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Colagem Musical Na Música Eletrônica Experimental

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Colagem Musical Na Música Eletrônica Experimental UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES HENRIQUE IWAO JARDIM DA SILVEIRA Colagem musical na música eletrônica experimental São Paulo 2012 HENRIQUE IWAO JARDIM DA SILVEIRA Colagem musical na música eletrônica experimental Dissertação apresentada ao Programa de Pós-Graduação em Música, da Escola de Comunicações e Artes, da Universidade de São Paulo, para obtenção do título de Mestre em Música. Área de concentração: Musicologia. Linha de Pesquisa: História, Estilo e Recepção. Orientador: Prof. Dr. Fernando Henrique de Oliveira Iazzetta. São Paulo 2012 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa desde que citada a fonte. Catalogação na publicação Serviço de Biblioteca e Documentação Escola de Comunicações e Artes da Universidade de São Paulo Silveira, Henrique Iwao Jardim da Colagem musical na música eletrônica experimental / Henrique Iwao Jardim da Silveira - São Paulo : H. I. J. Silveira, 2012. 202 p. Dissertação (Mestrado) - Escola de Comunicações e Artes / Universidade de São Paulo. Orientador: Fernando Henrique de Oliveira Iazzetta 1. Colagem musical 2. Música eletrônica experimental 3. Eletroacústica 4. Plunderphonics 5. Referencialidade 6. Citação 7. Sonologia I.Iazzetta, Fernando Henrique de Oliveira II. Título CDD 21.ed. - 780 Folha de aprovação Nome: Silveira, Henrique Iwao Jardim da. Título: Colagem musical na música eletrônica experimental. Dissertação apresentada ao Programa de Pós-Graduação em Música, da Escola de Comunicações e Artes, da Universidade de São Paulo, para obtenção do título de Mestre em Música. Aprovado em: Banca Examinadora Prof. Dr.______________________________ Instituição:_______________________ Julgamento:_______________ Assinatura:___________________________________ Prof. Dr.______________________________ Instituição:_______________________ Julgamento:_______________ Assinatura:___________________________________ Prof. Dr.______________________________ Instituição:_______________________ Julgamento:_______________ Assinatura:___________________________________ Dedicatória 1. A todos interessados. 2. Tradução nossa? Minha, você diz. (Tua). Agradecimentos Àquelas que me deram cadernetas e caderninhos, Carolina Sudati, Naoko Yanagizawa, Sofia Betancor; a CAPES; aos cachorros: Café, Lucky Luke; ao café; ao chá; aos consultados: Bob Ostertag, Eduardo Socha, Erik Bünger, Giuliano Obici, João Paulo Nascimento, Leticia Maria Gil, Luana Bocchino, Marcelo Magalhães, Rodolfo Caesar, Thomas Bey William Bailey, Tiago de Mello, Victor Valentim; aos deuses; aos entrevistados: Alexandre Fenerich, Camilo "Plâncton" Caropreso, Erik Carlson, Guilherme Rebecchi, Jean-Pierre Caron, Johannes Kreidler, Mário Del Nunzio, Paulo "Juju" "Sokobauno" Loureiro; à essência de lavanda; ao Ibrasotope: Natacha Maurer e Aquiles Guimarães, dentre outros; ao MOBILE, projeto financiado pela FAPESP na categoria Projeto Temático, proc. nº 2008/08632-8, e integrantes; ao orientador Fernando Iazzetta; aos Silveira: Carlos Takashi, José Maria e Mônica Yumi. SILVEIRA, H. I. J. Colagem musical na música eletrônica experimental. 2012. 202 p. Dissertação (Mestrado em Música) - Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo, 2012. Resumo A presente dissertação visa repertoriar e fazer uma reflexão sobre obras e performances de música eletrônica experimental que utilizam músicas e gravações de músicas como material musical. Investiga a colagem musical enquanto prática, em suas diversas possibilidades de emprego. Contextualiza o tema, mostrando antecedentes na tradição da música europeia de concerto e nas artes visuais. Traça uma pequena cronologia a partir do repertório e realiza um histórico quanto às tecnologias empregadas. Introduz categorias importantes, como o sampleamento, o plunderphonics, a citação, o plágio e a intermusicalidade. Aborda o conceito de referencialidade e o coloca como importante fator composicional, relacionando-o a noções como reconhecimento, fontes sonoras e musicais, familiaridade, pastiche. Discorre sobre dois subtemas: o trio bricolagem, assemblagem e descolagem e o período pós-moderno. Conclui pensando a relação entre colagem musical e o caráter de incompletude dos artefatos musicais. Palavras-chave: colagem musical; música eletrônica experimental; eletroacústica; plunderphonics; referencialidade; citação; sonologia. SILVEIRA, H. I. J. Musical collage in electronic experimental music. 2012. 