Papers by Danilo Rossetti

Vórtex, 2020
Resumo: Il Neige... de Nouveau! (1985) é uma obra para piano da última fase composicional de Gilb... more Resumo: Il Neige... de Nouveau! (1985) é uma obra para piano da última fase composicional de Gilberto Mendes, associada ao Pós-Minimalismo. A intertextualidade é um traço marcante dessa obra que estabelece uma relação direta, entre outras, com Il Neige! (1902), também para piano, de Henrique Oswald. Iniciamos nossa abordagem apresentando um referencial teórico sobre o Pós-Minimalismo, e realizamos uma análise da partitura buscando detectar traços intertextuais dentro dela. Uma metodologia de análise por descritores de áudio é também aplicada às gravações das obras de Mendes e Oswald. Os resultados obtidos apontam que, apesar das relações intertextuais entre as duas obras, as concepções formais de ambas são distintas, cada qual dialogando com seu período histórico. Concluímos situando a obra de Mendes no paradigma formal da segunda metade do século XX, das formas como processo, apresentando um tempo irreversível e direcional, com momentos de continuidade e outros de cortes abruptos.
Abstract: Il Neige... de Nouveau! (1985) is a work for piano by Gilberto Mendes of his last compositional period, associated with Post-Minimalism. Intertextuality is an important feature of this work, establishing a direct relation, among others, with Il Neige! (1902), also for piano, by Henrique Oswald. We begin our approach presenting a theoretical reference of Post-Minimalism and performing an analysis of the score searching to find intertextual elements. A methodology of analysis based on audio descriptors is also applied to the audio recordings of Mendes and Oswald's works. The results obtained indicate that, despite the intertextual relations between the two works, their formal conceptions are different, each one dialoging with its historical period. We conclude situating Mendes' work in the formal paradigm of the second half of the 20 th Century, of the forms as process, presenting an irreversible and directional time, with moments of continuity and others with abrupt cuts. Palavras-chave: Il Neige... de Nouveau!, Gilberto Mendes, Pós-Minimalismo Musical, Intertextualidade em Música, Análise Musical por Suporte Computacional.

Opus, 2020
Space is an important aspect of music composition that received little emphasis in certain period... more Space is an important aspect of music composition that received little emphasis in certain periods of the history of Western music. However, in the twentieth century, electroacoustic music reintroduced this element by utilizing the different spatialization methods available. In this article, we discuss the methodology of analysis and the results of a study of the perception of sound in space involving sounds generated by granular synthesis that were spatialized in a high-order ambisonics system performed at CIRRMT’s Immersive Presence Laboratory at McGill University. We investigated two hypotheses of sound perception in space: 1) the variation of the granular synthesis parameters produces differences in the morphology of sounds perceived in their time-varying spatial distribution; and 2) the presence of more morphological sound variations when higher orders of ambisonics are employed, in addition to the generation of sound fields with more depth. In order to verify these hypotheses, we employed a method of analysis based on graphical representations of data derived from audio descriptors, such as graphical curves, a graphic representation of volume and phase space graphics. As a result, we observed that when higher orders of ambisonics are employed, the listener perceives more variations in frequency and intensity in sound spatialization, in addition to a preponderance of the decorrelation effect. Such effect is related to the presence of more diffuse sound fields.

Compositional Procedures in Electronic Music and the Emergence of Time Continuum
Organised Sound, 2020
We introduce an analytical methodology to approach the perception of time in the electronic works... more We introduce an analytical methodology to approach the perception of time in the electronic works Thema: Omaggio a Joyce (1958), by Luciano Berio, and Gesang der Jünglinge (1955–6), by Karlheinz Stockhausen. Such works have already been widely analysed and discussed. Moreover, similarities between them have been pointed out, such as the use of the voice as their main compositional material and the search for a continuum between the voice and electronic sounds. Despite their similarities, we argue that the perception of time in those works is significantly different. For that purpose, we bring theoretical references such as time concepts related to complex dynamic systems, and the perception of time according to the Gestalt theory. We discuss segmentation and texture evolution in time of both works employing graphical representations based on perceptual audio descriptors such as the mel scale and the volume. In addition, aiming to find recurrences, repetitions and variations of the spectral material in time, we apply phase space graphs addressing the values of the descriptors employed in the analysis. The features found will lead to conclusions on the emergence of time perception in which the continuity depends on the presence of similar events, periodicities and pregnancies, while discontinuity is given by the presence of more variation, instability and saliences. We emphasise the differences of form perception in those pieces, arguing that they are the result of the manipulation of sound materials and organisation in time by the composers.

