Silvio Ferraz Mello Filho

• Abstract

  The main objective of this project is to stimulate the research in the cross-domain of musical creation and performance, having by focus the practice and use of extended techniques as musical resource en contemporary music. So, this research will be lead en the cross-domain of composition and performance by the way of propositions of musical experience, which explores and develops strateg…

  Extended Techniques: a compositional approach, AP.R

• Abstract

  The visit of Prof. Dr. Makis Solomos, is part of an extensive exchange project between the department of music of the Instituto de Artes (IA) of the University of Campinas (UNICAMP), the Interdisciplinary Nucleus of Sound Communication (NICS) of the same University and the University of Paris VIII, Nanterre, France. As part of this project researchers from UNICAMP have participated in cou…

  Research in sound ecology: relations with contemporary music: Makis Solomos (PhD), cooperation Université Paris 8 and NICS-UNICAMP, AV.EXT

• Abstract

  The project's main objective is developing a center of studies related to the computer's presence, so as a precompositional tool as much as an effective music instrument. Our goal is the research on composition and performance's new digital ambients looking for strategies and composicional thoughts that can be associated to them. Focused formerly on the compositional and performance aspec…

  The computer as space for musical creation and performance, AP.TEM

• Abstract

  The field of study of the present project is located at the intersection of the areas of post-tonal musical analysis, compositional procedures of popular song and computational modeling. Based on the analysis of a sample of 10 songs by Tavinho Moura, Brazilian composer of the movement called "Clube da Esquina", our intention is to identify recurrent musical characteristics in the author's…

  Post-tonal analysis of Tavinho Moura's songs and computational modeling of his compositional procedures, BP.IC

• Abstract

  Contemporary music and artistic practices have produced a wide variety of hybrid objects that put in scene the contact between more than one artistic language. The project proposes theoretical strategies and analytical practices for the description of these objects, and the construction of a creative process that is motivated by the theoretical-analytical developments of the research. Anc…

  Music and other languages: a tensive musical enunciation and its modes of contact, BP.DR

• Abstract

  The project aims to analyses of works It's Gonna Rain, Tape Music, and 2x5, for five instrumentalists (two electric-guitars, one electric-bass, one piano and one drum) and tape, or for ten instrumentalists (with twice the instrumentation), both of the American composer Steve Reich (1936). The research started with PIBIC scholarship (2017/2018), focusing in the history of Tape Music and th…

  Innovation in instrumentation: analysis of the works It's gonna rain and 2x5 of Steve Reich, BP.IC

(Only some records are available in English at this moment)

• Abstract

  This research project aims to create a compositional model capable of systematizing the notions of flux and energy as elements of continuity in musical discourse. It stems from the work of composers such as Iannis Xenakis, Gérard Grisey, Helmut Lachenmann and Brian Ferneyhough, even if owing its core conceptual foundation to poetic images extracted from the philosophical work of Gilbert S…

  Music as energetic phenomenon: investigations into musical composition, BE.PQ

• Abstract

  In this project we will research, within the instrumental/vocal contemporary music sphere, the various procedures of musical writing and their features related to models of perception, solfége, compositional intentions and idiosyncrasies of the supports of creation in use. In other words, how those matters are in intimate dialogue with the notation itself and its representational possibil…

  Musical notation as representation of solfèges, BE.EP.MS

• Abstract

  The main objective of this research stage - hosted at the Steinhardt NYU (New York University) - consists of investigating new models of interaction between acoustic instruments and live-electronics manipulations. In consequence, we will investigate the changes that are taking shape in the relationship between composer, performer, performance and audience. To this end, the following quest…

  New technological developments in interactive electroacoustic music systems, BE.EP.PD

(Only some records are available in English at this moment)