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| Author(s): |
Micael Antunes da Silva
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: | 2024-05-20 |
| Examining board members: |
Jônatas Manzolli;
Ivan Eiji Yamauchi Simurra;
Adriano Claro Monteiro;
Tadeu Moraes Taffarello
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| Advisor: | Danilo Rossetti; Jônatas Manzolli |
| Abstract | |
This thesis presents studies in musical analysis and compositional reports that explore the textural characteristics of sound mass music, situating it within the context of 20th century creative practices and psychoacoustic models. The thesis presents a series of analytical studies, while also introducing audio descriptors relevant to the research undertaken. In addition, it offers a contribution to the field of composition through discussions based on composition reports and on the creation of an interactive tool for the real-time generation of sound masses. This thesis is composed of articles that present the results of the research through the analysis and discussion of different texts published during the doctoral research. This presentation is divided into two modules: the first, dedicated to musical analysis, discusses a methodology for musical analysis based on audio descriptors to study electroacoustic and instrumental compositions that explore the notion of sound masses. The second module presents reports and discussions in which the concepts related to sound masses and computational models for real-time electronics have been applied in creative processes. Thus, the work addresses analytical issues by introducing the ideas of composers such as Edgard Varèse, who conceived the notion of new instruments, later inspiring the idea of sound masses and the development of interactive systems for digital lutherie. Next, the notion of sound mass music is approached from the perspective of musical perception as explored in serialism, influenced by composers such as Karlheinz Stockhausen, Iannis Xenakis and György Ligeti. Following this discussion of concepts, relevant audio descriptors for the study of sound mass music are presented. These tools are then applied to analytical studies of electroacoustic and instrumental music. This is followed by a discussion of composition, highlighting the need for the composer to create a semantic field that mediates between technological tools and the creative aspects involved. Finally, an interactive environment in Max is proposed to create and manipulate sound masses in real time, providing a practical platform for creative exploration in this musical domain. Thus, the thesis offers contributions in three main areas: musical analysis, musical composition and psychoacoustics. In the field of musical analysis, it proposes a workflow applicable in different musicological contexts and provides audio representations derived from sound mass music, offering potential for the study of musical texture in different repertoires. In the field of composition, the thesis encourages reflection on the creative process mediated by technology through two works created during the research. It also discusses an adaptable interactive tool for different applications that can inspire composers to creatively explore digital lutherie. Finally, given the growing interest in timbre studies in psychoacoustics and empirical musicology, this thesis opens space for investigations of perception in experimental approaches within the cognitive sciences (AU) | |
| FAPESP's process: | 19/09734-3 - Musical analysis and perceptual phenomena: psychoacoustic and computational aided study |
| Grantee: | Micael Antunes da Silva |
| Support Opportunities: | Scholarships in Brazil - Doctorate |