Analysis of Granular Acousmatic Music: Representation of sound flux and emergence
Organised Sound, 2019
Analysing electroacoustic music is a challenging task that can be approached by different strateg... more Analysing electroacoustic music is a challenging task that can be approached by different strategies. In the last few decades, newly emerging computer environments have enabled analysts to examine the sound spectrum content in greater detail. This has resulted in new graphical representation of features extracted from audio recordings. In this article, we propose the use of representations from complex dynamical systems such as phase space graphics in musical analysis to reveal emergent timbre features in granular technique-based acousmatic music. It is known that granular techniques applied to musical composition generate considerable sound flux, regardless of the adopted procedures and available technological equipment. We investigate points of convergence between different aesthetics of the so-called Granular Paradigm in electroacoustic music, and consider compositions employing different methods and techniques. We analyse three works: Concret PH (1958) by Iannis Xenakis, Riverrun (1986) by Barry Truax, and Schall (1996) by Horacio Vaggione. In our analytical methodology, we apply such concepts as volume and emergence, as well as their graphical representation to the pieces. In conclusion we compare our results and discuss how they relate to the three composers’ specific procedures creating sound flux as well as to their compositional epistemologies and ontologies.

ICMC, 2019
This article introduces a dialogue between an experimental study and a creative process of an aco... more This article introduces a dialogue between an experimental study and a creative process of an acousmatic piece. The relation of timbre and space regarding these techniques of sound synthesis and spatialization is discussed. We address the methodology of an experiment performed at the CIRMMT of McGill University, in July 2018. Our approach was to study the relation between granular sounds and sound diffusion by controlling digitally the generated sounds and correlating granular synthesis parameters with different orders of ambisonics. Further, we describe how the studied sounds where used in the acousmatic composition Substâncias Moldáveis (2018) for 8-channel. A short analysis of the piece is presented considering its form, spectral features, and spati-alization strategy. In conclusion, we address the preliminary results of the experiment relating them with the creative process of composition. Finally, we discuss forthcoming work relating to the manipulation of timbre in space and its reflections in perception.

Vórtex, 2018
Resumo: Abordamos e desenvolvemos um estudo epistemológico das atividades de criação e análise mu... more Resumo: Abordamos e desenvolvemos um estudo epistemológico das atividades de criação e análise musical, especificamente aquelas realizadas com suporte computacional. Como ferramentas para o entendimento desses processos, trazemos o conceito de Invenção e o Princípio da Individuação de Gilbert Simondon, além da proposta de René Thom sobre a Inteligibilidade das Formas. Apresentamos dois patches para análise e processamento sonoro e realizamos um estudo sobre a aplicação dos conceitos acima mencionados na descrição dos processos interativos em duas peças eletroacústicas mistas: Anthèmes 2, de Pierre Boulez, e A Pierre: Dell’azzurro silenzio, inquietum, de Luigi Nono. Analisamos a interação entre escrita e performance instrumental, dispositivos de análise e transformação sonora, e a sonoridade emergente desse processo. Concluímos enfatizando a articulação entre diferentes áreas do conhecimento nos processos de composição e análise musical (tecnologias e conceitos) para a emergência de um fazer musical conectado com as formas do nosso tempo.
Abstract: We approach and develop an epistemological study on the activities of composition and musical analysis, specifically those performed in computing environments. As tools for the understanding of these processes we apply the concept of Invention and the Principle of Individuation from Gilbert Simondon, in addition to René Thom’s proposal for the Intelligibility of Forms. We address two patches for sound analysis and processing and perform a study on the application of those mentioned concepts in the description of the interactive processes in two live-electronic works: Anthèmes 2, from Pierre Boulez, and A Pierre: Dell’azzurro silenzio, inquietum, from Luigi Nono. We analyze the interaction between instrumental writing and musical performance, analysis and sound processing tools, in addition to the emergent sonority of this process. We conclude emphasizing the articulation between different knowledge areas in composition and musical analysis (technologies and concepts) for the emergence of a musical practice connected with the forms of our time.

XXVIII Encontro da Sociedade Brasileira de Acústica, 2018
RESUMO Apresentamos uma ferramenta de análise para a música eletroacústica baseada na noção de Ti... more RESUMO Apresentamos uma ferramenta de análise para a música eletroacústica baseada na noção de Timbre Emergente que, no nosso entendimento, ocorre em ao menos duas situações: a) na performance da música mista, pela interação entre instrumentos musicais, transformações em tempo real e sons em suporte fixo; e b) na música acusmática, por exemplo na Síntese Granular, na qual as interações entre os grãos no nível microtemporal resultam numa macroestrutura (timbre perceptível) com qualidades que os grãos isoladamente não possuem. Esse estudo se baseia na análise gráfica e segmentação do áudio pela aplicação de dois processos de visualização (a partir de descritores de áudio): Volume e Vivacidade Espectral, aplicados a duas obras de Horacio Vaggione: Schall (1996), acusmática, e Till (1991), para piano e dispositivo eletroacústico. De acordo com os resultados obtidos, discutimos a estrutura sonora dessas obras, em relação à forma e qualidades espectrais. Concluiremos sobre as propriedades do modelo analítico proposto, além de compararmos entre si os resultados obtidos na análise das duas obras e com análises prévias realizadas por outras metodologias.
ABSTRACT We address computer tools for the analysis of electroacoustic music based on the notion of Emergent Timbre which, in our view, occurs in at least two situations: a) in live electronic music performance, from the interaction between musical instruments, real-time procedures and fixed tape sounds; and b) in acousmatic music, more specifically in Granular Synthesis, in which the grains interaction in microtime result in a macrostructure (perceived timbre) with qualities that the grains individually do not have. This study is based on the graphical analysis and audio segmentation of two visualization processes (from audio descriptor analyzes): Volume and Spectral Liveness, which are applied in two works from Horacio Vaggione: Schall (1996), acousmatic, and Till (1991), for piano and electroacoustic device. According to the obtained results, we address the sonic structure of these works, considering the form and spectral qualities. We conclude discussing the properties of the proposed analytical model, in addition to the evaluation and comparison of the obtained results from both works, and with previous analyzes performed with different methodologies.

