Visita nuestras páginas CMMAS.org VS13
x
+
SONIC IDEAS | EXTRAS | CMMAS | CONTACTO | LOGIN
Vol6 No.11 INICIO
HOME
Vol 6 No. 11
Login
email:
Password
Olvidaste tu password? / Forgot your password?
No tienes cuenta? / You do not have an account? Registrate! / Register!


Cupon
codigo:

Articulos / Articles

Adecuações e Contrastes: algumas questões a respeito da interação entre sons instrumentais e eletroacústicos
Por/By: Fernando Iazzetta
A interação entre sons instrumentais e eletrônicos emerge no âmbito da música eletroacústica quando esta migra do estúdio para o palco e possibilita a reintegração da prática instrumental dentro do contexto eletrônico. A partir daí, o confronto entre o mecânico (acústico) e o eletrônico torna-se evidente. A interação entre sons instrumentais e eletroacústicos repousa justamente nas estratégias composicionais que vão buscar aproximar estes dois campos, num processo de fusão de suas características ou, numa direção oposta, na acentuação das particularidades de cada um deles. Essas estratégias se estabelecem de duas maneiras distintas: por adequação, quando se procura adequar um tipo de sonoridade a outra; e por contraste, quando as peculiaridades dos sons instrumentais e dos sons eletroacústicos são preservadas, geralmente demarcando a diferença entre eles na composição. Neste texto busco apontar algumas diferenças marcantes entre os sons instrumentais e os eletroacústicos de modo a observar como essas diferenças podem determinar escolhas composicionais e performáticas no sentido de suavizá-las (adequação) ou ressaltá-las (contraste). ... leer/read

Adaptations and Contrasts: Some Issues Regarding the Interaction Between Instrumental and Electroacoustic Sounds
Por/By: Fernando Iazzetta
The interaction between instrumental and electronic sounds emerges in the scope of electroacoustic music when it migrates from the studio to the stage and allows for the reintegration of instrumental practice within an electronic context. From that point, the confrontation between mechanical (acoustic) and electronic becomes clear. The interaction between instrumental and electroacoustic sounds lies precisely in the compositional strategies that seek to bring these two fields close together, in a process of fusing their characteristics or, conversely, in accentuating the particularities of each one. These strategies are established in two distinct manners: through adaptation, when one seeks to reconcile one type of sound with another; and through contrast, when the peculiarities of the instrumental sounds and electroacoustic sounds are preserved, usually outlining the difference between them in the composition. In this paper I seek to point out a number of relevant differences between instrumental and electroacoustic sounds so as to observe how these differences can determine compositional and performance choices in the sense of diminishing them (adaptation) or emphasizing them (contrast). ... leer/read

Emancipación de la estética impuesta por los medios tecnológicos en la música mixta
Por/By: Mario Mary
Este artículo es un llamado de atención sobre la influencia que el uso de la tecnología puede ejercer en la estética del compositor. Si a la herramienta tecnológica se la deja convertirse en "amo", los riesgos y consecuencias sobre las obras no son menores. Se comienza por hacer un uso standard y convencional de los medios tecnológicos e inevitablemente se cede a la facilidad de adaptar la estética de la música a este uso. Es así que el repertorio se empobrece y los dispositivos electrónicos hacen generalmente siempre lo mismo. Pero, por supuesto, esto puede evitarse. El artista es siempre libre de sus decisiones, pero para poder elegir, hay que conocer. Es importante tener la doble formación artística-tecnológica, y comprender la problemática de la música mixta para adaptar el uso de la tecnología a la estética del compositor, y no lo contrario. ... leer/read

Composing from spatial gestures: the making of pendulum
Por/By: Rui Penha
This article presents pendulum, a piece for flute, bass clarinet, piano, violin, cello, real-time electronics and video. This piece was conceived as an exploration of the possibilities of generating musical gestures from spatial gestures, which in turn explore the use of physical models to generate accelerated spatiotemporal movements. Consequently, pendulum is also a study on the possibility of generating musical gestures from physical models, such as gravity pendulums or springs.   ... leer/read

The Conception and Realisation of Wake up Call: Hybrid Compositional and Improvisatory Strategies in the Creation of a 'Mixed' Electronic Work
Por/By: Robert Ratcliffe
Wake up Call1(2006, rev. 2009) explores stylistic hybridisation in the context of a ‘mixed' work for bass clarinet, fixed medium and electronics. It amalgamates elements of jazz and electronic music (both art- and popular-based), drawing upon an expanded vocabulary of techniques and materials, encompassing aspects of composition, improvisation, production and performance. The piece forms part of a larger compositional research project on the subject of musical hybridism, and specifically the cross-fertilisation of art music and electronic dance music (EDM). ... leer/read

In Search of a More Flexible Interpretation: Gesture as Interface Between Technology and Music Creation
Por/By: Elsa Filipe
The increase in computing power has led to the development and refinement of sound processing systems in real time, along with devices that provide new possibilities for the interaction between performer and machine. The application of these new technologies in Mixed Music1 has raised many questions concerning the notion of interpretation, which is in itself inherent to the conception of different types of gestures. In terms of the interpretation of the first Mixed Music works, the issue at stake was mainly related to the association of a pre-recorded electronic track (with fixed tempo) to acoustic instrumental sounds. In this way, performers were constrained to follow the electronic part. The research for a more flexible interpretation of such works includes the study of gesture and its application in the creation of interactive tools. The application of such tools to the field of music has created a whole range of new instruments. Even if these are often just laboratory prototypes, -such as Michel Waiswisz's The Hands (1984, 1989), or Serge De Laubier's Méta-instrument (1989, 1996, 2004) - they surely have allowed new paths in musical creativity. This article will focus on the importance of gesture in the development of new instruments, as well as in the creation and interpretation of new music. Firstly, a brief historical account of the main issues regarding the interpretation of mixed music will be presented. Then, based on the work developed by Claude Cadoz and Marcelo Wanderley, we will address the main types of information that are produced by a variety of gestures. Finally, this paper will look at projects by Philippe Manoury, Jean-Claude Risset, Ricardo Climent and Bertrand Merlier that illustrate various ways in which scientific knowledge can be applied to music creation. ... leer/read

