The research aims to propose a narrative of the experience of listening and to provide some first examples of its possible application. This is done in three parts. Part One, “Words”, aims to methodologically frame the narrative by discussing the limits and requirements of a theory of listening. After discussing the difficulties of building an objective characterization of the listening experience, the research proposes that any theorization on listening can only express a point of view that is implied by descriptions of listening both in linguistic terms and in the data they involve. The analysis of theories about listening is therefore conducted through a grammatical path that unfolds by following the syntactic roles of the words involved in theoretical claims about listening. Starting from the problem of synonymy, the analysis moves around the subject, the object, adjectives and adverbs to finally discuss the status of the references of the discourses on listening. The Part One ends by claiming the need to reintroduce the subject in theories about listening and proposes to attribute the epistemological status of the narrative to any discourse about the listening experience. This implies that any proposed narrative must substitute its truth-value with the instrumental value that is expressed by the idea of “viability”. The Part Two, “Patterns”, is devoted to introducing a narrative of listening. This is first informally introduced in terms of the experience of a distinction within the sonic flow. After an intermission dedicated to connecting the idea of distinction to Gaston Bachelard’s metaphysics of time, the narrative is finally presented as a dialectics among three ways of organizing perceptive distinctions. Three perceptive modes of distinctions are presented as a basic mechanism that is responsible for articulating the sonic continuum in a complex structure of expectations and reactions, in terms of patterns, that is constantly renewed under the direction of statistical learning. The final chapter of the Part Two aims to briefly apply the narrative of pattern structures to dealing with the experience of noise. Part Three aims to show the “viability” of the proposed narrative of listening. First, a method for analysing music by listening is discussed. Then, a second chapter puts the idea of pattern structures in contact with music composition, as a framework that can be applied to data sonification, installations, music production and to the didactics of composition. Finally, the last chapter is devoted to the discussion of the idea of “soundscape” and “identity formation”, in order to show the potential of applying the proposed narrative to the context of cultural and social studies.

Este trabalho expõe a transição estilística por que passou o autor, coincidente com o período do doutoramento. Antes adepto do emprego não ortodoxo das técnicas de preordenação, especialmente as derivadas das técnicas seriais, a privilegiar a sintaxe musical, volta-se o autor para as questões fundamentais da significação em música. Neste processo, experimentou-se, primeiro, a contraposição da elaboração motívico-temática às técnicas seriais. O propósito era o de constituir unidades estruturantes – motivos e temas - sobre a base serial, capazes de assumir funções formais perceptíveis, aptas a conduzir a escuta do ouvinte. Em seguida, fez-se estender o princípio serial à rítmica, num procedimento em que se definia uma rede de relações de proporções tomadas como referência para as decisões ao nível do ritmo. Entretanto, o deslocamento do interesse para as questões da significação musical levou à reflexão e crítica das práticas e estética baseadas na preordenação. A semantização musical passa a ser o motor primordial e principal ordenador das forças organizadoras da textura musical. Esta nova postura composicional impôs a reflexão acerca da técnica musical, e a definição de novas práticas aptas a instaurar os processos de semantização: o princípio da complementaridade cromática, os eixos cromáticos, a elaboração motívico-temática. No processo da transição estilística, na consolidação da nova postura composicional, o autor se apoiou na filosofia de Susanne K. Langer, na análise mitológica-musical de Claude Lévi- Strauss, no pensamento de Leonard Meyer. Igualmente fundamentais foram as categorizações de Jean-Jacques Nattiez, a semântica musical de Michel Imberty e a semiótica musical de Raymond Monelle. / This Doctoral Dissertation traces the stylistic transition of this author, which coincided with the period of the doctorate. From being adept to the employment of the preordination of unorthodox techniques, especially those derived from serial techniques, this author then focused his work on musical syntax, turning to the fundamental questions of meaning in music. During this process, the contraposition between motivic-thematic development and serial techniques was experienced. The purpose was to provide structural units - motifs and themes - based on the serial techniques that could take audible formal roles, thus leading the attention of the listener. A transition was made in order to extend serial principles to the realm of rhythm, a procedure in which a defined network of relationships of proportions became referential to the decisions at the pace. However, the shift of interest to the issues of musical signification led to the critique of practical and aesthetic issues based on preordination of techniques. The musical semantization became the primary impulse behind the organizational forces of the musical texture. This new position imposed compositional reflections on the musical technique, and led to the definition of new practices that would be able to initiate the process of semantization: the principles of chromatic complementarity, chromatic axes, and motivic-thematic development. In the process of the author’s stylistic transitions and the consolidation of a new compositional approach, the philosophy of Susanne K. Langer, the mythological-musical analysis of Claude Lévi-Strauss, the writings of Leonard Meyer were instrumental. Equally decisive were the categorizations of Jean-Jacques Nattiez, the musical semantics of Michel Imberty and the musical semiotics of Raymond Monelle.

