Orientador: Jônatas Manzolli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:47:37Z (GMT). No. of bitstreams: 1 Monteiro_AdrianoClaro_M.pdf: 4807040 bytes, checksum: 3fdb8b9f91d66c6551c1e540e753d2ef (MD5) Previous issue date: 2012 / Resumo: Este trabalho apresenta um estudo sobre o computador como instrumento de performance musical. A partir deste estudo desenvolvemos processos de criação musical com base na representação algorítmica e no código computacional. Os dois principais recursos técnicos que utilizamos em nossos trabalhos foram: uma técnica de síntese sonora baseada na geração de forma de ondas por equações não-lineares; e métodos de recuperação de informação musical para prover análise e memória em tempo real dos parâmetros musicais de uma performance. O corpo da dissertação possui a seguinte estrutura: primeiramente, apresentamos as características dos instrumentos musicais digitais e as implicações de seu emprego na prática musical. Em seguida fazemos uma revisão do estado da arte da área de recuperação da informação musical e detalhamos os métodos específicos que utilizamos nesse trabalho, que incluem: a) a extração de parâmetros musicais de sinais de áudio monofônicos capturados de instrumentos acústicos; b) análises do comportamento dinâmico de medidas extraídas do sinal de áudio, através de mapas de Poincaré. Posteriormente, expomos o método de e síntese por equações não-lineares. E por fim, apresentamos os processos de criação musical que desenvolvemos com base nos estudos realizados / Abstract: This work presents a study about the computer as an instrument for musical performance. Based on this study we developed processes of music creation using the algorithmic representation and the computer code. The two main technical resources we applied in our works were: a sound synthesis method based on the generation of waveforms by non-linear equations; and methods for music information retrieval to provide a computer memory of the music parameters in real time. The dissertation has the following structure: first, we show the characteristics of the digital music instruments and the consequences of its using in the musical practice. Second, we review the state of the art of music information retrieval area and we detail the specific methods we used in our works, which include: a) the extraction of music parameters from monophonic audio signals captured from acustic instruments; b) analysis of the dynamic behavior of measurements extracted from audio signal, by means of Poincaré maps. Next, we present the sound synthesis method by non-linear equations. Finally, we show the musical creative process we developed based on our studies / Mestrado / Processos Criativos / Mestre em Música

In the summer of 1953, Karlheinz Stockhausen began composing his first piece of elektronische Musik at the Westdeutscher Rundfunk Studio for Electronic Music in Cologne. Up to that point, Stockhausen's only experience with electroacoustic music was his time spent at the Radiodiffusion-Télévision Française the previous year, where he assisted Pierre Schaeffer and composed a piece of musique concrète. An early case study in the marriage of serial aesthetics and electroacoustic techniques, Studie I is a rigorously organized work that reflects Stockhausen's compositional philosophy of a unified structural principle in which all musical materials and parametric values are generated by and arranged according to a single governing series. In spite of this meticulously wrought serial structure, Studie I displays features that are the consequences of the realities of electronic sound production either imposing on the sonic result, or altering the compositional plan entirely. I use a three-part approach to my analysis of Studie I by examining Stockhausen's serial system, the electroacoustic studio techniques in use in 1953, and the original recorded realization through spectrographic analysis. Using this methodology, I expose the blurring of the supposed divide between elektronische Musik and musique concrète by exploring the features that lie between the serial plan and the technical processes Stockhausen used to realize Studie I.