Musica Hodie, 2018
In this article, an analysis of the piece Desdobramentos do contínuo for violoncello and live-ele... more In this article, an analysis of the piece Desdobramentos do contínuo for violoncello and live-electronics is addressed concerning instrumental extended techniques, electroacoustic tape sounds, real-time processing, and their interaction. This is part of a broad research about the computer-aided musical analysis of electroacoustic music. The objective of the analysis of this piece is to understand the spectral activity of the emergent sound structures, in terms of which events produce huge timbre variations, and to identify timbre subtle nuances that are not perceptible on a first listen of the work. We conclude comparing the analyses results to the compositional hypotheses presented in the initial sections. Timbre emergente e técnicas estendidas na música eletroacústica mista em tempo real: uma análise de Desdobramentos do contínuo realizada a partir de descritores de áudio. Resumo: Neste artigo, uma análise da peça Desdobramentos do contínuo para violoncelo e sons eletroacústicos é rea-lizada tendo em vista as técnicas estendidas instrumentais, sons eletroacústicos em suporte fixo, processamentos em tempo real e a interação entre eles. Esta é parte de uma pesquisa mais abrangente sobre análise musical com suporte composicional da música eletroacústica. O objetivo da análise dessa peça é entender a atividade espectral das estru-turas sonoras emergentes, em termos de quais eventos produzem grandes variações no timbre, e identificar variações sutis que não seriam perceptíveis numa primeira audição da composição. Concluímos comparando os resultados das análises com as hipóteses composicionais apresentadas nas seções iniciais. Palavras-chave: Análise musical com suporte computacional, Música mista em tempo real, Técnicas estendidas, Descritores de áudio, Timbre emergente.

Revista Música, 2017
Resumo: Farben Op. 16 no3 é uma obra em que Arnold Schoenberg implementa seu modelo de melodia de... more Resumo: Farben Op. 16 no3 é uma obra em que Arnold Schoenberg implementa seu modelo de melodia de timbres (Klangfarbenmelodie), modelo este que talvez nunca tenha sido repetido da mesma maneira em suas demais obras. Neste artigo investigamos os processos de composição e percepção do timbre nesta obra. Como referencial teórico abordamos a busca estética do compositor por uma relação entre cores e sons, fundamentada nas ideias Goethe (1840) e Helmholtz (1924, 1954). Baseamo-nos também em teorias sobre a
percepção da altura por fusão de parciais e sobre a fusão de diferentes timbres por jitter. Sobre Farben realizamos uma análise da partitura baseada principalmente em trabalhos prévios de Förtig (1969) e Burkhart (1972). A seguir partimos para uma investigação psicoacústica da percepção do timbre, para tanto aplicamos ao áudio da obra os descritores croma, centroide, sharpness, loudness e inarmonicidade (através do programa Sonic Visualizer), os quais nos forneceram dados para realizar interpretações individuais destes parâmetros, bem como nos permitindo estabelecer relações entre eles.
Abstract: Farben Op. 16 no3 is a work in which Arnold Schoenberg implements his Klangfarbenmelodie model, which perhaps had never been repeated in the same way in his other works. In this article we explore the processes of timbre composition and perception of this work. As a theoretical basis we address the aesthetic search of the composer for a relation between colors and sounds, based on the ideas of Goethe (1840) and Helmholtz (1924, 1954). We also mention theories about pitch perception through harmonic fusion and the fusion of different timbres by jitter. On Farben, we accomplished an analysis of the score, especially considering previous analyses of Förtig (1969) and Burkhart (1972). Furthermore, we focused on the psychoacoustic investigation of timbre perception. For this purpose, audio descriptors such as chroma, spectral centroid, sharpness, loudness and inharmonicity were applied to the audio through Sonic Visualizer software. These descriptors provided us information to perform individual interpretations of these parameters and also to establish relationships between them.
Keywords: Arnold Schoenberg; Klangfarbenmelodie (timbre melody); Farben; timbre perception; timbre fusion; pitch perception.

