alguns grupos / coletivos (Artesanato Furioso, Brechó de Hostilidades Sonoras, Circuito de Improvisação Livre, Hrönir, Orquestra Errante, QI) bem como práticas associadas ao tema nas quais o autor do trabalho participou, especialmente durante o período da pesquisa (2013-2016), junto a diversos artistas e grupos. Na terceira, são feitas reflexões sobre algumas características de tais práticas, trazendo à tona questões relacionadas a autoria, especificidade, identidade individual e coletiva, oralidade e relações de trabalho / In this thesis, the work processes involved in musical creation are observed within what may be called experimental music, observing, in particular, the work of some Brazilian groups between the years 2000 and 2016. The thesis is divided in three parts: in the first part, a context is established, through a discussion of the term \"experimental music\", the observation of historical practices and an analysis of the conditions of this production in Brazil within the above mentioned period. The second part deals with practices developed by some groups (Artesanato Furioso, Brechó de Hostilidades Sonoras, Circuito de Improvisação Livre, Hrönir, Orquestra Errante, QI) as well as practices in which the author of the work participated, especially during the research period (2013-2016), along a few artists and groups. In the third part, reflections on some characteristics of such practices are made, raising questions related to authorship, division of labor, identity, orality and specificity.

Neste trabalho são observados processos de trabalho envolvidos na criação musical dentro do que se pode chamar de música experimental, observando, particularmente, o trabalho de alguns grupos brasileiros realizado entre os anos de 2000 e 2016. O trabalho é dividido em três partes: na primeira, estabelece-se um contexto, por meio de uma discussão do termo \"música experimental\", da observação de práticas históricas e de uma análise das condições dessa produção no Brasil no período citado. Na segunda, são abordadas práticas desenvolvidas por alguns grupos / coletivos (Artesanato Furioso, Brechó de Hostilidades Sonoras, Circuito de Improvisação Livre, Hrönir, Orquestra Errante, QI) bem como práticas associadas ao tema nas quais o autor do trabalho participou, especialmente durante o período da pesquisa (2013-2016), junto a diversos artistas e grupos. Na terceira, são feitas reflexões sobre algumas características de tais práticas, trazendo à tona questões relacionadas a autoria, especificidade, identidade individual e coletiva, oralidade e relações de trabalho / In this thesis, the work processes involved in musical creation are observed within what may be called experimental music, observing, in particular, the work of some Brazilian groups between the years 2000 and 2016. The thesis is divided in three parts: in the first part, a context is established, through a discussion of the term \"experimental music\", the observation of historical practices and an analysis of the conditions of this production in Brazil within the above mentioned period. The second part deals with practices developed by some groups (Artesanato Furioso, Brechó de Hostilidades Sonoras, Circuito de Improvisação Livre, Hrönir, Orquestra Errante, QI) as well as practices in which the author of the work participated, especially during the research period (2013-2016), along a few artists and groups. In the third part, reflections on some characteristics of such practices are made, raising questions related to authorship, division of labor, identity, orality and specificity.