Programa de Pós-graduação em Música

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Navegando Programa de Pós-graduação em Música por Por Orientador "Almeida, Anselmo Guerra de"

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    Livre improvisação como processo de composição musical: elaboração de performances musicais
    (Universidade Federal de Goiás, 2017-03-28) Meira, Antônio Carlos Santos; Almeida, Anselmo Guerra de; http://lattes.cnpq.br/2322584898095049; Almeida, Anselmo Guerra de; http://lattes.cnpq.br/2322584898095049; Cardoso, Antônio Marcus Souza; Oliveira, João Pedro Paiva de
    This research is a proposal directed at the practice of free improvisation, elaboration of performances and compositions in the contemporary music perspective. Seeking throughout the text to understand this musical practice in context of its emergence, aesthetic influences and its development to the present. This text is divided into three parts. The first part discusses through a literature review the nascent aesthetics of free improvisation. The second part analyzes the poetics of content related to sound and the initiation of poetry within the form. The third part is the development of process involving new technologies and analysis of free improvisation sessions.
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    Paisagem sonora urbana em uma perspectiva da composição musical eletroacústica
    (Universidade Federal de Goiás, 2016-05-31) Neves, Lucas Moysés Ceccato; Almeida, Anselmo Guerra de; http://lattes.cnpq.br/2322584898095049; Almeida, Anselmo Guerra de; Unes, Wolney Alfredo Arruda; Arruda, Wolney Alfredo
    The objective is to relate the concept of soundscape with the electroacoustic composition techniques. Some important concepts defining soundscape as well as the ideas that have originated electroacoustic music are discussed herein. This work is divided into two parts: the first one, a review in the literature regarding critical and conceptual matters, as can be seen in Part A, and the second one, the search of urban acoustic environments in order to capture the soundscape, which wasperformed throughout the research, being the compositions arisen in this study described in Part B.
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    Música Cimática: processos composicionais provenientes de experiências físicas para geração de materiais sonoros
    (Universidade Federal de Goiás, 2018-03-23) Silva, Halley Chaves da; Silva, Tereza Raquel Alcântara; http://lattes.cnpq.br/5899812854673658; Almeida, Anselmo Guerra de; http://lattes.cnpq.br/2322584898095049; Almeida, Anselmo Guerra de; Cardoso, Antonio Marcos; Oliveira, Liduino José Pitombeira de
    This paper is divided into two parts: (A) artistic production and (B) article. The artistic production includes compositions that belong to the electroacoustic phase of my academic career, which can be applied in the development of new technologies for musical composition, in addition two unpublished pieces of music, as a result of the current research: Lissajous x Chladni Op. 33 and Santa Iemanjá Op. 34. This work aims to use the Cymatics phenomenon, the influence of sound on physical environment, as a compositional process to develop chamber and electroacoustic pieces. The article presents the compositional memorial of the two abovementioned Cymatics pieces of music. For this aim, we employed bibliographic analysis and experimental methods with a qualitative approach for discussing the data. We first investigated the physical aspects of Cymatics in order to apply them in the composition of sound materials. These aspects are based on the theory developed by the physicist Hans Jenny (1904-1972), which mathematically formalizes the 2D projection of Chladni (1756-1827) figures. As a source for structuring the musical pieces, we applied the experience required for the composition of Symphony no. 1, Op. 28, which was described in the present work, as well as the completion of sound-physical experiments that generated compositional materials. In order to describe such materials, data was split into four categories: sound, material, intentional and technical specifications. The work Lissajous x Chladni, Op. 33 puts forward an audiovisual idea of ​​antagonism between the physical and the virtual. It is a minimalist piece of work built through a Pure Data Extended patch that simulates an oscilloscope with virtual Lissajous figures and cymatics figures on the water through the physical environment. The second piece is Santa Iemanjá, Op. 34. This acousmatic piece was composed to be played on the electroacoustic table, which is an electronic version of the vibroacoustic table, especially built for the attainment of cymatics appreciation of this piece. As a result, in addition to the previously described pieces, we point out in the conclusions challenges and possibilities that cymatics music offers composers.
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    Música eletroacústica utilizando software livre: processos composicionais interativos
    (Universidade Federal de Goiás, 2015-04-27) Veiga Filho, Sérgio de Alencastro; Almeida, Anselmo Guerra de; http://lattes.cnpq.br/2322584898095049; Almeida, Anselmo Guerra de; Costa , Carlos Henrique; Rocha, Cleomar de Sousa
    This is a work investigating the possibility of composing musical works with interactive interfaces created with algorithms and programs that are Free Software including the entire operating system. It also includes description of their elaborations, both musical compositions with existing interfaces as for interfaces built in the light of musical and technological training of this composer. The compositions were presented during the Master's degree in performing arts in SEMPEM XIII, XIV and SEMPEM qualification and defense presentations. This research therefore is divided into two parts: Part A, which consists of the artistic part where the composer presents his work to the public hearing, and Part B, which consists of all written work, the scores and algorithms in computer language to this article.