Este trabalho apresenta os procedimentos composicionais das peças Murlidhar, Mahakal, Miniatura e O ciclo do tempo. Sendo esta ultima a principal, devido as ferramentas composicionais terem sido experimentadas com maior liberdade. As peças deste projeto utilizaram mitos e ritos do hinduísmo e conceitos da filosofia do Raja Yoga como motivadores para a imaginação sonora e para o desenvolvimento de técnicas de estruturação. Destaca-se, entre as técnicas utilizadas, a que denominei estrutura de ritmos cíclicos, cuja elaboração teve como referência o time point system de Miltton Babbitt. / This paper presents the compositional procedures of Murlidhar, Mahakal, Miniature and The Cycle of Time, the latter being the main piece because the compositional tools have been used with more freedom. The pieces of this project utilized Hinduism myths and rites and Raj Yoga Phylosophy concepts as motivators to the sound imagination and for the development of structuring techniques. Standing out among the techniques used is the one I called Cyclic Rhythms Structure, which had as a reference for its making Milton Babbitt’s time point system.

Life Cycle is a modern musical composition written for chamber orchestra. Life Cycle is scored for flute, clarinet, electric guitar, viola, cello, glockenspiel, vibraphone, marimba and drum kit. This composition is composed in four movements, each representing a different phase of the composer's musical life-journey. Life Cycle infuses elements and techniques from the Classical idiom with jazz, pop and rock idioms.

The Canticle of the Black Madonna is an original opera-oratorio in two acts, comprising 27 pieces for six operatic soloists, mixed chorus, and chamber orchestra. It is based on an original libretto by Tiziana DellaRovere and is approximately two hours in duration. The Canticle of the Black Madonna combines elements of numerous musical traditions—including medieval organum, baroque oratorio, and both classical and contemporary chamber opera—to tell the story of a fictional American soldier returning from Afghanistan to his wife in Louisiana, the challenges they face to their marriage and livelihood as they struggle with post-traumatic stress disorder, the ecological and socioeconomic consequences of the 2010 Gulf Oil Spill, and the healing transformation they ultimately undergo at the hands of a mysterious divine figure called The Black Madonna.

Kernel is a fifteen-minute work for wind ensemble. Its unifying strands of rhythm, melody, and harmony are spun out of simple four-note tone clusters which undergo changes in contour, intervallic inversion, register, texture, and harmonic environment. These four notes make up the "kernel" of the work, a word used by Breton to refer to the indestructible element of darkness prior to all creative invention, as well as a term used in computer science to refer to the crucial element of a system that, if it should fail, does so loudly.

Esta dissertação de Mestrado trata das competências para o contexto tecnológicomusical educacional. Seu objetivo principal é mapeá-las para que professores, tutores e alunos músicos ou leigos utilizem tecnologias digitais voltadas à música, principalmente as gratuitas e baseadas na Web. Esta proposta dirige-se a docentes e discentes da educação presencial e da educação a distância, músicos ou leigos que almejam atuar no âmbito pretendido. Estas tecnologias consistem em recursos tais como objetos de aprendizagem, software para a composição musical cujo funcionamento e armazenamento ocorre através da internet e ferramentas para a edição de áudio. Utilizadas de forma integrada a ambientes virtuais de aprendizagem, essas mesmas ferramentas têm sido aplicadas em cursos de extensão para a formação de professores para o contexto pretendido. No mapeamento das competências apresentado neste estudo também são listados os seus elementos: os conhecimentos, as habilidades e as atitudes para uma atuação eficaz no contexto tecnológico-musical educacional. / This Master's thesis deals with the competences for the technological and musical education context. especially the free Web-based. Its main objective is to map them to teachers, tutors and students musicians and no musicians use digital technologies focused on music, especially free and Web-based. This proposal is aimed at teachers, tutors and students of classroom education and distance who want to act within deprecated. These technologies consist of resources such as learning objects, software for music composition whose operation and storage occurs over the internet. Used in an integrated virtual learning environments, these tools have been applied in extension courses to prepare teachers for the context deprecated. In mapping the competences presented in this study are also listed its elements: knowledge, skills and attitudes for effective action in the technology-musical education.

Este trabalho apresenta os procedimentos composicionais das peças Murlidhar, Mahakal, Miniatura e O ciclo do tempo. Sendo esta ultima a principal, devido as ferramentas composicionais terem sido experimentadas com maior liberdade. As peças deste projeto utilizaram mitos e ritos do hinduísmo e conceitos da filosofia do Raja Yoga como motivadores para a imaginação sonora e para o desenvolvimento de técnicas de estruturação. Destaca-se, entre as técnicas utilizadas, a que denominei estrutura de ritmos cíclicos, cuja elaboração teve como referência o time point system de Miltton Babbitt. / This paper presents the compositional procedures of Murlidhar, Mahakal, Miniature and The Cycle of Time, the latter being the main piece because the compositional tools have been used with more freedom. The pieces of this project utilized Hinduism myths and rites and Raj Yoga Phylosophy concepts as motivators to the sound imagination and for the development of structuring techniques. Standing out among the techniques used is the one I called Cyclic Rhythms Structure, which had as a reference for its making Milton Babbitt’s time point system.

