André L . Martins

This paper intends to construct some reflections on how the use of the poetic text as process of creation of a musical composition can be developed through the rhythmic, sonorous and melodic use of the words, verses and their (possible) musical meaning. Specifically, we use the example of the choral piece Motet em Ré Menor (1966), by the Brazilian composer Gilberto Mendes (1922-2017), a composition based on the concrete poem Beba Coca-Cola (1958) by Décio Pignatari (1927-2012). Some of the problems and issues related to the processes of narrativity and intertextuality, topical meaning and tropification – from the idea of musicking this poem – will be listed and approached in a reflection based on a musical analysis that seeks to depart from the form to the musical meaning relevance.

This paper intends to construct some reflections on how the use of the poetic text as process of creation of a musical composition can be developed through the rhythmic, sonorous and melodic use of the words, verses and their (possible) musical meaning. Specifically, we use the example of the choral piece Motet em Ré Menor (1966), by the Brazilian composer Gilberto Mendes (1922-2017), a composition based on the concrete poem Beba Coca-Cola (1958) by Décio Pignatari (1927-2012). Some of the problems and issues related to the processes of narrativity and intertextuality, topical meaning and tropification – from the idea of musicking this poem – will be listed and approached in a reflection based on a musical analysis that seeks to depart from the form to the musical meaning relevance.

The relationship of interaction and usability between musician – instrument expands greatly from the appropriation of new digital technologies in artistic practices, in order to promote the sound creation and its subsequent flow in the human-computer interface, by preparing a kind of hybrid machine. This machine includes the idea of an instrument that preserves its original features of lutherie, physicality, corporeality, etc. and incorporates the capabilities of a digital instrument. The musician will have access to new ways to explore, interpret and create the sound from an attentive and deep listening, manipulating its most intrinsic potential, which brings the possibility of the performer becoming part of this hybrid machine, becoming machinic. This article aims to analyze the interaction " man-tool-machine " and its new forms of instrumentness, listing some of the intrinsic problems of this expansion process with regard to the use, creation, research and musical performance with the new digital technologies available on current mobile computing, when associated with the free improvisation practices.

RESUMO Neste artigo, busco trazer uma reflexão sobre a experimentação sonora e alguns possíveis paradoxos entre música, som e linguagem na produção artística contemporânea, a partir do uso das novas tecnologias digitais. No momento em que um instrumento acústico é acoplado a uma interface capaz de processar seu sinal, temos acesso às potencialidades mais intrínsecas do som, em um nível molecular. Valendo-se de processos investigativos que podem realizar o intercâmbio de instrumentos acústicos, eletrônicos, interfaces, computadores móveis, pedaleiras controladoras, tablets, smartphones, redes de comunicação sem fios, sensores, objetos amplificados, etc., a experimentação a partir de aparatos digitais abriu uma fenda irreversível na fatura sonora, ampliando as possibilidades artísticas; o experimento sonoro, sua criação e difusão, estão cada vez mais próximos do toque, da pele, do tato, cada vez mais próximos ao corpo humano. Ao retirarmos os aspectos tradicionais do ritmo, melodia e harmonia, que estão atrelados e se restringem a um certo período da música ocidental, e partirmos para uma escuta intensificada, percebemos a potência que o som representa, com suas nuances expressivas. Assim, a utilização de novas tecnologias possibilita a criação de um tipo específico de performance e composição ancoradas numa manipulação e escuta mais detalhadas do som idealmente pensado num nível molecular, desvinculado de qualquer referencialidade. ABSTRACT / RESUMEN / SOMMAIRE This paper attempts to bring a reflection on sound experimentation and the some possible paradoxes between music, sound and language in contemporary artistic production, from the use of new digital technologies. From the moment that an acoustic instrument is connected to an interface capable of processing its digital sign, we have access to the intrinsic potentialities of the sound, on a molecular level. Combining investigative processes that can perform the exchange of acoustic instruments, opened an irreversible rift in the sound making, greatly expanding the artistic possibilities. The sound experiment, its creation and diffusion, are increasingly close to the touch, skin, touch, and are increasingly close to the human body itself. By taking the traditional aspects of rhythm, melody and harmony, which are linked and are restricted to a certain period of Western music, and left for an attentive, deep and enhanced listening, we realized the power that sound is, with all its expressive nuances. Thus, the use of new technologies provides a more knowledge to the performer and composer on the molecular properties of sound and how to proceed in its creation, manipulation and interaction in their creative processes.