Thesis Open Access

Música e técnica: reflexão conceitual, mecanologia e criação musical

Velloso, José Henrique Padovani


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    "description": "<p>Resumo:\u00a0</p>\n\n<p>\u00a0</p>\n\n<p>O objetivo do trabalho \u00e9 discutir a quest\u00e3o das t\u00e9cnicas nos processos criativos relacionados a pr\u00e1ticas musicais e sonoras ao (1) realizar uma investiga\u00e7\u00e3o reflexiva/conceitual; (2) ao realizar uma abordagem mecanol\u00f3gica de determinadas t\u00e9cnicas musicais/sonoras; e (3) ao apresentar trabalhos de cria\u00e7\u00e3o realizados durante o doutorado. Essas tr\u00eas abordagens s\u00e3o apresentadas, respectivamente, nas tr\u00eas partes do trabalho \u2013 consideravelmente independentes entre si. A primeira apresenta criticamente diferentes apreens\u00f5es sobre a t\u00e9cnica. A um fatalismo identificado, apesar de suas particularidades, no pensamento de Heidegger, Benjamin e Adorno \u00e9 contraposto o pensamento de Gilbert Simondon. Recusando o hilemorfismo (que segrega forma e material), Simondon compreende a t\u00e9cnica como um artefato cultural que preserva em seu dinamismo gestos e pensamentos humanos. Ao ser aproximada dos processos criativos na m\u00fasica, tal perspectiva permite entrever uma rela\u00e7\u00e3o menos conflituosa entre t\u00e9cnica e cria\u00e7\u00e3o musical, compreendendo-se ent\u00e3o a intera\u00e7\u00e3o com as t\u00e9cnicas nesses contextos n\u00e3o mais a partir de um vi\u00e9s meramente utilit\u00e1rio ou instrumental, mas, antes, como um processo <em>transdutivo </em>de acoplagem entre express\u00f5es, gestos e pensamentos que emanam tanto do homem quanto da sua sedimenta\u00e7\u00e3o no dinamismo dos mecanismos t\u00e9cnicos. Na segunda parte do trabalho \u00e9 empreendida, a partir da exposi\u00e7\u00e3o de determinadas t\u00e9cnicas e de suas utiliza\u00e7\u00f5es em contextos musicais, uma mecanologia das t\u00e9cnicas musicais e sonoras e de pr\u00e1ticas a elas relacionadas. Tal abordagem \u00e9 realizada a partir do estudo de determinados objetos e mecanismos t\u00e9cnicos e a partir de uma interpreta\u00e7\u00e3o das implica\u00e7\u00f5es dessas inven\u00e7\u00f5es em desenvolvimentos t\u00e9cnicos subsequentes assim como de sua apropria\u00e7\u00e3o e reinven\u00e7\u00e3o em processos criativos espec\u00edficos. A terceira parte do trabalho apresenta brevemente as composi\u00e7\u00f5es realizadas durante o doutorado, cujas partituras foram inclu\u00eddas aos ap\u00eandices do trabalho.</p>\n\n<p>\u00a0</p>\n\n<p>Abstract:\u00a0The 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 \u2013 which are significantly independent from each other. The first section critically exposes different theoretical understandings of technology. Gilbert Simondon\u2019s 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\u2019 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 <em>transductive </em>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\u2019 appendices.</p>", 
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    "keywords": [
      "composition", 
      "music and technique", 
      "music and philosophy", 
      "Gilbert Simondon"
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    "publication_date": "2013-12-13", 
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    "title": "M\u00fasica e t\u00e9cnica: reflex\u00e3o conceitual, mecanologia e cria\u00e7\u00e3o musical"
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  "owners": [
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  "revision": 3, 
  "updated": "2017-09-08T08:06:58.425788+00:00"
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