Revista Opus, 2017
Neste artigo, pertencente à pesquisa sobre a elaboração de um modelo para a análise da música ele... more Neste artigo, pertencente à pesquisa sobre a elaboração de um modelo para a análise da música eletroacústica mista a partir de descritores de áudio, realizamos a análise de Ressonâncias (2015) para piano e sons eletrônicos de Jônatas Manzolli. Como fundamentação teórica, apresentamos uma abordagem sobre as Séries e a Transformada de Fourier, operação que serve de base para os processamentos eletroacústicos empregados na composição e para as análises realizadas a partir dos descritores. As hipóteses a serem verificadas dizem respeito à maleabilidade dos processamentos eletroacústicos empregados na peça, que podem fornecer resultados distintos em interpretações diferentes, além da existência de uma tendência de maior similaridade espectral no processo composicional realizado, em que o nível de variação entre duas interpretações é maior nas seções iniciais e menor nas seções finais. Como metodologia, analisamos as características espectrais dos sons compostos em suporte fixo e comparamos o timbre produzido (amálgama dos sons instrumentais e eletroacústicos) em duas interpretações diferentes, a partir dos dados obtidos nas análises. Concluímos discutindo dois aspectos: (1) sobre o nível de maleabilidade sonora atingido pelo compositor na estruturação do processo criativo, e (2) a análise desenvolvida aponta para a impossibilidade da notação musical tradicional de representar a completude dos resultados sonoros emergentes, que decorrem da interação entre os sons instrumentais e eletroacústicos. Ou seja, o modelo de análise estudado justifica a sua aplicabilidade no contexto da música eletroacústica mista atual, principalmente quando foca a fusão dinâmica da parte instrumental com o suporte fixo e/ou com o tratamento em tempo real.
From Montserrat to Piano Resonances: An Analysis with Audio Descriptors
Abstract: As part of a research study of an audio descriptors model for the analysis of live-electronic music, this article addresses Ressonâncias (2015) for piano and electronic sounds by Jônatas Manzolli. As a theoretical basis, we approach the Fourier Series and Transform, an operation that serves as a basis for the electroacoustic processes employed in the composition and for the analyses performed from descriptors. The hypotheses to be verified are related to the malleability of the electroacoustic processes employed in the piece, which can deliver specific results for different performances, besides the existence of a tendency of greater spectral similarity in the compositional process, where the level of variation between two performances is higher in the initial sections and lower in the final sections. As a methodology, we analyze the spectral features of the fixed tape sounds and compare the timbre produced (the amalgam of instrumental and electroacoustic sounds) in two different performances from the data obtained from the analysis. We conclude by discussing two aspects: (1) the level of sonic malleability reached by the composer in structuring his creative process, and (2) the analysis that emphasizes the impossibility of traditional music notation to represent the plentitude of the emerging sound resulting from the interaction between instrumental and electroacoustic sounds. In other words, the applicability of the analytical model studied is relevant in the context of current live-electronic music, mainly when it addresses the dynamic fusion of the instrumental part with tape sounds and/or real-time treatments.

The Qualities of the Perceived Sound Forms: A Morphological Approach to Timbre Composition
In this article, we present and discuss timbre and sound morphology in live electroacoustic and i... more In this article, we present and discuss timbre and sound morphology in live electroacoustic and instrumental music from a compositional standpoint. We approach interaction and convergence issues in live electroacoustic music, related to the idea of sound morphology, based on the undulatory and granular sound paradigms. In instrumental composition, we analyze instrumental synthesis based on frequency modulation so as to generate pitches and enable timbre interpolation. Timbre fusion is also addressed, based on concepts of jitter, permeability and timbre of movement (Bewegungsfarbe). For these purposes, some examples of our compositions are addressed to illustrate these sound properties. In order to analyze the generated timbres, we apply time-varying audio descriptors to reveal some characteristics of the generated timbres. We conclude by comparing the analyzed operations with the emerging form of these works considering both the micro and macro temporal aspects. This article is an extended version of the paper “Interaction, Convergence and Instrumental Synthesis in Live Electronic Music”, presented on the 12th CMMR.
This article proposes an audio descriptors model for the analysis of live electroacoustic music. ... more This article proposes an audio descriptors model for the analysis of live electroacoustic music. In this context, an analysis of the work Desdobramentos do contínuo for violoncello and live electronics is addressed, concerning both tape (deferred time) sounds and live electronics (instrument sound and real-time processing). For this analysis, audio descriptors such as spectral flux, energy mean, centroid, and loudness were employed. The objective was to define which events produce huge timbre variations and to identify timbre subtle nuances which are not perceptible on a first listen of the work. We conclude comparing the analysis results to the compositional hypotheses presented in sections 2 and 3.

Resumo: Nesse trabalho, identificamos a geração da forma musical como um processo, relacio- nando... more Resumo: Nesse trabalho, identificamos a geração da forma musical como um processo, relacio- nando-o com o método alagmático e o princípio da individuação de Simondon. A evolução dos aparatos tecnológicos que auxiliam o processo composicional tem ressonância com essa aborda- gem. Discutimos a geração da forma a partir da fusão de timbres por jitter e permeabilidade, analisando dois exemplos de nossa obra Le vide: trois réflexions sur le temps (2015). Concluímos estabelecendo relações entre procedimentos microtemporais e a modulação da forma perceptível.
Abstract: In this article, the generation of the musical form is identified as a process, and related to the allagmatic method and the principle of individuation of Simondon. The technical objects’s evolution which aid compositional processes is connected with this approach. We discuss the form generation from timbre fusion achievement by jitter and permeability, analyzing two examples of our work Le vide: trois réflexions sur le temps (2015). We conclude establishing relations between microtemporal procedures and the modulation of the perceived form.