Mémoire en recherche-création / Creative dissertation / Ce mémoire présente une analyse du rôle du rien, du peu, et du négatif dans cinq œuvres musicales composées dans le cadre de la maîtrise de l’autrice : Obèle, Petite berceuse, Wet Ice and Dead Leaves, Déjà-vu, et Rêve éveillé. Leur démarche de création est analysée parallèlement à d’autres œuvres de ma maîtrise, soit la musique de la pièce de théâtre Scribouillis et celle du court-métrage du même nom. Les angles d’analyse musicale sont la théorie musicale et la cognition incarnée, et la démarche est conceptualisée comme un tout dont les éléments sont interreliés, selon la proposition du concept d’atelier par Donin et Theureux. L’esthétique est mise en contexte avec les courants minimalistes, et est mise en relation avec les buts artistiques, notamment l’inspiration d’affects négatifs et l’encouragement d’une écoute active, métaécoute, ou deep listening. Le texte vise à permettre une appréciation approfondie des œuvres et de la démarche, ainsi qu’à proposer un vocabulaire pour discuter des concepts centraux à ce type d’esthétique et de démarche artistique. La recherche-création de la maîtrise a visé à développer une approche compositionnelle unique et authentique, qui satisfasse à des critères perceptuels de cohérence et d’évocation d’un discours émotionnellement chargé, qui démontre une maîtrise de l’écriture, et qui fasse montre d’une vision artistique forte, innovante, et audacieuse. Le premier chapitre présente les concepts clefs d’analyse et détaille l’inspiration derrière les œuvres. Les motivations de la démarche de création émergent à travers la discussion de concepts tels que le négatif, le rien, le peu, et le silence ainsi que leur place dans le contexte culturel ou évolue l’autrice. L’approche compositionnelle est ancrée dans le timbre, la forme, et la perception. Le chapitre 2 illustre des aspects de la démarche de création par deux collaborations avec le théâtre de marionnettes contemporain. Les présentations des œuvres sont regroupées par similitude dans les chapitres 3 et 4 dédiés aux œuvres vocales et instrumentales, respectivement. Chaque chapitre se divise en sous-section pour les différentes œuvres. Le chapitre 6 conclut le mémoire et propose quelques liens entre les éléments abordés au cours de celui-ci. / This memoir presents an analysis of the role of nothingness, sparseness, and negativity (négatif, in French) in five musical works composed as part of the author’s master’s degree: Obèle, Petite berceuse, Wet Ice and Dead Leaves, Déjà-vu, and Rêve éveillé. Their creative process is analyzed alongside other works from the author’s master’s degree, namely the music for the play Scribouillis and the short film of the same name. The perspectives of musical analysis are music theory and embodied cognition, and the process is conceptualized as a whole, whose elements are interrelated, as proposed by Donin and Theureux, under the term atelier. The aesthetic is contextualised in relation to minimalist currents, and is discussed in relation to artistic goals, including the inspiration from negative affect emotions and the encouragement of active listening, meta-listening, or deep listening. The text aims to provide an in-depth appreciation of the works and approach, as well as a vocabulary for discussing the concepts central to this type of aesthetic and artistic approach. The research-creation carried out during the master’s degree aimed to develop a unique and authentic compositional approach that meets perceptual criteria of coherence and evocation of emotionally charged discourse, demonstrates mastery of writing techniques, and displays a strong, innovative, and audacious artistic vision. The first chapter presents the key concepts of analysis and details the inspiration behind the works. The motivations for the creative process emerge through the discussion of concepts such as the negative, the nothing, the little, and the silence as well as their place in the cultural context in which the author evolves. The compositional approach is anchored in timbre, form, and perception. Chapter 2 illustrates aspects of the creative process through two collaborations with contemporary marionette theatre. Presentations of the works are grouped by similarity in chapters 3 and 4, which are dedicated to vocal and instrumental works, respectively. Each is divided into sub-sections for the different works. Chapter 6 concludes the dissertation by proposing links between key elements.

This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and per­spectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience di­mensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user. / <p>Ljudfiler till avhandlingens bilaga 1, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Do-Be-DJ, Interaktiv installation, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Mufi I och II, Interaktiv installation, http://musicalfieldsforever.com/mufi_more.html; Doktorandtjänsten finansierades av Interactive Institute; Musikinspelning finansierades av Framtidens Kultur genom Skiften på Malmö högskola</p> / Interaktiv musikkomposition / Interactive Music Composition / Interaktiv ljuddesign / Interactive Sound Design / Musik och Hälsa / Music and Health