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Advisor(s)
Abstract(s)
O presente estudo compreende a reflexão teórica e a criação artística em torno da música
mista, género afecto à informática musical. A música mista é um género musical, que foi
estabelecido desde a segunda metade do séc. XX. Pode ser definida como a junção do meio
acústico com o meio electrónico, mais concretamente: a combinação na performação de um ou
mais instrumentos acústicos com sons criados, processados ou reproduzidos electronicamente.
As duas principais estratégias deste género musical - tempo-diferido e tempo-real,
apresentam tanto vantagens como constrangimentos que influenciam a liberdade de uma
expressão performativa. A partir de questões levantadas por esta problemática e dos vários tipos
de relações que se estabelecem durante uma performação, formulámos a hipótese que as
relações que privilegiam a expressividade musical são as relações entre humanos e não as
relações homem-tecnologia. No entanto, a liberdade de expressão performativa é conseguida
quando o meio electroacústico e o meio acústico se encontram em pé de igualdade. Esta implica
que o meio electroacústico deve ser maleável de modo a que seja performável a partir de um
sistema que se comporte de uma forma instrumental.
Para a verificação destas afirmações empreendermos uma visão sistemática das
problemáticas em volta da performação de música mista, abordando separadamente os seus dois
elementos fundamentais: o factor tecnológico e o factor humano. Após este estudo paralelo,
efectuámos a convergência destes que culmina com a proposição de um modelo conceptual de
performação que se baseia na importância da interacção musical entre performadores e que esta é
um corolário da abertura à possibilidade de expressão performativa. Este modelo, que
designamos como Sistema de Relações Dinâmicas, é um conceito cujas implicações afectam
tanto a performação como o acto criativo.Esta investigação inclui uma vertente prática com diversas aplicações deste conceito. A partir desta, foi-nos permitido deduzir graus de aplicabilidade deste modelo proposto e assim verificar a sua viabilidade.
This dissertation comprises a theoretical study and artistic creation on mixed music. Mixed music, as a musical genre, was established since the second half of the twentieth century. It can be defined as the combination of acoustic and electronic means. More specifically, the combination in a performance of one or more acoustic instruments with electronically generated, processed or reproduced sounds. Both the two main strategies, used in this musical genre - deferred-time and real-time, present advantages and constraints which have a strong influence on the freedom of performance expression. Starting from questions raised about these problems and from the several kinds of relations established during a performance, we formulated the hypothesis that the relations which privilege musical expressiveness are those between human and not between human and technology. However performance expression freedom is accomplished when both acoustic and electronic means are on equal footing. This implies that the electroacustic mean should be flexible in a way that can be performable with a system that behaves like an instrument. To verify these claims we undertake a systematic study on the problems around mixed music performance, approaching separately its fundamental elements: the human factor and the technological factor. After this parallel study, we performed a convergence of these factors culminating with the proposition of a performance conceptual model based on the importance of musical interaction between performers and that this is a corollary of the possibility of performative expression. This model, which we refer to as Dynamic Relations Systems, is a concept whose implications affect both performance and creative act. This research includes a practical feature with several applications of this concept. On this basis, we were allowed to deduct this proposed model’s degrees of applicability and thus verify its viability.
This dissertation comprises a theoretical study and artistic creation on mixed music. Mixed music, as a musical genre, was established since the second half of the twentieth century. It can be defined as the combination of acoustic and electronic means. More specifically, the combination in a performance of one or more acoustic instruments with electronically generated, processed or reproduced sounds. Both the two main strategies, used in this musical genre - deferred-time and real-time, present advantages and constraints which have a strong influence on the freedom of performance expression. Starting from questions raised about these problems and from the several kinds of relations established during a performance, we formulated the hypothesis that the relations which privilege musical expressiveness are those between human and not between human and technology. However performance expression freedom is accomplished when both acoustic and electronic means are on equal footing. This implies that the electroacustic mean should be flexible in a way that can be performable with a system that behaves like an instrument. To verify these claims we undertake a systematic study on the problems around mixed music performance, approaching separately its fundamental elements: the human factor and the technological factor. After this parallel study, we performed a convergence of these factors culminating with the proposition of a performance conceptual model based on the importance of musical interaction between performers and that this is a corollary of the possibility of performative expression. This model, which we refer to as Dynamic Relations Systems, is a concept whose implications affect both performance and creative act. This research includes a practical feature with several applications of this concept. On this basis, we were allowed to deduct this proposed model’s degrees of applicability and thus verify its viability.