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UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES O Nativo-‐Experimental

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UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES O Nativo-‐Experimental UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES O nativo-experimental: Música experimental e seus contatos com a cosmologia nativo-ancestral da América do Sul Jonathan Xavier Andrade São Paulo 2015 UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES O nativo-experimental: Música experimental e seus contatos com a cosmologia nativo-ancestral da América do Sul Jonathan Xavier Andrade Dissertação apresentado à Escola de Comunicações e Artes da Universidade de São Paulo como exigência parcial para obtenção do título de Mestre em Música, sob a orientação do Prof. Dr. Rogério Luiz Moraes Costa. São Paulo 2015 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 Dados fornecidos pelo(a) autor(a) JONATHAN XAVIER ANDRADE O nativo-experimental: Música experimental e seus contatos com a cosmologia nativo-ancestral da América do Sul Dissertação apresentada à EscoLa de CoMunicações e Artes da Universidade de São Paulo para obtenção do título de Mestre eM SonoLogia. Aprovado eM: ___/___/______. BANCA EXAMINADORA Prof. Dr.:__________________________________________________________________________________ Instituição: ______________________________________________________________________________ Assinatura: ______________________________________________________________________________ Prof. Dr.:__________________________________________________________________________________ Instituição: ______________________________________________________________________________ Assinatura: ______________________________________________________________________________ Prof. Dr.:__________________________________________________________________________________ Instituição: ______________________________________________________________________________ Assinatura: ______________________________________________________________________________ Agradecimentos A Rogério Moraes Costa pela predisposição, apoio e gratas experiências musicais compartilhadas durante a realização desta pesquisa. Aos professores Alexandre Zamith e Silvio Ferraz pelas relevantes e frutíferas contribuições no exame de qualificação. A Fernando Iazzetta pela oportunidade de participar do Núcleo de Pesquisa em Sonologia (NuSom) que foi uma fonte indispensável de conhecimentos teóricos e técnicos para direcionar esta pesquisa, possibilitando o contato com colegas experimentadores. A Secretaria de Educación, ciencia, tecnología e innovación (SENESCYT) pela bolsa concedida, que possibilitou toda a pesquisa. A meus colegas Lílian Campesato, Julián Jaramillo, Alexandre Porres e André Martins pelas contribuições e conversas sempre importantes. A meus colegas da Orquestra Errante: Fábio, Migue, Mari, Max, Felipe, Antônio e Renato por todas essas improvisações e sons compartilhados. A Yonara Dantas pela ajuda nas correções do texto, seu trabalho foi fundamental para esta pesquisa. Ao professor Manuel Falleiros por suas importantes contribuições junto com o Coletivo Improvisado. A meus pais Verónica e Alfonso pelo seu apoio eterno e incondicional. A minha família por estar sempre aí. A María Sol por proporcionar o amor e a inspiração para realizar qualquer projeto de transcendência. Este trabalho está dedicado para minha irmã Johana (1990 – 2013) por ser luz, amor e paz. Resumo A dissertação procura compreender os acontecimentos musicais derivados do contato da denominada Música Experimental com realidades musicais Nativo Ancestrais Indígenas do continente sul-americano. Para isso, realiza uma contextualização histórica da evolução do experimentalismo musical desde 1950, seguindo um percurso linear até a atualidade, onde se destacam trabalhos e pesquisas de compositores ativos, que têm abordado especificamente as relações entre música, cosmovisão indígena e o xamanismo dentro do processo de experimentação sonoro/musical. Nesse contexto, se evidencia a criação de relações transculturais, produzidas entre duas realidades heterogêneas que, na contemporaneidade, se complementam. Para finalizar a presente pesquisa apresenta o trabalho prático, decorrente da criação de partituras gráficas e instruções verbais, desenvolvidas com o grupo de pesquisa em improvisação e experimentação musical Orquestra Errante (ECA-USP), onde foram utilizados elementos conceituais e sonoro/musicais nativo-indígenas e eco-escuta em práticas regulares de improvisação livre, evidenciando as dificuldades e possíveis estratégias para a conjunção entre o nativo-natural e o experimental. Palavras chave: Música Experimental, Compositores, Transculturalidade, Cosmovisão nativa-ancestral. Abstract The thesis seeks to understand musical events derivate from the contact of the so called Experimental Music with musical realities of Indigenous Native-Ancestry of the South American continent. To do so, it performs a historical context of the evolution of musical experimentation since 1950, following a linear path to the present, which features work and research of active composers who have specifically addressed the relationship between music, indigenous worldview and shamanism within the process of sound/musical experimentation. In this context, it highlights the creation of cross-cultural relations, produced between two heterogeneous realities that, in contemporary times, complement each other. Finally this research presents the practical work, arising from the creation of graphic scores and verbal instructions, developed with the research group in improvisation and musical experimentation Orchestra Errante (ECA-USP), where are used conceptual and sound/musical elements forma indigenous native-ancestry of South America and eco-listening in regular practices of free improvisation, highlighting the difficulties and possible strategies for the conjunction between two antagonistic elements, native-experimental. Keywords: Experimental Music, Compositors, transculturality, indigenous native-ancestry cosmology. Sumário Agradecimentos ........................................................................................................................ 4 Resumo ..................................................................................................................................... 5 Abstract ..................................................................................................................................... 6 Introdução ................................................................................................................................ 9 Capítulo 1. Dois Paradigmas da Música Experimental: Considerações históricas, metodológicas e tecnológicas ................................................................................................. 15 I. Primeiro Paradigma: O som como experimento na Europa ...................................... 15 A. Schaeffer .................................................................................................................. 16 B. Stockhausen ............................................................................................................. 21 C. Apontamentos finais sobre o som na música experimental na Europa ................... 25 II. Segundo Paradigma: Experimentalismo Musical na América do Norte ...................... 28 A. Características gerais do Happening e da Performance. .......................................... 28 B. Diferenças entre o Happening e a Performance ...................................................... 30 C. Atitude experimental norte-americana: “Cage and Beyond” .................................. 34 D. Apontamentos finais sobre o experimentalismo musical na América do Norte ..... 41 Capítulo 2 . Improvisação e Indeterminismo (free-jazz, partitura gráficas/event score, improvisação livre) .................................................................................................................. 44 I. Três tipos de “improvisação” ...................................................................................... 52 A. Free Jazz como Improvisação não estruturada idiomática. ..................................... 53 B. Partituras gráficas e event-score como Improvisação estruturada não idiomática 57 C. Free Improvisation como Improvisação não estruturada não idiomática ................ 68 II. Apontamentos finais sobre a improvisação e o indeterminismo na música experimental. ...................................................................................................................... 77 Capítulo 3 . A máquina fazendo música: suas origens e sua projeção na América do Sul ..... 81 I. Revoluções desde 1950 .............................................................................................. 81 II. As máquinas de manipulação sonora analógica e sua progressiva digitalização na música experimental ........................................................................................................... 84 III. Música Experimental na América do Sul: uma revisão histórica ................................ 93 A. Argentina .................................................................................................................. 95 7 B. Brasil ....................................................................................................................... 100 IV. Apontamentos finais sobre as máquinas fazendo música na América do Sul .......... 112
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