Este trabalho expõe a transição estilística por que passou o autor, coincidente com o período do doutoramento. Antes adepto do emprego não ortodoxo das técnicas de preordenação, especialmente as derivadas das técnicas seriais, a privilegiar a sintaxe musical, volta-se o autor para as questões fundamentais da significação em música. Neste processo, experimentou-se, primeiro, a contraposição da elaboração motívico-temática às técnicas seriais. O propósito era o de constituir unidades estruturantes – motivos e temas - sobre a base serial, capazes de assumir funções formais perceptíveis, aptas a conduzir a escuta do ouvinte. Em seguida, fez-se estender o princípio serial à rítmica, num procedimento em que se definia uma rede de relações de proporções tomadas como referência para as decisões ao nível do ritmo. Entretanto, o deslocamento do interesse para as questões da significação musical levou à reflexão e crítica das práticas e estética baseadas na preordenação. A semantização musical passa a ser o motor primordial e principal ordenador das forças organizadoras da textura musical. Esta nova postura composicional impôs a reflexão acerca da técnica musical, e a definição de novas práticas aptas a instaurar os processos de semantização: o princípio da complementaridade cromática, os eixos cromáticos, a elaboração motívico-temática. No processo da transição estilística, na consolidação da nova postura composicional, o autor se apoiou na filosofia de Susanne K. Langer, na análise mitológica-musical de Claude Lévi- Strauss, no pensamento de Leonard Meyer. Igualmente fundamentais foram as categorizações de Jean-Jacques Nattiez, a semântica musical de Michel Imberty e a semiótica musical de Raymond Monelle. / This Doctoral Dissertation traces the stylistic transition of this author, which coincided with the period of the doctorate. From being adept to the employment of the preordination of unorthodox techniques, especially those derived from serial techniques, this author then focused his work on musical syntax, turning to the fundamental questions of meaning in music. During this process, the contraposition between motivic-thematic development and serial techniques was experienced. The purpose was to provide structural units - motifs and themes - based on the serial techniques that could take audible formal roles, thus leading the attention of the listener. A transition was made in order to extend serial principles to the realm of rhythm, a procedure in which a defined network of relationships of proportions became referential to the decisions at the pace. However, the shift of interest to the issues of musical signification led to the critique of practical and aesthetic issues based on preordination of techniques. The musical semantization became the primary impulse behind the organizational forces of the musical texture. This new position imposed compositional reflections on the musical technique, and led to the definition of new practices that would be able to initiate the process of semantization: the principles of chromatic complementarity, chromatic axes, and motivic-thematic development. In the process of the author’s stylistic transitions and the consolidation of a new compositional approach, the philosophy of Susanne K. Langer, the mythological-musical analysis of Claude Lévi-Strauss, the writings of Leonard Meyer were instrumental. Equally decisive were the categorizations of Jean-Jacques Nattiez, the musical semantics of Michel Imberty and the musical semiotics of Raymond Monelle.

Esta dissertação de Mestrado trata das competências para o contexto tecnológicomusical educacional. Seu objetivo principal é mapeá-las para que professores, tutores e alunos músicos ou leigos utilizem tecnologias digitais voltadas à música, principalmente as gratuitas e baseadas na Web. Esta proposta dirige-se a docentes e discentes da educação presencial e da educação a distância, músicos ou leigos que almejam atuar no âmbito pretendido. Estas tecnologias consistem em recursos tais como objetos de aprendizagem, software para a composição musical cujo funcionamento e armazenamento ocorre através da internet e ferramentas para a edição de áudio. Utilizadas de forma integrada a ambientes virtuais de aprendizagem, essas mesmas ferramentas têm sido aplicadas em cursos de extensão para a formação de professores para o contexto pretendido. No mapeamento das competências apresentado neste estudo também são listados os seus elementos: os conhecimentos, as habilidades e as atitudes para uma atuação eficaz no contexto tecnológico-musical educacional. / This Master's thesis deals with the competences for the technological and musical education context. especially the free Web-based. Its main objective is to map them to teachers, tutors and students musicians and no musicians use digital technologies focused on music, especially free and Web-based. This proposal is aimed at teachers, tutors and students of classroom education and distance who want to act within deprecated. These technologies consist of resources such as learning objects, software for music composition whose operation and storage occurs over the internet. Used in an integrated virtual learning environments, these tools have been applied in extension courses to prepare teachers for the context deprecated. In mapping the competences presented in this study are also listed its elements: knowledge, skills and attitudes for effective action in the technology-musical education.