Resumo: Investigamos as bases que sustentam a noção de granularidade na música de Horácio Vaggion... more Resumo: Investigamos as bases que sustentam a noção de granularidade na música de Horácio Vaggione, dentre as quais destacamos a micromontagem, a descontinuidade entre diferentes escalas temporais e uma abordagem morfológica da composição. A percepção desempenha um papel importante nesse processo, calcada nos conceitos de pregnância, saliência e enação. Analisa-mos os procedimentos de granulação na obra acusmática Schall a partir do referencial proposto, e concluímos sobre métodos de articulação entre diferentes morfologias e escalas temporais.
Abstract: The bases that sustain the notion of granularity in the music of Horacio Vaggione are investigated, among which we address the micromontage, the discontinuity between different temporal scales and a morphologic approach to composition. The perception has an important role in this process, based on the concepts of pregnance, saillance and enaction. The granulation procedures applied in the acousmatic work Schall are analyzed, considering the proposed theory. We conclude on a reflection about the modes of articulation between different morphologies and temporal scales.

Resumo: O presente trabalho apresenta um relato sobre o projeto Música Mista para Piano, desenvol... more Resumo: O presente trabalho apresenta um relato sobre o projeto Música Mista para Piano, desenvolvido junto aos alunos de piano da Universidade Estadual de Campinas. Tem como objetivos promover o contato de pianistas em formação com repertório de compositores atuais envolvendo piano e meios eletroacústicos, prevendo resultados artísticos e pedagógicos. Por fim, ressalta a relevância por proporcionar aos alunos envolvidos práticas com gestos musicais, meios de produção sonora e formas de interações musicais não contemplados pelos repertórios tradicionais. Abstract:
This article presents a description of the Live Electronic Music for Piano project, developed with the piano students of the University of Campinas. It has as objectives to promote the contact of several piano undergraduate students with the live electronics repertoire written for this instrument by contemporary composers, providing artistic and pedagogical results. Lastly, it emphasizes the relevancy of providing to the involved students practices with musical gestures, means of sound production and musical interaction manners not contemplated by the traditional repertoire.

Nesta obra trabalhamos com diferentes meios de interação e convergência entre a escrita instrumen... more Nesta obra trabalhamos com diferentes meios de interação e convergência entre a escrita instrumental e os tratamentos eletrônicos utilizados a partir da ideia de morfologia sonora, tendo como base as visões de Schaeffer e Smalley sobre este tema. Também nos baseamos em alguns processos microtemporais de criação sonora fundamentados nos modelos ondulatório e granular. Trabalhamos com a ideia de complementaridade entre estes dois modelos, a fim de obtermos a fusão dos timbres instrumentais e eletroacústicos numa única unidade formal perceptível.
Através de uma análise auditiva, gostaríamos de ressaltar os princípios de interação e convergência que guiaram a escrita instrumental e a escolha dos tratamentos eletrônicos utilizados. Um tipo de escrita instrumental que valoriza os regimes estacionários - classificada dentro do modelo ondulatório, configurando a percepção da altura a partir da sobreposição e/ou fusão de parciais - tais como os multifônicos, growl, vibrato ou tremolos foram associados a tratamentos eletrônicos tais como a modulação em anel. Este tipo de escrita está presente principalmente na primeira parte da obra. Outro tipo de escrita instrumental que produz sonoridades mais ruidosas - presente principalmente na na parte final - tais como os efeitos de frullato ou o trilo, ou ainda que valoriza os transitórios de ataque e sonoridades descontínuas, tais como o staccato (simples ou duplo) e o slap tongue foram combinados aos tratamentos eletrônicos de granulação e descorrelação microtemporal, acompanhados de delays.
A parte eletroacústica da obra foi realizada no Max 7. Os presets referentes ao patch se encontram na partitura em caixas numeradas (de 1 a 21) contendo os principais efeitos eletroacústicos utilizados, além dos tempo de interpolação entre estes presets (em milissegundos). Utilizamos, para os efeitos e espacialização eletroacústica, objetos pertencentes à biblioteca HOA (High Order Ambisonics Library) desenvolvida por pesquisadores do CICM da Université Paris 8. O objeto hoa.2d.process~ desta biblioteca combina tratamentos eletroacústicos tais como delay, reverb, modulação em anel, descorrelação microtemporal, granulação e convolução com a conversão do sinal para o modo de ambisonia de ordem superior. Através do objeto hoa.2d.decoder~ o sinal é decodificado para uma saída multicanal e direcionado aos alto-falantes. Oceanos é preferivelmente executada com uma espacialização em octofonia, no entanto também são possíveis versões quadrifônicas ou estereofônicas.
Na partitura optamos por uma escrita instrumental sem divisões métricas por barras de compasso com a intenção de obtermos uma execução fluida e livre por parte do instrumentista (não que esta seja a única maneira de obter este resultado). No nosso entendimento, em obras com eletrônica em tempo real o tempo musical deve ser controlado, durante a performance, principalmente pelo músico instrumentista que, além de propor as nuances interpretativas de seu instrumento, deve também interagir e operar satisfatoriamente sobre a resposta eletroacústica de seus gestos instrumentais. Oceanos foi gravada no estúdio do compositor em 9 de julho de 2016 e posteriormente mixada e masterizada.
In this article we present and discuss the interaction and convergence between the instrumental a... more In this article we present and discuss the interaction and convergence between the instrumental and electroacoustic parts in live electronic music. Our approach is related to the idea of sound morphology, based on the undulatory and granular paradigms of sound. We also analyze the process of instrumental synthesis based on frequency modulation (FM), in order to generate pitches and enable timbre interpolation. For these purposes, we address some examples in our works Oceanos (for sax alto), Poussières cosmiques (for piano) and Diatomées (for instrumental ensemble), all of them with live electronics. We conclude comparing the analyzed operations with the emerging form of these works considering both the micro and macro temporal aspects.

