An analysis of the relationship between Pierre Schaeffer and the musical avantgarde of 1953, with particular reference to Pierre Boulez and to Schaeffer’s shift from musique concrète to recherche musicale. The main source is Schaeffer’s... more
An analysis of the relationship between Pierre Schaeffer and the musical avantgarde of 1953, with particular reference to Pierre Boulez and to Schaeffer’s shift from musique concrète to recherche musicale. The main source is Schaeffer’s “Vers une musique expérimentale” (Revue musicale 236); extensive excerpts are translated here into English. The antagonism between the Paris and Cologne studios is discussed in the light of two different approaches to technology and tradition; for the exponents of elektronische Musik new technology was a means to perfect Western music, while for Schaeffer it was simply a means to make new musical discoveries. [RILM I]
Schaeffer’s research on different sound sources — including electronic devices and concrete sounds — led him to experiment with compositional techniques such as serialism. His role in the development of musique concrète has been misunderstood by those who focus on his sound sources rather than his compositional methods. His later phase can be categorized as experimental, as he used his earlier experiences with sound sources as a stimulus for investigating new compositional procedures and forms. [RILM II]
Schaeffer’s research on different sound sources — including electronic devices and concrete sounds — led him to experiment with compositional techniques such as serialism. His role in the development of musique concrète has been misunderstood by those who focus on his sound sources rather than his compositional methods. His later phase can be categorized as experimental, as he used his earlier experiences with sound sources as a stimulus for investigating new compositional procedures and forms. [RILM II]
Research Interests: Music History, Music Theory, Music Aesthetics, Electroacoustic Music, History of Music Theory, and 14 moreHistory Of Electroacoustic Music, Experimental Music, Aesthetics of (new) media, 20th century Avant-Garde, Aesthetics (Music), Pierre Schaeffer, Karlheinz Stockhausen, Boulez Pierre, Musical aesthetics, Serialism in the 1950s, Musique Et Musicologie, Musique Concrète, Avant Garde Music, and Avant-garde and modernist music
Briefly surveys the 1941–58 activities of Pierre Schaeffer, who created musique concrète in Paris in the late 1940s. Also outlined is his work of 1948–53 — between the beginning of his research into noises and the writing of his manifesto... more
Briefly surveys the 1941–58 activities of Pierre Schaeffer, who created musique concrète in Paris in the late 1940s. Also outlined is his work of 1948–53 — between the beginning of his research into noises and the writing of his manifesto “Vers une musique expérimentale”, originally published in the Revue musicale 236 (1957). [RILM]
Research Interests:
Pierre Schaeffer's notion of Arts-Relais highlights aesthetic fissures in the passage from manual to mechanical techniques of sound production, fixation and reproduction. The Arts-Relais ‘instrument’ belongs to the history of... more
Pierre Schaeffer's notion of Arts-Relais highlights aesthetic fissures in the passage from manual to mechanical techniques of sound production, fixation and reproduction.
The Arts-Relais ‘instrument’ belongs to the history of technische Reproduzierbarkeit and there is a direct relationship between the two manifestations of technische Reproduzierbarkeit as expounded by Walter Benjamin — ‘artwork reproduction and the art of film’ — and the double role of the Arts-Relais instrument as defined by Schaeffer: ‘to retransmit in a certain manner what we used to see or hear directly and to express in a certain manner what we used not to see or hear’.
In the history of technische Reproduzierbarkeit the Arts-Relais instrument marks the shift from ‘older handwork technology’ to that technology which, in the words of Martin Heidegger, ‘unlocks, stores, distributes and switches about’ the energies of nature and whose essence Heidegger terms Ge-stell.
The ‘sinking of the object into the objectlessness of the standing reserve’ — a feat of Ge-stell — intersects the ‘decline of the aura’ — a feat of technische Reproduzierbarkeit — but while the decline of the aura paves the way for art as political praxis, the sinking of the object into the objectlessness of the standing reserve elicits from Heidegger an invitation to a return to the golden age of Greek techne.
Is this not praxis too? And how does Schaeffer respond to Heidegger's invitation?
The Arts-Relais ‘instrument’ belongs to the history of technische Reproduzierbarkeit and there is a direct relationship between the two manifestations of technische Reproduzierbarkeit as expounded by Walter Benjamin — ‘artwork reproduction and the art of film’ — and the double role of the Arts-Relais instrument as defined by Schaeffer: ‘to retransmit in a certain manner what we used to see or hear directly and to express in a certain manner what we used not to see or hear’.
In the history of technische Reproduzierbarkeit the Arts-Relais instrument marks the shift from ‘older handwork technology’ to that technology which, in the words of Martin Heidegger, ‘unlocks, stores, distributes and switches about’ the energies of nature and whose essence Heidegger terms Ge-stell.
