4 research outputs found
Anamorfoses artĂsticas na mĂșsica: a mediação transformadora da mĂ©dia-arte digital na perceção do artista e da performance musical
A mĂșsica e a tecnologia tĂȘm experienciado, desde hĂĄ sĂ©culos, uma coabitação e
um desenvolvimento mĂștuo constante na nossa sociedade, o qual tem possibilitado aos
mĂșsicos instrumentistas, nĂŁo sĂł a oportunidade de evoluĂrem os seus instrumentos, como
tambĂ©m a sua performance. No que concerne Ă mĂșsica em especĂfico, Irving Godt (2005)
afirma que nĂŁo hĂĄ conhecimento de sociedade alguma que tenha existido, ou que exista,
sem mĂșsica. Tal afirmação espelha bem a importĂąncia desta nas sociedades,
desempenhando um papel de relevĂąncia sobre vĂĄrios aspetos, sejam eles de cariz artĂstico,
festivo, fĂșnebre, ou noutros enquadramentos. Na realidade, a mĂșsica e a tecnologia vivem
numa simbiose e com uma dinĂąmica particular, na qual a tecnologia fornece meios para
que a mĂșsica evolua, mas, por sua vez, a mĂșsica tambĂ©m vai criando necessidades e
fomentando o desenvolvimento tecnológico. Inerentemente a esta evolução conjunta e
consoante os espaços temporais em que acontece, o papel dos mĂșsicos vai-se alterando
espontaneamente por adaptação. à uma destas alteraçÔes, num destes timings, que é aqui
investigada, nomeadamente a influĂȘncia que a mĂ©dia-arte digital exerceu/exerce na
mĂșsica, sob o ponto de vista do mĂșsico instrumentista erudito de tradição ocidental escrita
e, em particular, o ponto de vista do prĂłprio autor enquanto clarinetista. Este, que vinha
jå observando ampliaçÔes nas suas responsabilidades enquanto intérprete - mais
propriamente atravĂ©s de adiçÔes cĂ©nicas, fĂsicas, acĂșsticas, entre outras â viu-as serem
aumentadas de forma mais acentuada através da junção com os canais média digitais.
Sumariando, o presente documento é o resultado investigativo da forma e das implicaçÔes
que este desenvolvimento relacional trouxe aos instrumentistas. Para o efeito, foi
observada e identificada a performance musical instrumental tradicional, a sua evolução
mediante diversos pontos de vista entre os agentes envolvidos, a evolução notacional, a
evolução conceptual, a adição tecnológica, entre outros aspetos, tudo isto com o objetivo
de identificar e diferenciar influĂȘncias. Foram tambĂ©m elaborados trĂȘs artefactos que
explorassem ambas as ĂĄreas â mĂ©dia-arte digital e mĂșsica â, aproveitando a formação e
experiĂȘncia profissional do autor enquanto instrumentista e, tambĂ©m, como forma
geradora de dados para investigação proposta.Music and technology have been experiencing for centuries a mutual and constant
cohabitation and development in our society, which has allowed instrumental musicians
not only the opportunity to evolve their instruments but also their performance.
Concerning music in particular, Irving Godt (2005) states that there is no society that has
existed or exists without music. This reflects its importance in all societies, playing a role
of relevance in various aspects, whether artistic, festive, memorial, or in other contexts.
In fact, music and technology live in a symbiosis with a particular dynamic, in which
technology provides means for music to evolve, but music also creates needs fostering
technological development. Inherently to this joint evolution, and depending on the
timings in which it happens, the role of musicians is being changed spontaneously, by
adaptation. It is one of these alterations, in one of these timings, that is researched here,
namely, the influence that new art media exerted/exercises in music, under the point of
view of the erudite instrumentalist musician of western written tradition and, in particular,
de point of view of the author as a clarinetist. The latter, who had already been observing
enlargements in his responsibilities as a performer - more precisely through scenic,
physical and acoustic additions, among others - saw these enlargements increase through
the junction with new media channels. Summarizing, this paper is the research result of
the form and implications that this relational development has brought to instrumentalists.
To this end, traditional instrumental music performance was observed and identified, as
well as its evolution through various points of view, including notational evolution,
conceptual evolution, technological addition, among others, in order to identify and
differentiate influences. Three artifacts were also elaborated to explore both areas - new
media art and music -, taking advantage of the author's training and professional
experience as an instrumentalist and, also, as a way to generate data for the proposed
research
Design of a non-intrusive augmented trumpet
This paper describes the design and first prototype implementation of an innovative concept of augmented instruments. The main idea is given by the opportunity offered by cameras and image recognition algorithms, to avoid the use of intrusive and often wired sensors. This latter aspect is indeed one of the main limitations to augmentation since also interested players usually try to avoid âexternal elementsâ on their priceless instruments
Design of a non-intrusive augmented trumpet
This paper describes the design and first prototype implementation of an innovative concept of augmented instruments. The main idea is given by the opportunity offered by cameras and image recognition algorithms, to avoid the use of intrusive and often wired sensors. This latter aspect is indeed one of the main limitations to augmentation since also interested players usually try to avoid âexternal elementsâ on their priceless instruments