SLIDE 1

Introdução à Música Eletroacústica

SLIDE 2

AULAS

HISTÓRIA

PROCEDIMENTOS

PARAMETROS

CRIAÇÃO

Apresentação

- demonstrar três variantes de música eletrônica (dance, estudo Stockhausen e orquestral sampler) (FAZER MONTAGEM COM VARIOS TRECHSO DE COISAS ELETRONICAS (NOISE, TECHNO, ELETROACUSTICO, STOCASTICO, ORQUESTRAL, ORGAO, 8BITS)

SLIDE 3

Definição conceitual

Música Eletrônica (definição mais ampla, envolve tanto erudito como popular)

Dois principais polos

Música Acusmática Acousmatic music is a form of electroacoustic music that is specifically composed for presentation using speakers, as opposed to a live performance

The term acousmatic dates back to Pythagoras; the philosopher is believed to have tutored his students from behind a screen so as not to let his presence distract them from the content of his lectures. In 1955, Jérôme Peignot and Pierre Schaeffer were the first to use the termacousmatique to define the listening experience of musique

concrète.[2] It is said to be derived from akousmatikoi, the outer circle of Pythagoras' disciples who only heard their teacher speaking from behind a veil. In a similar way, one hears acousmatic music from behind the 'veil' of loudspeakers, without seeing the source of the sound.[3]

Música Eletroacústica Electroacoustic music originated in Western art music during the modern era[citation needed] following the incorporation of electric sound production into compositional practice.

SLIDE 4

Origens

Musique concrète GRM Groupe de Recherches Musicales Elektronische Musik Cologne studio

SLIDE 5

Musique concrète

O grupo francês foi resultado da iniciativa de Pierre Schaeffer, engenheiro electrotécnico, criador do conceito de música concreta, assim chamada por partir da gravação e transformação em estúdio de objetos sonoros (sons do ambiente, dos ruídos aos instrumentos musicais) recusando a utilização de instrumentos electrónicos.

SLIDE 6

Uma vez que os sons são gravados antes do processo de construção da música em si, ao invés da melodia ser escrita antes que um instrumentista possa transformá-lo em som, pode dizer-se que é o oposto do modo tradicional de composição

Manipulação de sons gravados

Schaeffer stated: "when I proposed the term 'musique concrète,' I intended … to point out an opposition with the way musical work usually goes. Instead of notating musical ideas on paper with the symbols of solfege and entrusting their realization to well-known instruments, the question was to collect concrete sounds, wherever they came

from, and to abstract the musical values they were potentially containing" (Reydellet 1996, 10)

Cinq études de bruits (Five Studies of Noises) is a collection of musical compositions by Pierre Schaeffer. The five études were composed in 1948 and are the earliest pieces of musique concrète, a form of electroacoustic music that utilises recorded sounds as a compositional resource.

The five études were composed at the studio Schaeffer established at RTF (now ORTF), Studio d'Essai. They are:

1. Étude aux chemins de fer – trains (TOCAR UM TRECHO)2. Étude aux tourniquets - toy tops and percussion instruments3. Étude violette - piano sounds recorded for Schaeffer by Boulez4. Étude noire - piano sounds recorded for Schaeffer by Boulez5. Étude pathétique - sauce pans, canal boats, singing, speech, harmonica, piano

MOSTRA ETUDE 1

SLIDE 7

Symphonie pour un homme seul 1949–1950 He later described the completed work as "an opera for blind people, a performance without argument, a poem made of noises, bursts of text, spoken or musical."

1. Prosopopée I2. Partita3. Valse4. Erotic5. Scherzo6. Collectif7. Prosopopée II8. Eroïca9. Apostrophe10.Intermezzo11.Cadence12.Strette

SLIDE 8

Elektronische Musik Colonia

FALAR SOBRE STOCKHAUSEN

Stockhausen has said phrases like, "We should listen to 'old' music one day a year and the other 364 days", we should listen to 'now' music.

