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Advisor(s)
Abstract(s)
Este trabalho de investigação é um dos múltiplos elementos que constituem este
projeto, o qual me acompanha na minha prática quotidiana, nas minhas preocupações e
reflexões estético-teóricas há mais de cinco anos. O documento aqui apresentado
debruça-se na prática aumentada relativa à performance e técnicas instrumentais da nova
música. As alterações de paradigma no que toca à performance musical contemporânea
permitem desenvolver novos modelos de virtuosismo, bem como elevar a própria
performance ao estatuto de elemento criativo. Os objetivos deste trabalho passam por
identificar os vários processos de expressão musical no campo na nova música, incluindo
meios acústicos e eletrónicos, bem como a exploração de possibilidades performativas
mediadas por sistemas de computação interativa. Os novos mediums são vistos como
possíveis extensões da prática instrumental e disponíveis para propósitos criativos durante
os processos composicionais e performativos. Neste sentido, a relação entre compositor
e intérprete é um processo fundamental, sendo que esta comunicação dinâmica afeta a
forma como a música é concebida e desenvolvida, o que contribui para a afirmação de
novas práticas performativas assentes no conceito de multidimensionalidade. É também
discutida a relação entre Sistemas Aumentados e Modelos Performativos impostos pelos
novos Interfaces de Expressão Musical. Instrumentos musicais acústicos e tecnologia
digital, incluindo novos Interfaces de Expressão Musical, são capazes de interagir e se
influenciar mutuamente originando ambientes de Performance Aumentada. É aqui
apresentado um enquadramento assente no Hybrid Augmented Saxophone of Gestural
Symbiosis. Este sistema tem como objetivo manter as qualidades performativas do
instrumento acústico, preservando gestos da prática instrumental, reduzindo o uso de
periféricos externos no controlo de parâmetros eletrónicos em obras mistas. O HASGS foi
desenvolvido com uma perspetiva de Aumentação Reduzida em relação com a evolução
do seu repertório original, evitando a incorporação de artefactos que contribuíssem para
uma sobrecarga performativa, ou mesmo que, apenas se vocacionasse para a
improvisação. São discutidos conceitos de composição, notação e prática afetados por
este tipo de interface. Esta tese apresenta-se como um estudo empírico que serve tanto
de modelo de análise performativa, como de recurso, fornecendo a compositores e
interpretes, estratégias criativas sob a condição multidimensional.
This research work is one of the multiple elements that belong to the research being carried in my daily practice, in my concerns and aesthetic-theoretical reflections for more than five years. This document, as part of the project, reports some of the augmented practices related to the performance and instrumental techniques of new music. The changing paradigm of performance practice is creating not only new virtuosity but leading performance as the status of creative tool. The aim of this work is to identify the various processes of musical expression in the field of new music including acoustic and electronic means, including the exploration of performative possibilities using computer-mediation interaction. New mediums are currently seen as possible extensions of instrumental practice and available for creative purposes during the compositional and performative processes. In these processes the relation between composer and performer is a fundamental topic and this dynamic communication is not only affecting the way music is created and developed but as well performed, contributing to new performative practices based on the concept of multidimensionality. At the same time, it discusses the relation between Augmented Instruments and Performative Models imposed by new interfaces for musical expression. Acoustic music instruments and digital technology, including new interfaces for music expression, are able to influence and interact mutually creating Augmented Performance environments. The framework presented here is based on HASGS, Hybrid Augmented Saxophone of Gestural Symbioses. The system was intended to retain the focus on the performance of the acoustic instrument, keeping gestures centralized into the habitual practice of that instrument, reducing the use of external devices to control electronic parameters in mixed music. Taking a reduced approach, the technology chosen to prototype HASGS was developed in order to serve the aesthetic intention of the pieces being that have been written for it, avoiding the overload of solutions that could bring artefacts and superficial use of the augmentation processes which sometimes occur on augmented instruments prototyped just for improvisational intentionality. In this scope, we discuss how notation and composition can be affected by this type of interfaces. I understand this thesis as an empirically-based study which can both serve as a model for analysis, as well provide composers and performers with pathways and creative strategies under the multidimensional condition.
This research work is one of the multiple elements that belong to the research being carried in my daily practice, in my concerns and aesthetic-theoretical reflections for more than five years. This document, as part of the project, reports some of the augmented practices related to the performance and instrumental techniques of new music. The changing paradigm of performance practice is creating not only new virtuosity but leading performance as the status of creative tool. The aim of this work is to identify the various processes of musical expression in the field of new music including acoustic and electronic means, including the exploration of performative possibilities using computer-mediation interaction. New mediums are currently seen as possible extensions of instrumental practice and available for creative purposes during the compositional and performative processes. In these processes the relation between composer and performer is a fundamental topic and this dynamic communication is not only affecting the way music is created and developed but as well performed, contributing to new performative practices based on the concept of multidimensionality. At the same time, it discusses the relation between Augmented Instruments and Performative Models imposed by new interfaces for musical expression. Acoustic music instruments and digital technology, including new interfaces for music expression, are able to influence and interact mutually creating Augmented Performance environments. The framework presented here is based on HASGS, Hybrid Augmented Saxophone of Gestural Symbioses. The system was intended to retain the focus on the performance of the acoustic instrument, keeping gestures centralized into the habitual practice of that instrument, reducing the use of external devices to control electronic parameters in mixed music. Taking a reduced approach, the technology chosen to prototype HASGS was developed in order to serve the aesthetic intention of the pieces being that have been written for it, avoiding the overload of solutions that could bring artefacts and superficial use of the augmentation processes which sometimes occur on augmented instruments prototyped just for improvisational intentionality. In this scope, we discuss how notation and composition can be affected by this type of interfaces. I understand this thesis as an empirically-based study which can both serve as a model for analysis, as well provide composers and performers with pathways and creative strategies under the multidimensional condition.
Description
Keywords
Performance aumentada Multidimensionalidade Saxofone Interatividade Augmented performance Multidimensionality Saxophone Interactivity