Thesis Open Access

# Música e técnica: reflexão conceitual, mecanologia e criação musical

Velloso, José Henrique Padovani

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<identifier identifierType="DOI">10.5281/zenodo.825899</identifier>
<creators>
<creator>
<creatorName>Velloso, José Henrique Padovani</creatorName>
<familyName>Velloso</familyName>
<affiliation>UNICAMP</affiliation>
</creator>
</creators>
<titles>
<title>Música e técnica: reflexão conceitual, mecanologia e criação musical</title>
</titles>
<publisher>Zenodo</publisher>
<publicationYear>2013</publicationYear>
<subjects>
<subject>composition</subject>
<subject>music and technique</subject>
<subject>music and philosophy</subject>
<subject>Gilbert Simondon</subject>
</subjects>
<dates>
<date dateType="Issued">2013-12-13</date>
</dates>
<resourceType resourceTypeGeneral="Text">Thesis</resourceType>
<alternateIdentifiers>
<alternateIdentifier alternateIdentifierType="url">https://zenodo.org/record/825899</alternateIdentifier>
</alternateIdentifiers>
<relatedIdentifiers>
<relatedIdentifier relatedIdentifierType="DOI" relationType="IsVersionOf">10.5281/zenodo.825898</relatedIdentifier>
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<rightsList>
<rights rightsURI="info:eu-repo/semantics/openAccess">Open Access</rights>
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<descriptions>
<description descriptionType="Abstract">&lt;p&gt;Resumo: &lt;/p&gt;

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&lt;p&gt; &lt;/p&gt;

&lt;p&gt;Abstract: The thesis objective is to discuss the matter of technology in creative processes related to sound and musical practices by (1) undertaking a conceptual/theoretical inquiry; (2) by undertaking a mecanological approach of certain musical/sound technologies; (3) by presenting creative works produced during the doctorate studies. These three approaches are presented, respectively, in the three parts of the work – which are significantly independent from each other. The first section critically exposes different theoretical understandings of technology. Gilbert Simondon’s outlook is counterposed to a sort of fatalism that may be perceived in the theoretical thought of Heidegger, Benjamin and Adorno, despite the very specific features of these philosophers’ ideas. By refusing an hylomorphism (that segregates form and material), Simondon conceives technical things as a cultural artifacts which retain in their dynamism human gestures and thoughts. By relating these ideas to music and its creative processes, such a perspective allows us to glimpse a less quarrelsome relation between technology and musical creation, what allows us to understand the integration of technical things in these contexts not by an utilitarian and instrumental approach but rather as a &lt;em&gt;transductive &lt;/em&gt;process of coupling between human expressions, gestures and thoughts and their sedimentation in the dynamic mechanisms of technical things. By exposing certain technologies and their use in musical contexts, the second part of the thesis enterprises what is here called a mecanology of musical/sound techniques and related practices. Such exposition comprises the study of certain technical mechanisms and an interpretation of such inventions including their subsequent technical developments as well as their appropriation and reinvention in specific creative processes. The third part of the work presents briefly compositions that were written during the doctorate studies. The scores of these compositions were included in the thesis’ appendices.&lt;/p&gt;</description>
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