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Advisor(s)
Abstract(s)
A aplicação do conceitoexperimental em contextos musicais tem sido objeto de grande controvérsia a partir do momento em que John Cage introduziu o termomúsica experimental no mundo da produção sonoro-musical.
Uma busca aprofundada sobre o tema sublinha o aspecto predominante da não uniformidade de definições, da inexistência de consensos alargados e da pluralidade de interpretações quanto ao termo. Desta diversidade de problemáticas originadas nos mais diversos setores (nomeadamente: acadêmicos, jornalistas, produtores musicais, programadores de eventos relacionados, editores musicais, entre outros), nasce a motivação fundamental desta investigação.
Considerando a literatura especializada e a produção teórica existente, infere-se que os fatores sociais e tecnológicos têm operado como grandes motores de ruptura e abertura face à estrutura formal da música e simultaneamente como agentes ativos no aparecimento das vanguardas musicais. Observando as características predominantes dos estilos, da instrumentação utilizada (modificada, expandida e elaborada), do processo e do resultado, nota-se a diversidade dos métodos e das finalidades artísticas, e as contradições geradas pelo uso do termomúsica experimental, que parece-nos ser comumente empregue comometa-gênero musical.
A este termo atribui-se uma provocação às formas e aos paradigmas da música tradicional e da música de concerto, principalmente aquela iniciada na transição dos séculos XIX e XX.Considera-se que as Revoluções Industriais mudaram a forma, a compreensão, as dinâmicas sociais e as relações do homem com o ambiente, e por consequência com a própria arte.A partir dos eventos tecnológicos, compreendemos a chamada nova música, profetizada por Luigi Russolo (1913) no seu manifesto futurista The Art Of Noise.
Sucedem-se os desenvolvimentos nos laboratórios de experimentação sonora e nos centros de pesquisa, principalmente os franceses, alemães, ingleses e norte-americanos, que ajudaram a intensificar a produção musical e a exploração empírica através do acesso facilitado aos instrumentos eletrônicos, bem como a escrita sobre um vasto conjunto de questões técnicas e filosóficas oriundas destas novas realizações.
Desde então, surgiram e continuam a surgir mutações variadas nas perspectivas sonoras, nas formas e nos fundamentos do desenvolvimento da criaçãoexperimental. Estas mutações causam dificuldade no entendimento do conceitoexperimental atrelado aos sons e dos limites de sua aplicação. Identifica-se, pois, a pergunta central desta investigação: Onde começa e acaba a boa aplicação do termo música experimental?
The application of the concept ofexperimental in musical contexts has been the subject of great controversy since John Cage introduced the termexperimental music in the world of sound-musical production. An in-depth search on the subject underlines the predominant aspect of non-uniformity of definitions, the lack of broad consensus and the plurality of interpretations regarding the term. From this diversity of problems originated in the most diverse sectors (academics, journalists, music producers, programmers of related events, musical publishers, among others),comes the fundamental motivation of this investigation. Considering specialized literature and the existing theoretical production, one can infer that social and technological factors have operated as major engines of rupture and opening given the formal structure of music and simultaneously as active agents in the emergence of musical vanguards. Observing the predominant characteristics of the styles, of the instrumentation used (modified, expanded and elaborated), of the process and of the result, one can notice the diversity of the methods and the artistic ends, and the contradictions generated by the use of the term experimental music, which seems to be commonly employed as music meta-genre. To this term is attributed a provocation to the forms and paradigms of traditional music and concert music, especially that begun in the transition of the nineteenth and twentieth centuries. It is considered that the Industrial Revolutions changed the form, the understanding, the social dynamics and the relations between man and the environment, and consequently the own art. From the technological events, we understand the so-called new music, prophesied byLuigi Russolo (1913) in his futurist manifesto The Art Of Noise. Developments have been made in sound-testing laboratories and in research centers, especially the French, German, English and North American, which have helped to intensify music production and empirical exploration through easier access to electronic instruments as well as writing on a wide range of technical and philosophical issues arisen out of thesenew achievements. Since then, varied mutations have emerged and continue to emerge in the sonorous perspectives, in the forms and foundations of the development of experimental creation. These mutations cause difficulty in understanding the concept of experimental linked to sounds and the limits of their application. The central question of this investigation is therefore identified: Where does the application of the term experimental music begin and end?
The application of the concept ofexperimental in musical contexts has been the subject of great controversy since John Cage introduced the termexperimental music in the world of sound-musical production. An in-depth search on the subject underlines the predominant aspect of non-uniformity of definitions, the lack of broad consensus and the plurality of interpretations regarding the term. From this diversity of problems originated in the most diverse sectors (academics, journalists, music producers, programmers of related events, musical publishers, among others),comes the fundamental motivation of this investigation. Considering specialized literature and the existing theoretical production, one can infer that social and technological factors have operated as major engines of rupture and opening given the formal structure of music and simultaneously as active agents in the emergence of musical vanguards. Observing the predominant characteristics of the styles, of the instrumentation used (modified, expanded and elaborated), of the process and of the result, one can notice the diversity of the methods and the artistic ends, and the contradictions generated by the use of the term experimental music, which seems to be commonly employed as music meta-genre. To this term is attributed a provocation to the forms and paradigms of traditional music and concert music, especially that begun in the transition of the nineteenth and twentieth centuries. It is considered that the Industrial Revolutions changed the form, the understanding, the social dynamics and the relations between man and the environment, and consequently the own art. From the technological events, we understand the so-called new music, prophesied byLuigi Russolo (1913) in his futurist manifesto The Art Of Noise. Developments have been made in sound-testing laboratories and in research centers, especially the French, German, English and North American, which have helped to intensify music production and empirical exploration through easier access to electronic instruments as well as writing on a wide range of technical and philosophical issues arisen out of thesenew achievements. Since then, varied mutations have emerged and continue to emerge in the sonorous perspectives, in the forms and foundations of the development of experimental creation. These mutations cause difficulty in understanding the concept of experimental linked to sounds and the limits of their application. The central question of this investigation is therefore identified: Where does the application of the term experimental music begin and end?
Description
Keywords
Experimental music Musicology Ethnomusicology Theory of musical content Musical signification Musical terminology Música experimental Musicologia Etnomusicologia Teoria do conteúdo musical Significação musical Terminologia musical