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| Author(s): |
Otávio Santos
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2019-06-13 |
| Examining board members: |
José Augusto Mannis;
Ivan Capeller;
João Carlos Massarolo;
Paulo Cesar da Silva Teles;
Jônatas Manzolli
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| Advisor: | José Augusto Mannis |
| Abstract | |
Musical composition for films has been built for decades over a traditional orchestral style, based on the registry of printed scores and symphonic sound. From the second half of the Twentieth Century the advent of synthesizers and later the development of the MIDI protocol have drastically changed the compositional experience of film music, providing not only a new pallet of sounds, but also a deep redefinition of paradigms related to the figure of the composer, the musical aesthetics related to audiovisual and the composer¿s autonomy regarding the technological devices designed to musical creation. This thesis intends to reflect on some of the resignifications that changed the way composers think and make music for films, starting ¿ and having as a constant reference ¿ from the analysis of the current context of digital music composition for films, always invoking the MIDI protocol as a technological base (AU) | |
| FAPESP's process: | 15/10579-1 - Pencils and bytes: the MIDI technology and the reframing of the musical composition for films |
| Grantee: | Otávio Luis Silva Santos |
| Support Opportunities: | Scholarships in Brazil - Doctorate |