Charlie Markov: una aproximación algorítmica al estilo de Charlie Parker
Por/By: Jorge Elias Variego
El presente trabajo parte de la hipótesis de que el estilo de improvisación del saxofonista Charlie Parker se encuentra condensado en el primer coro de su solo sobre su composición Confirmation. Para intentar comprobar este interrogante inicial, el estudio propone una serie de análisis probabilísticas del solo que son incorporados en un algoritmo en SuperCollider en forma de cadena de Markov del primer orden. ... leer/read

Interpreatação participativa na música mista com saxofones: Livro da escudridão, Plexus e Modes of Interference 2
Por/By: Pedro Sousa Bittencourt
Nosso objeto é a interpretação participativa na música mista sob o ponto de vista de um instrumentista. Levamos em conta a colaboração de um saxofonista com compositores na construção da interpretação musical de novas obras mistas. Propomos que a interação na música mista inclua as diversas trocas entre instrumentista e compositor durante as etapas do processo criativo, desde a pesquisa de novos materiais sonoros até a estreia e gravação das obras. Apresentamos três exemplos de recentes obras mistas com saxofones realizadas sob essa ótica participativa: Três peças do livro da escuridão (2007) de Paulo Ferreira Lopes, Plexus (2009) de Arturo Fuentes e Modes of Interference 2 (2006) de Agostino Di Scipio. Nelas ressaltamos o diferencial da participação do saxofonista na articulação das peças e mostramos como a interpretação pôde ser construída via interação instrumentista-compositor. A interpretação participativa na música mista pode ainda adquirir diferentes dimensões de acordo com o paradigma adotado pelo compositor e também de acordo com a configuração das obras. ... leer/read

Participative Interpretation in Mixed Music with Saxophones: Livro da Escuridão, Plexus and Modes of Interference 2
Por/By: Pedro Sousa Bittencourt
This paper offers a reassessment to the concept of participative musical interpretation from the point of view of the performer, as proposed in my research on mixed music for saxophones. I consider my collaboration with composers in order to construct together with the musical interpretation of new mixed pieces. I propose that interaction in mixed music can include several exchanges between instrumentalists and composers during the many steps of the creative process, for as long as necessary, from the research of new sound materials to the first concert (premiere) and future performances and recordings. In this paper I present three examples of recent collaborations under a participative perspective: Três peças do livro da escuridão (2007) by Paulo Ferreira Lopes, Plexus (2009) by Arturo Fuentes and Modes of Interference 2 (2006) by Agostino Di Scipio. I point out what differences the participative approach makes in these three pieces, and I discuss how the musical interpretation can be built together and enhanced under this dynamic working method. The participative musical interpretation can be developed in different dimensions, according to the paradigm adopted by the composer and also by the configuration of each mixed piece. ... leer/read

A Interpretação Fixada - O Compositor-Intérprete
Por/By: Felipe Amorim
Neste trabalho é apresentada a relação do intérprete com a música eletroacústica mista e como as ideias do compositor o podem influenciar de forma direta através da parte eletrônica pré-gravada. A partitura distancia o compositor do intérprete, sua autonomia permite uma interpretação sem o contato direto com a fonte criadora e sua natureza simbólica deixa uma série de lacunas a serem preenchidas pelo intérprete. O surgimento do processo de gravação sonora vai interferir nesta relação, compositor / partitura / intérprete, proporcionando uma relação diferente: compositor / fita-magnética. Na música mista o intérprete retorna ao palco e se vê diante de dois objetos: a partitura e a parte eletrônica pré-gravada. A partitura representa ideias do compositor e o processo interpretativo é o de levar à dimensão sonora estas ideias, articuladas por decisões tomadas pelo intérprete. A eletrônica pré-gravada é um produto direto do compositor que, na sua confecção tem que fazer uma série de escolhas interpretativas. Seu corpo sonoro é articulado pelos gestos musicais que, pela sua natureza, atuam como estímulo, fazendo o intérprete reagir ao que ouve, realizando uma interpretação qualitativa. A eletrônica pré-gravada vai assim trazer para o palco mais um objeto, de natureza sensorial, que modifica a expressividade e dialoga diretamente com o músico. ... leer/read

Fixed Interpretation - The composer-interpreter
Por/By: Felipe Amorim
This text presents the role of the performer in mixed electroacoustic music, and how the composer's ideas can influence the interpretation through the pre-recorded electronic part. The score creates a distance between composer and interpreter. Its autonomy allows an interpretation without direct contact with its creator, and its symbolic nature leaves a lot of gaps / possibilities to be completed by the interpreter. Sound recording processes interferes in the relationship composer / score / performer, leading to a different relationship: composer / tape. In mixed electroacoustic music performer returns to the stage and relates with two objects: the score and the pre-recorded electronic part. The score represents the composer's ideas and the process of interpretation transforms these ideas in sound, influenced by decisions taken by the performer. The pre-recorded electronic part is a direct output of the composer who makes a series of interpretive choices while composing it. Its sound is articulated by musical gestures, which can act as a stimulus, causing the interpreter to react to what he/she hears, leading to a qualitative interpretation. The pre-recorded electronic part brings to the stage an object of sensory nature, which influences the expressiveness and dialogues directly with the musician. ... leer/read