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Abstract(s)
O projecto entregue no âmbito do Mestrado em Teoria e Composição incidiu na recolha de elementos musicais oriundos da Estética Glitch e consequente aplicação na escrita para instrumentos tradicionais.
O Glitch surge nos anos 90 e a sua estética reside na utilização abusiva de gravações áudio ou de tecnologia digital, sons sem altura definida, que se poderiam categorizar como ruído, mas que pertencem à tradição da Composição por Timbre.
Deste modo, a investigação prévia traçou a genealogia do Timbre cuja aplicação na escrita musical eclode nas primeiras décadas do século XX e se estende até aos nosso dias.
Como aplicação prática desta investigação escrevi duas obras, uma para Clarinete Baixo e Electrónica em Tempo Real e a segunda para Música de Câmara e electrónica em Tempo Real. Em ambas, foram aplicados elementos Glitch na escrita musical. Foram analisados e descritos, procedimentos da aplicação destes gestos Glitch na obra para Clarinete Baixo e Electrónica em Tempo Real.
Por último são apontados algumas áreas para estudo futuro, que podem contribuir no aprofundar do objecto de estudo desta dissertação.
The project that was delivered in the ambit of the composition and theory degree, aimed for the gathering of musical elements originated by the Glitch aesthetics and its use on the traditional instruments writing. Glitch aesthetics emerges in the 90's and dwells in the excessive use of audio recordings or digital technology, inharmonic sounds, that may be categorized as noise, although it belongs to the tradition of Timbre composition. Therefore, the previous investigation delineates the timbre genealogy, which its use in the musical writing appears in the first decades of the XX century and extends to nowadays. As a practical usability for this research, I have wrote two pieces, one for Bass Clarinet and live electronics and one for Chamber Music and Live Electronics. On both pieces, Glitch elements were used in the musical writing. Procedures of the application of these Glitch elements were analyzed and presented in the Bass Clarinet and Live Electronic piece. And finally, were pointed out some areas for future study, which may contribute to a further understanding of the object of study of this dissertation.
The project that was delivered in the ambit of the composition and theory degree, aimed for the gathering of musical elements originated by the Glitch aesthetics and its use on the traditional instruments writing. Glitch aesthetics emerges in the 90's and dwells in the excessive use of audio recordings or digital technology, inharmonic sounds, that may be categorized as noise, although it belongs to the tradition of Timbre composition. Therefore, the previous investigation delineates the timbre genealogy, which its use in the musical writing appears in the first decades of the XX century and extends to nowadays. As a practical usability for this research, I have wrote two pieces, one for Bass Clarinet and live electronics and one for Chamber Music and Live Electronics. On both pieces, Glitch elements were used in the musical writing. Procedures of the application of these Glitch elements were analyzed and presented in the Bass Clarinet and Live Electronic piece. And finally, were pointed out some areas for future study, which may contribute to a further understanding of the object of study of this dissertation.
Description
Keywords
Glitch Escrita instrumental tradicional Timbre Electrónica em tempo real Traditional instrumental writting Live electronics