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Theophilo Augusto Pinto Theophilo Augusto Pinto Vôos abortados de uma pesquisa frutífera Dissertação apresentada à Área de Concentração: Musicologia da Escola de Comunicações e Artes da Universidade de São Paulo, como exigência parcial para obtenção do Título de Mestre em Artes, sob a orientação do Prof. Dr. Fernando Iazzetta. São Paulo 2002 Theophilo Augusto Pinto Vôos abortados de uma pesquisa frutífera Dissertação apresentada à Área de Concentração: Musicologia da Escola de Comunicações e Artes da Universidade de São Paulo, como exigência parcial para obtenção do Título de Mestre em Artes, sob a orientação do Prof. Dr. Fernando Iazzetta. São Paulo 2002 À memória de Beatriz Balzi Agradecimento Gostaria de agradecer em especial ao Professor Doutor Fernando Iazzetta, meu orientador nesta pesquisa, pelas muitas oportunidades que tive em discuti-la. Mais do que isso, agradeço pela paciente orientação na sua condução, uma vez que seu orientando tinha pouquíssima experiência com o mundo acadêmico até esse momento. Resumo Se a música brasileira em muitas de suas manifestações é reconhecida pela sua excelência, o mesmo não se pode dizer dos instrumentos musicais produzidos em território nacional. Em relação aos instrumentos eletrônicos que começaram a surgir na década de 1960, isso leva a crer que não houve nenhuma iniciativa dentro do Brasil que pudesse mudar esse quadro. No entanto, isto está longe de ser verdade, como esta pesquisa pretende mostrar. Mesmo assim, até hoje a confecção de instrumentos eletrônicos é dominada pela indústria estrangeira, sugerindo uma maior investigação e reflexão dos fatores que levaram a esta situação. Como será visto, isto não tem a ver somente com a qualidade (ou falta dela) dos projetos descritos ao longo desta pesquisa, mas com outros fatores que vão para além de problemas meramente tecnológicos ou musicais. Abstract If Brazilian music in its various manifestations is recognized as excellent, it can’t be said the same about the musical instruments made in the country. Regarding the electronic musical instruments that began to be made about the 1960s onwards, this lead to the believing that nothing was made inside the country to change that scene. But it is far from true, and that is the point of this text. Otherwise, the making of electronic musical instruments is dominated by a foreign industry, suggesting a broader investigation and reflection about the facts that led to this situation. As it will be seen, this has nothing to do with the quality (or the miss of it) of the projects described along this text, but with other reasons going beyond questions simply put as technological or musical. Índice I: Introdução 1 O período de pesquisa .......................................................................................................................................... 11 Sobre a ênfase na música comercial .................................................................................................................... 12 II: Fase 1- Competência Científica 14 Instrumento musical como estimulador da criação ............................................................................................. 14 O Theremin........................................................................................................................................................... 16 Sintetizadores controlados por tensão ................................................................................................................. 22 III: Primeira transformação – Ideação 37 Jorge Antunes ....................................................................................................................................................... 38 Clomildo Suette .................................................................................................................................................... 42 Cláudio César Dias Baptista ................................................................................................................................ 48 Guido Stolfi .......................................................................................................................................................... 56 Luiz Roberto de Oliveira ...................................................................................................................................... 60 Ricardo Peculis .................................................................................................................................................... 63 Ivan Seiler ............................................................................................................................................................ 67 Lucas Shirahata ................................................................................................................................................... 71 Conrado Silva....................................................................................................................................................... 75 Giannini ............................................................................................................................................................... 77 Outros projetos ligados a escolas técnicas/universidades ................................................................................... 82 1.Estudantes da Eti Lauro Gomes ........................................................................................................................ 82 2.Universidade Federal da Bahia ........................................................................................................................ 83 3.Unesp ................................................................................................................................................................ 85 Alguns pontos a serem destacados ....................................................................................................................... 86 IV: Fase 2 – Performance Tecnológica: protótipos 103 Sobre a necessidade de descrever-se estes protótipos ....................................................................................... 103 Gerador de ondas dente de serra ....................................................................................................................... 104 Reverberador de mola ........................................................................................................................................ 105 Primeiro Theremin (1963) ................................................................................................................................. 105 Segundo Theremin .............................................................................................................................................. 106 Sintetizador modular digital (1975) ................................................................................................................... 109 Sintetizador CCDB-1 (1975) .............................................................................................................................. 114 Sintetizador com teclado – (1977-78) ................................................................................................................ 120 Analisador de espectro (1980) ........................................................................................................................... 121 Spin Synthesizer (1980) ...................................................................................................................................... 122 Spin Microcomputer (1981) ............................................................................................................................... 123 Vocoder CCDB (1982) ....................................................................................................................................... 123 Spin Poly-Synth (1983)....................................................................................................................................... 124 Sintetizador Modular Polifônico Seiler (1983) .................................................................................................. 125 CCDB 1000 (1985) ............................................................................................................................................ 127 Digi-Synth (1988) ............................................................................................................................................... 127 Sequenciador construído por Guido Stolfi (198?) ............................................................................................. 129 Papagaio (198?) ................................................................................................................................................. 130 V: Segunda transformação: Necessidade Decorrente 133 Yamaha Electone (1970 – 1982) ........................................................................................................................ 134 Cursos no Masp (1975-1976) ............................................................................................................................. 137 Núcleo Syntesis (1985-1989) .............................................................................................................................. 139 Artigos CCDB .................................................................................................................................................... 142 VI: Fase 3 – Performance
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