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Authors
Advisor(s)
Abstract(s)
Propomos um estudo interdisciplinar das estéticas da informática musical, que articule os
níveis histórico, analítico e crítico para chegar a novas perspectivas sobre a música
electrónica contemporânea. Partindo da ideia de música como arte-ciência (Varèse), da sua
noção de som cinético (como um processo), da redefinição radical do pensamento
composicional perante a emergência dos meios electrónicos (Schaeffer, Koenig, Xenakis),
chegamos à presente era digital, apoiados em novas teorias do som (e.g. Radulescu). Situação
inédita na história da música, as tecnologias de produção e distribuição encontram-se
reunidas num único meio, com consequências fundamentais para a criação musical
(composição e improvisação) e análise. O cerne do estudo será estabelecer uma historicidade
sincrónica da música informática e sua estética, a partir duma análise das dimensões sociais,
políticas, económicas e ideológicas (descrevendo as superestruturas técnicas e tecnológicas),
assim como a sua fundamentação psicológica, subjectiva e intersubjectiva.
Apresentamos um enquadramento conceptual da filosofia da música: a energia musical
irrealizada, concebido em co-autoria com Jorge Lima Barreto, e que é o firmamento teórico
para a prática da improvisação do duo Zul Zelub1, assim como de diversas obras de natureza
intercultural, interarte e intermédia. A energia musical irrealizada investiga o universo que
antecede a criação musical: Ideias musicográficas jamais escritas, imaginário poético sem
efectivação literária e artística, todos os gastos de energia criativa musical do irrealizado. Em
busca dum “elogio da Abertura” - da forma aberta e da indeterminação em direcção à música
intuitiva e à improvisação total - o objectivo é revelar alternativas estéticas, estabelecendo
contacto com a essência das circunstâncias dominantes.
We propose an interdisciplinary study on the aesthetics of computer music, encompassing historical, analytical and critical standpoints to reach new perspectives on contemporary electronic music. Starting from the idea of music as an art-science (Varèse), of sound as a process, and from the radical redefinition of compositional thought caused by the emergence of electronic media (Schaeffer, Koenig, Xenakis), we arrive at the present digital era, supported by new theories of sound (e.g. Radulescu). Today, the production and distribution technologies are combined in one single medium, an unprecedented situation in the history of music, with fundamental consequences for composition, improvisation and analysis. The core of the study is to establish a synchronous historicity of computer music and its aesthetics, from an analysis of the social, political, economic and ideological (describing the technical and technological superstructures ), as well as their psychological, subjective and intersubjective basis. We present a conceptual framework of the philosophy of music – the unrealized musical energy, co-authored with Jorge Lima Barreto - which is the theoretical firmament for musical improvisation (Zul Zelub2), as well as several interartistic, intercultural and intermedia works. The unrealized musical energy investigates the universe which precedes musical creation: musicographical ideas never written before, poetic imagery without literary and artistic materialization, all expenses of the creative musical energy not yet made into existence. In search of a "praise of Openness" - from open-form and indeterminacy towards intuitive music and total improvisation - the aim is to reveal aesthetic alternatives, establishing contact with the essence of the prevailing circumstances.
We propose an interdisciplinary study on the aesthetics of computer music, encompassing historical, analytical and critical standpoints to reach new perspectives on contemporary electronic music. Starting from the idea of music as an art-science (Varèse), of sound as a process, and from the radical redefinition of compositional thought caused by the emergence of electronic media (Schaeffer, Koenig, Xenakis), we arrive at the present digital era, supported by new theories of sound (e.g. Radulescu). Today, the production and distribution technologies are combined in one single medium, an unprecedented situation in the history of music, with fundamental consequences for composition, improvisation and analysis. The core of the study is to establish a synchronous historicity of computer music and its aesthetics, from an analysis of the social, political, economic and ideological (describing the technical and technological superstructures ), as well as their psychological, subjective and intersubjective basis. We present a conceptual framework of the philosophy of music – the unrealized musical energy, co-authored with Jorge Lima Barreto - which is the theoretical firmament for musical improvisation (Zul Zelub2), as well as several interartistic, intercultural and intermedia works. The unrealized musical energy investigates the universe which precedes musical creation: musicographical ideas never written before, poetic imagery without literary and artistic materialization, all expenses of the creative musical energy not yet made into existence. In search of a "praise of Openness" - from open-form and indeterminacy towards intuitive music and total improvisation - the aim is to reveal aesthetic alternatives, establishing contact with the essence of the prevailing circumstances.
Description
Keywords
Ruído Forma aberta Indeterminação Intuição Improvisação Terza prattica Energia musical irrealizada Informática musical Música electroacústica Composição assistida por computador Noise Open form Indeterminacy Intuition Improvisation Unrealized musical energy Zul zelub Computer music Electroacoustic music Computer assisted composition