The ‘sinking of the object into the objectlessness of the standing reserve’ — a feat of Ge-stell — intersects the ‘decline of the aura’ — a feat of technische Reproduzierbarkeit — but while the decline of the aura paves the way for art as political praxis, the sinking of the object into the objectlessness of the standing reserve elicits from Heidegger an invitation to a return to the golden age of Greek techne.
Is this not praxis too? And how does Schaeffer respond to Heidegger's invitation?
Research Interests:
Schaeffer's notion of arts-relais highlights aesthetic fissures in the passage from manual to mechanical techniques of sound production and reproduction. There is a direct relationship between the two manifestations of Walter Benjamin's... more
Schaeffer's notion of arts-relais highlights aesthetic fissures in the passage from manual to mechanical techniques of sound production and reproduction. There is a direct relationship between the two manifestations of Walter Benjamin's technische Reproduzierbarkeit — “artwork reproduction and the art of film” — and the double role of the arts-relais instrument as defined by Schaeffer: “to retransmit in a certain manner what we used to see or hear directly and to express in a certain manner what we used not to see or hear”. The arts-relais instrument marks a shift from Handwerk to a technology that, in Heidegger's words, “unlocks, stores, distributes and switches about” the energies of nature, and whose essence Heidegger terms Ge-stell. The “sinking of the object into the objectlessness of the standing reserve” — a feat of Ge-stell — intersects the “decline of the aura” — a feat of technische Reproduzierbarkeit — but while the decline of the aura paves the way for art as political praxis, the sinking of the object into the objectlessness of the standing reserve elicits from Heidegger an invitation to a return to the golden age of Greek technē, which is praxis too. [RILM ]
Research Interests:
An analysis of the relationship between Pierre Schaeffer and the musical avant-garde of 1953, with particular reference to Pierre Boulez and to Schaeffer's shift from musique concrète to recherche musicale. The main source is Schaeffer's... more
An analysis of the relationship between Pierre Schaeffer and the musical avant-garde of 1953, with particular reference to Pierre Boulez and to Schaeffer's shift from musique concrète to recherche musicale. The main source is Schaeffer's 'Vers une musique expérimentale' (La revue musicale 236); extensive excerpts are translated here into English. The antagonism between the Paris and Cologne studios is discussed in the light of two different approaches to technology and tradition; for the exponents of elektronische Musik new technology was a means to perfect Western music, while for Schaeffer it was simply a means to make new musical discoveries. [RILM]
Research Interests:
A reassessment of musique concrète, comprising historical contextualization, critical synopsis, and interpretation of Schaeffer's trajectory, from the Études de bruits (1948) to Traité des objets musicaux (1966). Henry's Variations pour... more
A reassessment of musique concrète, comprising historical contextualization, critical synopsis, and interpretation of Schaeffer's trajectory, from the Études de bruits (1948) to Traité des objets musicaux (1966). Henry's Variations pour une porte et un soupir (1963) are presented as emblematic of the concrete procedure.
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The Brazilian Group for Computer Music Research (NuCoM) has become renowned for its annual Brazilian Symposium on Computer Music. The author recounts the group's proto-history — the period of the 1970s and 1980s — with particular... more
The Brazilian Group for Computer Music Research (NuCoM) has become renowned for its annual Brazilian Symposium on Computer Music. The author recounts the group's proto-history — the period of the 1970s and 1980s — with particular reference to the early works of Aluizio Arcela and Eduardo Miranda. The author continues his discussion to focus on NuCoM, which began to take shape in 1993 when Miranda and Geber Ramalho (one of Arcela's students) met in Paris and decided to launch a discussion list on the Web. The following year, Maurício Loureiro chaired the First Brazilian Symposium on Computer Music, affiliating NUCOM to the Brazilian Computer Society (SBC).
Research Interests:
The musicology of electroacoustic music has been reviewed by Landy (1999) in accordance with the traditional division of the discipline: historical musicology, systematic musicology and ethnomusicology, plus critical musicology. Because... more
The musicology of electroacoustic music has been reviewed by Landy (1999) in accordance with the traditional division of the discipline: historical musicology, systematic musicology and ethnomusicology, plus critical musicology. Because electroacoustic music cannot accept some tenets of Western art music, its musicology is necessarily critical. A study of musique concrète illustrates this. Electroacoustic music and its musicology are isomorphs.
Research Interests:
Research Interests:
A record, in both historical documentation and biographical reclamation, of the struggles and sensibilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of... more
A record, in both historical documentation and biographical reclamation, of the struggles and sensibilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued.
