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Performance musical aumentada : prática multidimensional enquanto co-criação e hybrid augmented saxophone of gestural symbiosis
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Este trabalho de investigação é um dos múltiplos elementos que constituem esteprojeto, o qual me acompanha na minha prática quotidiana, nas minhas preocupações ereflexões estético-teóricas há mais de cinco anos. O documento aqui apresentadodebruça-se na prática aumentada relativa à performance e técnicas instrumentais da novamúsica. As alterações de paradigma no que toca à performance musical contemporâneapermitem desenvolver novos modelos de virtuosismo, bem como elevar a própriaperformance ao estatuto de elemento criativo. Os objetivos deste trabalho passam poridentificar os vários processos de expressão musical no campo na nova música, incluindomeios acústicos e eletrónicos, bem como a exploração de possibilidades performativasmediadas por sistemas de computação interativa. Os novos mediums são vistos comopossíveis extensões da prática instrumental e disponíveis para propósitos criativos duranteos processos composicionais e performativos. Neste sentido, a relação entre compositore intérprete é um processo fundamental, sendo que esta comunicação dinâmica afeta aforma como a música é concebida e desenvolvida, o que contribui para a afirmação denovas práticas performativas assentes no conceito de multidimensionalidade. É tambémdiscutida a relação entre Sistemas Aumentados e Modelos Performativos impostos pelosnovos Interfaces de Expressão Musical. Instrumentos musicais acústicos e tecnologiadigital, incluindo novos Interfaces de Expressão Musical, são capazes de interagir e seinfluenciar mutuamente originando ambientes de Performance Aumentada. É aquiapresentado um enquadramento assente no Hybrid Augmented Saxophone of GesturalSymbiosis. Este sistema tem como objetivo manter as qualidades performativas doinstrumento acústico, preservando gestos da prática instrumental, reduzindo o uso deperiféricos externos no controlo de parâmetros eletrónicos em obras mistas. O HASGS foidesenvolvido com uma perspetiva de Aumentação Reduzida em relação com a evoluçãodo seu repertório original, evitando a incorporação de artefactos que contribuíssem parauma sobrecarga performativa, ou mesmo que, apenas se vocacionasse para aimprovisação. São discutidos conceitos de composição, notação e prática afetados poreste tipo de interface. Esta tese apresenta-se como um estudo empírico que serve tantode modelo de análise performativa, como de recurso, fornecendo a compositores einterpretes, estratégias criativas sob a condição multidimensional.
This research work is one of the multiple elements that belong to the research beingcarried in my daily practice, in my concerns and aesthetic-theoretical reflections for morethan five years. This document, as part of the project, reports some of the augmentedpractices related to the performance and instrumental techniques of new music. Thechanging paradigm of performance practice is creating not only new virtuosity but leadingperformance as the status of creative tool. The aim of this work is to identify the variousprocesses of musical expression in the field of new music including acoustic and electronicmeans, including the exploration of performative possibilities using computer-mediationinteraction. New mediums are currently seen as possible extensions of instrumentalpractice and available for creative purposes during the compositional and performativeprocesses. In these processes the relation between composer and performer is afundamental topic and this dynamic communication is not only affecting the way music iscreated and developed but as well performed, contributing to new performative practicesbased on the concept of multidimensionality. At the same time, it discusses the relationbetween Augmented Instruments and Performative Models imposed by new interfaces formusical expression. Acoustic music instruments and digital technology, including newinterfaces for music expression, are able to influence and interact mutually creatingAugmented Performance environments. The framework presented here is based onHASGS, Hybrid Augmented Saxophone of Gestural Symbioses. The system was intendedto retain the focus on the performance of the acoustic instrument, keeping gesturescentralized into the habitual practice of that instrument, reducing the use of externaldevices to control electronic parameters in mixed music. Taking a reduced approach, thetechnology chosen to prototype HASGS was developed in order to serve the aestheticintention of the pieces being that have been written for it, avoiding the overload of solutionsthat could bring artefacts and superficial use of the augmentation processes whichsometimes occur on augmented instruments prototyped just for improvisationalintentionality. In this scope, we discuss how notation and composition can be affected bythis type of interfaces. I understand this thesis as an empirically-based study which canboth serve as a model for analysis, as well provide composers and performers withpathways and creative strategies under the multidimensional condition.
This research work is one of the multiple elements that belong to the research beingcarried in my daily practice, in my concerns and aesthetic-theoretical reflections for morethan five years. This document, as part of the project, reports some of the augmentedpractices related to the performance and instrumental techniques of new music. Thechanging paradigm of performance practice is creating not only new virtuosity but leadingperformance as the status of creative tool. The aim of this work is to identify the variousprocesses of musical expression in the field of new music including acoustic and electronicmeans, including the exploration of performative possibilities using computer-mediationinteraction. New mediums are currently seen as possible extensions of instrumentalpractice and available for creative purposes during the compositional and performativeprocesses. In these processes the relation between composer and performer is afundamental topic and this dynamic communication is not only affecting the way music iscreated and developed but as well performed, contributing to new performative practicesbased on the concept of multidimensionality. At the same time, it discusses the relationbetween Augmented Instruments and Performative Models imposed by new interfaces formusical expression. Acoustic music instruments and digital technology, including newinterfaces for music expression, are able to influence and interact mutually creatingAugmented Performance environments. The framework presented here is based onHASGS, Hybrid Augmented Saxophone of Gestural Symbioses. The system was intendedto retain the focus on the performance of the acoustic instrument, keeping gesturescentralized into the habitual practice of that instrument, reducing the use of externaldevices to control electronic parameters in mixed music. Taking a reduced approach, thetechnology chosen to prototype HASGS was developed in order to serve the aestheticintention of the pieces being that have been written for it, avoiding the overload of solutionsthat could bring artefacts and superficial use of the augmentation processes whichsometimes occur on augmented instruments prototyped just for improvisationalintentionality. In this scope, we discuss how notation and composition can be affected bythis type of interfaces. I understand this thesis as an empirically-based study which canboth serve as a model for analysis, as well provide composers and performers withpathways and creative strategies under the multidimensional condition.
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Palavras-chave
Performance aumentada Multidimensionalidade Saxofone Interatividade Augmented performance Multidimensionality Saxophone Interactivity