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Práticas De Luteria Na Música Experimental Brasileira

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Práticas De Luteria Na Música Experimental Brasileira José Guilherme Allen Lima Práticas de luteria na música experimental brasileira São Paulo 2018 José Guilherme Allen Lima Práticas de luteria na música experimental brasileira Tese apresentada à Escola de Comunicação e Artes para obtenção do título de Doutor em Música. Área de concentração: Processos de Criação Musical. Universidade de São Paulo Escola de Comunicações e Artes Programa de Pós-Graduação em Música Orientador: Fernando Henrique de Oliveira Iazzetta São Paulo 2018 José Guilherme Allen Lima Práticas de luteria na música experimental brasileira/ José Guilherme Allen Lima. – São Paulo, 2018- 221 p. : il. (algumas color.) ; 30 cm. Orientador: Fernando Henrique de Oliveira Iazzetta Tese (Doutorado) – Universidade de São Paulo Escola de Comunicações e Artes Programa de Pós-Graduação em Música, 2018. 1. Música. 2. Luteria. 3. Experimentalismo. I. Fernando Henrique de Oliveira Iazzetta. II. Universidade de São Paulo. III. Escola de Comunicação e Artes. IV. Práticas de luteria na música experimental brasileira José Guilherme Allen Lima Práticas de luteria na música experimental brasileira Tese apresentada à Escola de Comunicação e Artes para obtenção do título de Doutor em Música. Área de concentração: Processos de Criação Musical. Trabalho aprovado. São Paulo, de de 2018: Fernando Henrique de Oliveira Iazzetta Orientador Professor Convidado 1 Professor Convidado 2 Professor Convidado 3 Professor Convidado 4 São Paulo 2018 Dedico este trabalho à memória do meu irmão de vida Carlos Eduardo Miranda e do meu avô Jorgera Quem tem fornece a bitola onde quem não tem se mede (Siba) Resumo LIMA, José Guilherme Allen. Práticas de luteria na música experimental brasileira. 2018. 221 f. Tese (Doutorado) - Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo, 2018. Este trabalho faz um levantamento da produção brasileira de luteria experimental, com ênfase na produção realizada ao longo das últimas duas décadas. Inicialmente é delineado um panorama de referências relacionadas com este tido de produção na literatura europeia e estadunidense, assim como discutida a atuação de alguns artistas e criadores fundamentais para o estabelecimento de práticas de luteria experimental no século XX. No segundo capítulo faço um levantamento de referências sobre este tipo de produção no Brasil, assim como relaciono artistas em atividade no país nos últimos 20 anos, detalhando na maior parte dos casos algumas de suas obras. Partindo deste panorama, realizo um estudo mais aprofundado sobre o instrumento conhecido por gatorra, fabricado por Tony da Gatorra, artesão, técnico em eletrônica e músico gaúcho que criou seu instrumento nos anos 1990 a partir de materiais de sucata, componentes eletrônicos reaproveitados e da combinação de projetos de circuitos eletrônicos geradores de som. Por fim, relaciono a produção estudada com referenciais que lidam com a noção de cultura material, alguns dos quais já realizam uma aproximação com a atividade musical e artística. Palavras-chave: Música experimental. Luteria experimental. Readymade. Gambiarra. Desobediência tecnológica. Cultura material. Gatorra. Abstract This work presents a survey on the Brazilian production of experimental lutherie, with emphasis on the production over the last two decades. A framework of references related to this production in the European and American literature is outlined as an introduction, as well as the works of some key artists and creators whose production influenced experimental instrument building practices in the 20th century. In the second chapter I make a survey of references on this type of production in Brazil, as well a profile of artists active in the country for the last 20 years, detailing in most cases some of his works. Based on this outline, I carry out a more detailed study on the instrument known as gatorra, manufactured by Tony da Gatorra, an artisan, technician and musician who created his instrument in the 1990s from scrap materials, reused electronic components and the combination of electronic circuits sound generators. Finally, I relate the production studied with references that deal with the notion of material culture, some of which already make an approximation with musical and artistic activity. Keywords: Experimental Music. Experimental Lutherie. Readymade. Gambiarra. Tech- nological desobedience. Material culture. Gatorra. Lista de ilustrações Figura 1 – Cristal Baschet. Foto: Jean-Marc Anglès para o Musée de la Musique. 33 Figura 2 – Viola adaptada de Harry Partch. ..................... 34 Figura 3 – Quadrangularis Reversum de Harry Partch. ............... 35 Figura 4 – Pindorama, instrumento coletivo de Walter Smetak em concerto regido por Ernst Widmer em 1969. Foto: Acervo da Associação de Amigos de Walter Smetak. ............................... 