SLIDE 9

Criação de sons a partir de senoides

MOSTRAR SENOIDE

GERAR SOM SENOIDAL NO AUDACITY E USAR PLUGIN HARMONIC GENERATOR

STUDIE II

Rhe work was important amongst other reasons because it was made (as were the works by Pousseur, Goeyvaerts, and Gredinger) not with the use of (electronic) instruments, like the Trautonium or Melochord, but rather out of pure sine tones. For the first time, complete compositional control was achieved, even over timbre. The ideal was to produce each sound synthetically and thus separately determined in its details: "The conscious organization of music extends to the micro-acoustic sphere of the sound material itself" (Stockhausen 1964, 22–23; Stockhausen 1992, 101). It is serially organized on all musical levels (Stockhausen 1964, 22–24; Stockhausen 1992, 101–102).

SLIDE 10

Em 1956, o músico compôs Gesang der Jünglinge, o primeiro trabalho de grande porte do estúdio de Colónia, baseado em um texto do Livro de Daniel. A obra é citada como inaugural da música eletroacústica.

The work, routinely described as "the first masterpiece of electronic music" (Simms 1986, 391; Kohl 1998, 61) and "an opus, in the most emphatic sense of the term" (Decroupet and Ungeheuer 1998, 97), is significant in that it seamlessly integrates electronic sounds with the human voice by means of matching voice resonances with pitch and creating sounds of phonemes electronically. In this way, for the first time ever it successfully brought together the two opposing worlds of the purely electronically generated German elektronische Musik and the French Musique Concrète, which transforms recordings of acoustical

events. Gesang der Jünglinge is also noted for its early use of spatiality; it was originally in five-channel sound, which was later reduced to just four channels (mixed to monaural and later to stereo for commercial recording release).

There are three basic types of material used: (1) the recorded voice of a boy soprano, (2) electronically generated sine tones, and (3) electronically generated pulses (clicks). Each of these may be composed along a scale running from discrete events to massed "complexes" structured statistically (Ungeheuer and Decroupet 1998, 27).

SLIDE 11

Kontakte (1958-1960) é uma das obras mais importantes de Stockhausen, que combina sons electrónicos com a execução, em tempo real, de partes para piano e percussão.Enigmatico

The title of the work “refers both to contacts between instrumental and electronic sound groups and to contacts between self-sufficient, strongly characterized moments

SLIDE 12

Desenvolvimento MIDI

Musical Instrument Digital Interface

MAX MSP

SLIDE 13

Manoury

Since the 1980s, Manoury has been closely associated with the American computer researcher Miller Puckette, first at IRCAM and subsequently at UCSD. The Sonus ex machina series of works, which were developed in collaboration with Puckette, are among the first pieces to utilize real-time audio signal processing, and his 1988 piece Pluton was the first ever composition using Puckette's groundbreaking software MaxMSP.

La Partition du Ciel et de l'Enfer (1989)pour flûte midi, piano, piano midi et ensemble et électronique

SLIDE 14

Musica eletroacústica Brasil

No Brasil, as experiências eletroacústicas iniciam com o compositor Jorge Antunes que constrói seus instrumentos e cria as primeiras obras eletrônicas: Pequena Peça para Mi Bequadro e Harmônicos (1961) e Valsa Sideral (1962). É bem verdade que antes, mais precisamente em 1956, o compositor Reginaldo de Carvalho, torna-se o primeiro brasileiro a criar uma peça eletroacústica. Reginaldo compõe em Paris Sibemol, consistindo em um estudo para microfones com sons captados de dois pianos, matéria plástica esticada e tamborim. De volta ao Brasil, Carvalho assume a direção do Instituto Villa-Lobos, no Rio de Janeiro, um importante centro para pesquisa e divulgação da música contemporânea. Neste Instituto Jorge Antunes encontra espaço para dar continuidade a suas pesquisas em música eletroacústica.

Flo Menezes

Motus in finite veocitor