Research Interests:
In what follows I shall examine some documents concerning “Gargalhada”, phonogram 108,077 (Brazilian Odeon), performed by self-designated crioulo Eduardo das Neves (1874–1919), which I shall consider in its relations to African American... more
In what follows I shall examine some documents concerning “Gargalhada”, phonogram 108,077 (Brazilian Odeon), performed by self-designated crioulo Eduardo das Neves (1874–1919), which I shall consider in its relations to African American recording artist George W. Johnson’s (1846–1914) “Laughing Song”, the best-selling item of the early recording industry, before I conclude with some remarks on the narratives where such relations might fit.
Research Interests: Cultural Memory, African Diaspora, Phonography, Brazilian Music, Historiography of Music, and 8 moreAfro-Brazilian Culture, Transculturalism, Afro-Brazilian Music, Politics, Brazilian Popular Music, History and Brazilian popular music, Black Aesthetics, Brazilian Phonographic Industry, and African and African-american Literature
A critical survey of the history of Rio de Janeiro bailes funk and their music in their relations with Afro North-American musics and the emergence of black pride in Brazilian popular music.
Research Interests: Black/African Diaspora, African Diaspora Studies, Luso-Afro-Brazilian Studies, African Diaspora, Soul (Music), and 8 moreFunk Music History, Afro-Brazilian Culture, Black Music and Politics, Diáspora Africana, Baile Funk, Baile Funk Music, Funk Carioca, and Funk Carioca - Arte Popular - Brazilian Eletronic Music
Research Interests:
Philip Brett died of cancer on 16 October 2002. The previous year, the GLSG Newsletter had printed “Lesbian and Gay Music”, the uncensored original of the article he and Elizabeth Wood co-authored for the second edition of The New Grove... more
Philip Brett died of cancer on 16 October 2002. The previous year, the GLSG Newsletter had printed “Lesbian and Gay Music”, the uncensored original of the article he and Elizabeth Wood co-authored for the second edition of The New Grove Dictionary of Music and Musicians, where it appeared with various cuts as “Gay and Lesbian Music”. In December 2002, the Electronic Musicological Review republished the unexcised manuscript in a bilingual version that benefited from detailed discussion with the authors and commentaries by various scholars. In August the following year, I gave a paper on the article at the XIV Congress of the Brazilian Association for Research and Graduate Studies in Music.
The interview that follows was conducted in mid May 2003 to verify ideas I ventured in the paper. It gave rise to a review-article that came out in Echo later on, with excerpts from the interview. An insider’s take on the history of queer musicology written by one of its pioneers under the impact of a beloved colleague’s death, Wood’s statement on co-authorship is a touching tribute to Brett’s memory.
The interview that follows was conducted in mid May 2003 to verify ideas I ventured in the paper. It gave rise to a review-article that came out in Echo later on, with excerpts from the interview. An insider’s take on the history of queer musicology written by one of its pioneers under the impact of a beloved colleague’s death, Wood’s statement on co-authorship is a touching tribute to Brett’s memory.
Research Interests: History, Sociology, Musicology, Gender Studies, Anthropology, and 34 moreEthnomusicology, Narrative, Queer Theory, Reproduction, Gay And Lesbian Studies, Critical Psychology, Discourse, Politics, Cultural Musicology, Feminism, Sexual Identity, Critical Musicology, Gay and Lesbian History, Abortion, Intersectionality, Sexuality Studies, Homosexuality, Maternity, Gay Identity, New Musicology, Feminist Musicology, Queer, Gay, Twentieth-Century Australian History, Lesbian, Critical Race and Whiteness Studies, Script, Lgbtq, Bisexual, Sexuality and Identity, Public Policy, Lesbian and Gay History, Citrizenship, and Sexualtiy Gender and National Identity
The processes that lead from volt-mix to tamborzão, two bases (beats) of funk carioca (funk from the greater Rio de Janeiro city), are analysed with reference to Pierre Schaeffer's typo-morphology of sonic objects (1966). Such... more
The processes that lead from volt-mix to tamborzão, two bases (beats) of funk carioca (funk from the greater Rio de Janeiro city), are analysed with reference to Pierre Schaeffer's typo-morphology of sonic objects (1966). Such transformations are viewed as instances of Gilbert Simondon's concretization (1958). They are synchronous with changes in the geopolitics and human geography of bailes funk (funk dances). As the volt-mix morphs into the tamborzão, the epicentre of these events moves from clubs in the suburbs and periphery to favelas, and funkeiros (funksters) become subjected to tensions arising from control of their spaces by rival factions of illicit substance retailers. These shifts coincide with the rise of a human character, the neurótico (neurotic), and with the collective feeling of neurose (neurosis) associated with circulating in those territories, as Carla Mattos's ethnography demonstrates (2006).