Electroacoustic music has a unique ability to connect the listener to places, space and stories both real and imaginary. Each work within the portfolio explores specific objects, spaces and places. The intrinsic sonic qualities are explored and a musical narrative takes the listener through a newly composed imaginary space. Six original compositions are presented in this portfolio. The titles of these works are as follows: Lamenting, 192, All Along the Bell Tower, Oz, The Thing About Listening is…. and A Bit Closer to Home. Narrative structures that simulate a journey are used as a guide for the listener through immersive, virtual soundworlds. These spoken word and musical narratives also serve as a structural tool for the composer. Imagined and real sonic layers within stories and soundscapes are analysed, deconstructed and manipulated. These works convey a message, story or sense of place to the listener, while revealing sonic qualities that are not normally the focus of listening. My aim as a composer is to enhance the daily listening experiences of the listener, as they become more aware and appreciative of the sounds around them, through the sounds and spaces they experience in my music.

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Orientador: Edson Sekeff Zampronha / Banca: Rogério Luiz Moraes Costa / Banca: Marisa Trench de Oliveira Fonterrada / Resumo: As composições do Tipo Paisagem sonora, que se utilizam praticamente de sons ambientais como material principal para a composição, têm gerado amplas discussões no âmbito da música eletroacústica. Tais discussões são presentes tanto em vertentes mais estruturalistas, que não vêm qualquer possibilidade de organização a priori desse tipo de material sonoro, quanto naquelas que se aproximam mais da música concreta, que não concordam com o alto nível de referencialidade sonora empregado nesse tipo de obra por entrar em desacordo com as proposições da escuta reduzida de Pierre Schaeffer. A partir de tal análise, foi possível apresentar algumas possibilidades de organização de sons ambientais em composições do tipo Paisagem Sonora através da comparação dos resultados da análise com as proposições de Wishart (1986) e Emmerson (1986). / Abstract: The Soundscapes compositions, which use environmental sounds as main material, have generated wide discussions in the scope of electroacustical music. Such quarrels are found in structuralist sources, which do not agree with any possibility of organization a priori to this type of sonorous material, as in those which approach more to concret music, that do not agree with the high level of sounds external references applied in this type of work, because it disagrees with the proposals of the Reduced Listening of Pierre Schaeffer. From such analysis, it was possible to demonstrate some possibilities of organization of environmental sounds in Soundscapes Compositions through the comparision of the results of the analysis with the proposals of Wishart (1986) and Emmerson (1986). / Mestre

Made available in DSpace on 2014-06-11T19:32:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-04Bitstream added on 2014-06-13T20:44:21Z : No. of bitstreams: 1 toffolo_rbg_me_ia.pdf: 1927405 bytes, checksum: c4f73e2861b3d35ca9bdedde40c71a0a (MD5) / Universidade Estadual Paulista (UNESP) / As composições do Tipo Paisagem sonora, que se utilizam praticamente de sons ambientais como material principal para a composição, têm gerado amplas discussões no âmbito da música eletroacústica. Tais discussões são presentes tanto em vertentes mais estruturalistas, que não vêm qualquer possibilidade de organização a priori desse tipo de material sonoro, quanto naquelas que se aproximam mais da música concreta, que não concordam com o alto nível de referencialidade sonora empregado nesse tipo de obra por entrar em desacordo com as proposições da escuta reduzida de Pierre Schaeffer. A partir de tal análise, foi possível apresentar algumas possibilidades de organização de sons ambientais em composições do tipo Paisagem Sonora através da comparação dos resultados da análise com as proposições de Wishart (1986) e Emmerson (1986). / The Soundscapes compositions, which use environmental sounds as main material, have generated wide discussions in the scope of electroacustical music. Such quarrels are found in structuralist sources, which do not agree with any possibility of organization a priori to this type of sonorous material, as in those which approach more to concret music, that do not agree with the high level of sounds external references applied in this type of work, because it disagrees with the proposals of the Reduced Listening of Pierre Schaeffer. From such analysis, it was possible to demonstrate some possibilities of organization of environmental sounds in Soundscapes Compositions through the comparision of the results of the analysis with the proposals of Wishart (1986) and Emmerson (1986).