202 p. Dissertação (Mestrado em Música) - Escola de Comunicação e Artes, Universidade de São Paulo, São Paulo, 2012. Abstract This research aims to make a repertoire of and a reflection upon works and performances of electronic experimental music that use music and musical recordings as compositional material. It investigates the practice of musical collage in its several possibilities of use. It starts by contextualizing the theme: showing some antecedents in the european concert music tradition and in the visual arts; making a small chronology from the repertoire and a historical account of the technologies employed. Introduces important categories such as sampling, plunderphonics, quotation, plagiarism and intermusicality. Addresses the concept of referentiality, treating it as an important compositional aspect and relating it with the notions of recognition, sound and musical sources, familiarity, pastiche. Explores two subthemes: the trio bricolage, assemblage, décollage and the postmodern period. In conclusion, thinks about the relation of musical collage and the incompleteness character of musical artefacts. Key-words: musical collage; electronic experimental music; electroacoustic; plunderphonics; referentiality; quotation; sonology. Sumário Capa ............................................................................................... 01 Resumo ......................................................................................... 11 Abstract ......................................................................................... 13 Sumário ......................................................................................... 15 Introdução ..................................................................................... 17 Capítulo 1: Prólogo ...................................................................... 23 1.1 Antecedentes na Música de Concerto Europeia ........... 24 1.2 Colagem nas Artes Visuais ........................................... 29 1.3 Pequena Cronologia ..................................................... 31 1.4 Tecnologias Empregadas .............................................. 35 Capítulo 2 - Categorias ............................................................... 60 2.1 Música Eletrônica .......................................................... 61 2.2 Música Experimental ..................................................... 65 2.3 Música Eletrônica Experimental .................................... 67 2.4 Colagem musical ........................................................... 75 2.5 Sampleamento .............................................................. 82 2.6 Plunderphonics ............................................................. 87 2.7 Citação .......................................................................... 90 2.8 Arranjo ........................................................................... 98 2.9 Plágio ............................................................................ 100 2.10 Intermusicalidade ........................................................ 103 Capítulo 3 - Referencialidade ..................................................... 104 3.1 Extra-referencial ............................................................ 104 3.2 Reconhecimento ........................................................... 108 3.3 Fontes ........................................................................... 125 3.4 Timbre ........................................................................... 130 3.5 Familiaridade ................................................................ 132 3.6 Pastiche ........................................................................ 146 3.7 Temporalidade .............................................................. 148 3.8 Autores ......................................................................... 153 3.9 Comentários ................................................................ 158 Capítulo 4: Dois Temas ............................................................... 161 4.1 Bricolagem, Assemblagem, Descolagem ..................... 161 4.2 Período Pós-moderno .................................................. 167 Conclusão .................................................................................... 178 Referências .................................................................................. 182 Conteúdo do DVD Anexo ............................................................ 197 17 Introdução Este trabalho traz o tema em seu título: a colagem musical na música eletrônica experimental. Nele examino práticas apropriativas nas quais uma música é utilizada como material composicional para a criação de outro artefato cultural ou para a viabilização de uma ação. Restrinjo a abordagem para o âmbito da música eletrônica experimental, incluindo também exemplos de música eletroacústica. Nesse caso, normalmente gravações de música, isto é, fonogramas musicais, são utilizados como material composicional para a criação de performances e obras musicais.
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