Este artigo se propõe a analisar a questão da forma musical a partir do momento em que temos, no ... more Este artigo se propõe a analisar a questão da forma musical a partir do momento em que temos, no início do século XX, uma ruptura com sua predeterminação, passando a se configurar como o resultado de diferentes operações ou processos de composição. Neste contexto, abordamos a noção de forma estatística, ligada ao isomorfismo e à continuidade entre as diferentes escalas temporais presentes numa obra musical (MEYER-EPPLER, 2009 [1954]; STOCKHAUSEN 1959; EIMERT, 1959) e ao princípio do grau de mudança (STOCKHAUSEN, 1989b [1958]; KOENIG, 1963, 1965), bem como a noção da forma como uma emergência, ligada ao heteromorfismo e à descontinuidade entre as diversas escalas temporais (VAGGIONE, 1994, 2010). Para tanto, trazemos como fundamentação teórica o método alagmático e o princípio da individuação das formas de Gilbert Simondon (2005), assim como as características morfológicas perceptivas de saliência (saillance) e pregnância (prégnance) de René Thom (1988, 1990a), além de sua teoria das catástrofes (THOM, 1985). No contexto proposto, a fusão de timbres é pensada como um processo alagmático gerador de novas formas, sendo analisada a partir de diferentes possibilidades tais como por jitter (DUBNOV; TISHBY; COHEN, 1997), síntese granular, permeabilidade (LIGETI, 2010a [1958]), micropolifonia (LIGETI, 2010c [1980]) e convolução (ERBE, 1997; JAFFE, 1987; ROADS, 1993; VAGGIONE, 1996). Concluímos a respeito dos processos de fusão analisados não apenas considerando-os isoladamente, mas como operações que propiciam o nascimento da forma musical, afirmando o pensamento da forma como um processo e não como algo definido a priori.
This article intends to analyze the issue of musical form from the moment, in the beginning of the 20th century, there is a rupture with predetermination, when form begins to configure as the result of different operations or compositional processes. In this context, we address the concept of statistical form that is linked to isomorphism and continuity within different temporal scales found in a work of music (MEYER-EPPLER, 2009 [1954]; STOCKHAUSEN, 1959; EIMERT, 1959) and to the principle of degree of alternation (STOCKHAUSEN, 1989b [1958]; KOENIG, 1963, 1965), as well as the idea of form as an emergence linked to heteromorphism and discontinuity within the various temporal scales (VAGGIONE, 1994, 2010). To this end, we use as a theoretical basis: Gilbert Simondon’s allagmatic method and the principle of form individuation (2005); and René Thom’s morphological characteristics of perception - saillance and prégnance (1988, 1990a) - and his catastrophe theory (1985). Within this context, timbre fusion is conceived as an allagmatic process that generates new forms. It is analyzed from various possibilities such as jitter (DUBNOV; TISHBY; COHEN, 1997), granular synthesis, permeability (LIGETI, 2010a [1958]), micropolyphony (LIGETI, 2010c [1980]) and convolution (ERBE, 1997; JAFFE, 1987; ROADS, 1993; VAGGIONE, 1996). In conclusion, we regard the fusion process analyzed not only in isolation, but also as operations that bring forth musical form, affirming the thought of form as a process and not something defined a priori.

Resumo. Neste artigo procuramos descrever e analisar o processo criativo da peça Poussières cosmi... more Resumo. Neste artigo procuramos descrever e analisar o processo criativo da peça Poussières cosmiques, abordando sua concepção instrumental e os tratamentos eletrônicos. Os processos de interação e convergência entre estes dois meios são relacionados à ideia de morfologia sonora, fundamentada nos modelos ondulatório e granular de construção e/ou decomposição do som. Concluímos através da discussão a respeito da dualidade entre o contínuo e o descontínuo, a qual perpassa os diferentes níveis temporais da peça.
Abstract. In this article we describe and analyze the creative process of the work Poussières cosmiques, addressing its instrumental conception and the electronic treatments. The procedures of interaction and convergence between these two universes are related to the idea of sound morphology, based on the undulatory and granular models of sound construction and/or decomposition. We conclude addressing the duality between the continuous and the discontinuous, which passes by the different temporal levels of the work.

