The composition of sound in microtime dimension: the undulatory and granular paradigms

• Grant number: 14/09549-8
• Support Opportunities: Scholarships abroad - Research Internship - Doctorate
• Start date: October 01, 2014
• End date: June 30, 2015
• Field of knowledge: Linguistics, Literature and Arts - Arts - Music
• Principal Investigator: Silvio Ferraz Mello Filho
• Grantee: Danilo Augusto de Albuquerque Rossetti
• Supervisor: Anne Sèdes
• Host Institution: Instituto de Artes (IA). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil
• Institution abroad: Université Vincennes Saint-Denis (Paris 8), France
• Associated to the scholarship: 13/00155-4 - Micro-time manipulation mechanisms in composition: the granular universe of sound, BP.DR

Abstract

In this abroad doctoral stage project, we will approach the mechanisms of sound generation and manipulation by instrumental acoustic and electroacoustic means having, as starting point, the music of the 1950-1960's, specially the production of composers that joined the studios of Paris and Cologne. In this context, two complementary methods arise: the undulatory paradigm and the granular paradigm. From this question, our objective is to put in evidence the technomorphism phenomena (based on writings of Schaeffer and Simondon), and having as methods of approach a historical perspective, analyses of musical works and the composition of new musical pieces. On the one hand, attached to the undulatory paradigm (based on the theory of Helmholtz), our analyses will address the Klangfarbenmelodie, the types of synthesis additive, subtractive, AM and FM, micropoliphony and instrumental synthesis. On the other hand, related to the granular paradigm, we will address the procedures of grain concatenation, building of screens, granular synthesis and the coupling of different temporal scales in the construction of sound texture. Moreover, through the composition of new works (instrumental, electroacoustic and mixed), we will experiment (with the support of computational tools) the aesthetic possibilities of the studied microtemporal manipulations, and also to propose new transpositions of these studied compositional models to instrumental music, having as theoretical references Bachelard's theory of time and Varela's theory of perception. (AU)