38 Figura 5 – Oficina de Guimarães, com alguns instrumentos utilizados pelo grupo Uakti. Foto: Acervo Uakti. ......................... 40 Figura 6 – Nicolas Collins e o sistema de Eletrônica movida a trombone. Foto: Acervo Nicolas collins. ........................... 62 Figura 7 – Ruben Pagani e Mariana Carvalho em oficina na Marcenaria. Foto do autor. .................................... 81 Figura 8 – Tato Taborda em performance com a Geralda, ao fundo vê-se Alexandre Fenerich. Foto: Tato Taborda. ....................... 86 Figura 9 – Peixe, de Wilson Sukorski e José Wagner Garcia. Foto: Wilson Sukorski. 87 Figura 10 – Chico Machado e o Ritimifiqueitor. Foto: Chico Machado. 88 Figura 11 – Aparelhos sonoros de Chico Machado em exposição. Foto: Chico Machado. 89 Figura 12 – Objetos utilizados por Loop B em suas performances. Foto: Loop B. 90 Figura 13 – Fernando Sardo em sua oficina. Foto: Divulgação. 91 Figura 14 – Instalação sonora Sons Recicláveis, criada por Fernando Sardo para a Sabina Escola Parque do Conhecimento, espaço cultural da Prefeitura de Santo André, SP. Foto: Maria Juliana Moura. 92 Figura 15 – Dessintetizador, instrumento coletivo do Grupo Experimental de Música. Foto: Divulgação. ......................... 93 Figura 16 – Tzim Tzum de Marco Scarassatti. Foto: Alan Victor Pimenta. 95 Figura 17 – Capacetes para deriva sonora de Marco Scarassatti, utilizados no festival Novas Frequências. Foto: Divulgação. ................... 95 Figura 18 – Interface de controle utilizada em RevistaHertz, de Eduardo Néspoli e Maju Martins. Foto: Eduardo Néspoli. 97 Figura 19 – Módulos de circuitos construídos por Pan&Tone. Foto: Acervo Cristiano Rosa. .................................... 98 Figura 20 – O Bolo de Noiva. Foto: Henrique Iwao. 99 Figura 21 – Torres feitas a partir de eixos Cardan, na marcenaria do Ruben. Foto do autor. ..................................101 Figura 22 – Narva 1. Foto: André Damião Bandeira. 102 Figura 23 – Narva 2. Foto: André Damião Bandeira. 103 Figura 24 – O Percussiomixer. Foto: Eloi Silvestre. 104 Figura 25 – O Polyradiotron. Foto: Eloi Silvestre. 105 Figura 26 – Dupla de Telembaus construídos por Paulo Nenflídio. Foto: Galeria Fortes Vilaça. ................................107 Figura 27 – Teclado sísmico construído por Paulo Nenflídio. Foto: Paulo Nenflídio.108 Figura 28 – O sintetizador Jolymod II. Foto: Arthur Joly. 108 Figura 29 – O sintetizador Fantasmo. Foto: Arthur Joly. 109 Figura 30 – Palmilhas e transmissor da interface vestível TumTá. Foto: Batebit. 110 Figura 31 – Controlador Disque-som. Foto: Batebit. 111 Figura 32 – As bonecas Jezebel Crackletoy e Rosemary do Brechó de Hostili- dades Sonoras. Foto: BHS. 112 Figura 33 – Tony da Gatorra em sua casa em Esteio, com a gatorra no12. Foto: Acervo Tony da Gatorra. 118 Figura 34 – Capa de Paz pra ti, lançado por volta de 1998 com as primeiras gravações de Tony da Gatorra. ......................120 Figura 35 – Eduardo Santos e Tony da Gatorra no programa College na TV, em 1998. Foto: Acervo Eduardo Santos. 121 Figura 36 – Capa da versão original do disco Só Protesto, distribuído pela Peligro em 2004. ...................................123 Figura 37 – A gatorra de pano, feita por Luísa Lovefoxxx para Tony. Foto: Acervo Tony da Gatorra. ..............................124 Figura 38 – Gatorra no7, feita para Nick McCarthy. Foto: Graeme Ronald. 126 Figura 39 – Gatorra no1. Foto do autor. 128 Figura 40 – Minigatorra no6 e Batucador no1. Foto: Acervo Tony da Gatorra. 130 Figura 41 – Gatorra no26 com bateria de laptop acoplada. Na direita da foto vê-se uma adaptação para encaixar o corpo do microfone sem fio. Foto: Acervo Tony da Gatorra. ..............................131 Figura 42 – Bateria eletrônica SLICIE. Foto do autor. 133 Figura 43 – Circuito da bateria SLICIE, utilizando um circuito integrado. Foto do autor. ....................................136 Figura 44 – Circuito da gatorra no 19. Foto do autor. 137 Figura 45 – Detalhe da gatorra no3 mostrando o sintonizador de televisão utilizado para regular a altura dos sons. Foto: Binho Miranda. 138 Figura 46 – Da esquerda para a direita: O autor com a gatorra no19, Tony com a gatorra no1, Paulo Abraão com a gatorra no18 e a minigatorra no7, Thiago Babalu e Alexandre Porres com a gatorra no2. Foto: Acervo Alexandre Porres.no ............................171 Lista de abreviaturas e siglas CI Circuito integrado DIY Do-It-Yourself, ou “faça você mesmo” mais especificamente aplicado à construção de circuitos eletrônicos. ENCUN Encontro Nacional de Compositores Universitários, desde 2016 Encontro Nacional de Criatividade Sonora. GRM Groupe de Recherches Musicales NIME Conferência New Interfaces for Musical Expression NuSom Núcleo de estudos em sonologia da Universidade de São
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