Resumo: Neste artigo, abordamos a obra Oceanos do ponto de vista da composição e da performance, ... more Resumo: Neste artigo, abordamos a obra Oceanos do ponto de vista da composição e da performance, em uma busca da interação entre os meios instrumental e eletroacústico, em relação à morfologia sonora. Como referência teórica, trazemos os conceitos de Simondon sobre os objetos técnicos, percepção, amplificação e modulação, e sua aplicação no ambiente da música eletroacústica mista. Concluímos, a partir das questões apresentadas, sobre a importância do processo de colaboração entre compositor e intérprete para a construção da sonoridade geral da obra.
Abstract: In this article, we approach the work Oceanos from the perspective of the composition and the performance, in search of the interaction between instrumental and electroacoustic means, regarding to the sound morphology. As a theoretical reference, we address the concepts of Simondon about the technical objects, perception, amplification and modulation, and their application in electroacoustic mixed music. We conclude, from the presented issues, about the importance of the collaboration between the composer and the performer in order to construct the general sonority of the work.
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Papers by Danilo Rossetti
Abstract: Il Neige... de Nouveau! (1985) is a work for piano by Gilberto Mendes of his last compositional period, associated with Post-Minimalism. Intertextuality is an important feature of this work, establishing a direct relation, among others, with Il Neige! (1902), also for piano, by Henrique Oswald. We begin our approach presenting a theoretical reference of Post-Minimalism and performing an analysis of the score searching to find intertextual elements. A methodology of analysis based on audio descriptors is also applied to the audio recordings of Mendes and Oswald's works. The results obtained indicate that, despite the intertextual relations between the two works, their formal conceptions are different, each one dialoging with its historical period. We conclude situating Mendes' work in the formal paradigm of the second half of the 20 th Century, of the forms as process, presenting an irreversible and directional time, with moments of continuity and others with abrupt cuts. Palavras-chave: Il Neige... de Nouveau!, Gilberto Mendes, Pós-Minimalismo Musical, Intertextualidade em Música, Análise Musical por Suporte Computacional.
Abstract: We approach and develop an epistemological study on the activities of composition and musical analysis, specifically those performed in computing environments. As tools for the understanding of these processes we apply the concept of Invention and the Principle of Individuation from Gilbert Simondon, in addition to René Thom’s proposal for the Intelligibility of Forms. We address two patches for sound analysis and processing and perform a study on the application of those mentioned concepts in the description of the interactive processes in two live-electronic works: Anthèmes 2, from Pierre Boulez, and A Pierre: Dell’azzurro silenzio, inquietum, from Luigi Nono. We analyze the interaction between instrumental writing and musical performance, analysis and sound processing tools, in addition to the emergent sonority of this process. We conclude emphasizing the articulation between different knowledge areas in composition and musical analysis (technologies and concepts) for the emergence of a musical practice connected with the forms of our time.
ABSTRACT We address computer tools for the analysis of electroacoustic music based on the notion of Emergent Timbre which, in our view, occurs in at least two situations: a) in live electronic music performance, from the interaction between musical instruments, real-time procedures and fixed tape sounds; and b) in acousmatic music, more specifically in Granular Synthesis, in which the grains interaction in microtime result in a macrostructure (perceived timbre) with qualities that the grains individually do not have. This study is based on the graphical analysis and audio segmentation of two visualization processes (from audio descriptor analyzes): Volume and Spectral Liveness, which are applied in two works from Horacio Vaggione: Schall (1996), acousmatic, and Till (1991), for piano and electroacoustic device. According to the obtained results, we address the sonic structure of these works, considering the form and spectral qualities. We conclude discussing the properties of the proposed analytical model, in addition to the evaluation and comparison of the obtained results from both works, and with previous analyzes performed with different methodologies.
percepção da altura por fusão de parciais e sobre a fusão de diferentes timbres por jitter. Sobre Farben realizamos uma análise da partitura baseada principalmente em trabalhos prévios de Förtig (1969) e Burkhart (1972). A seguir partimos para uma investigação psicoacústica da percepção do timbre, para tanto aplicamos ao áudio da obra os descritores croma, centroide, sharpness, loudness e inarmonicidade (através do programa Sonic Visualizer), os quais nos forneceram dados para realizar interpretações individuais destes parâmetros, bem como nos permitindo estabelecer relações entre eles.
Abstract: Farben Op. 16 no3 is a work in which Arnold Schoenberg implements his Klangfarbenmelodie model, which perhaps had never been repeated in the same way in his other works. In this article we explore the processes of timbre composition and perception of this work. As a theoretical basis we address the aesthetic search of the composer for a relation between colors and sounds, based on the ideas of Goethe (1840) and Helmholtz (1924, 1954). We also mention theories about pitch perception through harmonic fusion and the fusion of different timbres by jitter. On Farben, we accomplished an analysis of the score, especially considering previous analyses of Förtig (1969) and Burkhart (1972). Furthermore, we focused on the psychoacoustic investigation of timbre perception. For this purpose, audio descriptors such as chroma, spectral centroid, sharpness, loudness and inharmonicity were applied to the audio through Sonic Visualizer software. These descriptors provided us information to perform individual interpretations of these parameters and also to establish relationships between them.
Keywords: Arnold Schoenberg; Klangfarbenmelodie (timbre melody); Farben; timbre perception; timbre fusion; pitch perception.
From Montserrat to Piano Resonances: An Analysis with Audio Descriptors
Abstract: As part of a research study of an audio descriptors model for the analysis of live-electronic music, this article addresses Ressonâncias (2015) for piano and electronic sounds by Jônatas Manzolli. As a theoretical basis, we approach the Fourier Series and Transform, an operation that serves as a basis for the electroacoustic processes employed in the composition and for the analyses performed from descriptors. The hypotheses to be verified are related to the malleability of the electroacoustic processes employed in the piece, which can deliver specific results for different performances, besides the existence of a tendency of greater spectral similarity in the compositional process, where the level of variation between two performances is higher in the initial sections and lower in the final sections. As a methodology, we analyze the spectral features of the fixed tape sounds and compare the timbre produced (the amalgam of instrumental and electroacoustic sounds) in two different performances from the data obtained from the analysis. We conclude by discussing two aspects: (1) the level of sonic malleability reached by the composer in structuring his creative process, and (2) the analysis that emphasizes the impossibility of traditional music notation to represent the plentitude of the emerging sound resulting from the interaction between instrumental and electroacoustic sounds. In other words, the applicability of the analytical model studied is relevant in the context of current live-electronic music, mainly when it addresses the dynamic fusion of the instrumental part with tape sounds and/or real-time treatments.
Abstract: In this article, the generation of the musical form is identified as a process, and related to the allagmatic method and the principle of individuation of Simondon. The technical objects’s evolution which aid compositional processes is connected with this approach. We discuss the form generation from timbre fusion achievement by jitter and permeability, analyzing two examples of our work Le vide: trois réflexions sur le temps (2015). We conclude establishing relations between microtemporal procedures and the modulation of the perceived form.
Abstract: The bases that sustain the notion of granularity in the music of Horacio Vaggione are investigated, among which we address the micromontage, the discontinuity between different temporal scales and a morphologic approach to composition. The perception has an important role in this process, based on the concepts of pregnance, saillance and enaction. The granulation procedures applied in the acousmatic work Schall are analyzed, considering the proposed theory. We conclude on a reflection about the modes of articulation between different morphologies and temporal scales.
This article presents a description of the Live Electronic Music for Piano project, developed with the piano students of the University of Campinas. It has as objectives to promote the contact of several piano undergraduate students with the live electronics repertoire written for this instrument by contemporary composers, providing artistic and pedagogical results. Lastly, it emphasizes the relevancy of providing to the involved students practices with musical gestures, means of sound production and musical interaction manners not contemplated by the traditional repertoire.
Através de uma análise auditiva, gostaríamos de ressaltar os princípios de interação e convergência que guiaram a escrita instrumental e a escolha dos tratamentos eletrônicos utilizados. Um tipo de escrita instrumental que valoriza os regimes estacionários - classificada dentro do modelo ondulatório, configurando a percepção da altura a partir da sobreposição e/ou fusão de parciais - tais como os multifônicos, growl, vibrato ou tremolos foram associados a tratamentos eletrônicos tais como a modulação em anel. Este tipo de escrita está presente principalmente na primeira parte da obra. Outro tipo de escrita instrumental que produz sonoridades mais ruidosas - presente principalmente na na parte final - tais como os efeitos de frullato ou o trilo, ou ainda que valoriza os transitórios de ataque e sonoridades descontínuas, tais como o staccato (simples ou duplo) e o slap tongue foram combinados aos tratamentos eletrônicos de granulação e descorrelação microtemporal, acompanhados de delays.
A parte eletroacústica da obra foi realizada no Max 7. Os presets referentes ao patch se encontram na partitura em caixas numeradas (de 1 a 21) contendo os principais efeitos eletroacústicos utilizados, além dos tempo de interpolação entre estes presets (em milissegundos). Utilizamos, para os efeitos e espacialização eletroacústica, objetos pertencentes à biblioteca HOA (High Order Ambisonics Library) desenvolvida por pesquisadores do CICM da Université Paris 8. O objeto hoa.2d.process~ desta biblioteca combina tratamentos eletroacústicos tais como delay, reverb, modulação em anel, descorrelação microtemporal, granulação e convolução com a conversão do sinal para o modo de ambisonia de ordem superior. Através do objeto hoa.2d.decoder~ o sinal é decodificado para uma saída multicanal e direcionado aos alto-falantes. Oceanos é preferivelmente executada com uma espacialização em octofonia, no entanto também são possíveis versões quadrifônicas ou estereofônicas.
Na partitura optamos por uma escrita instrumental sem divisões métricas por barras de compasso com a intenção de obtermos uma execução fluida e livre por parte do instrumentista (não que esta seja a única maneira de obter este resultado). No nosso entendimento, em obras com eletrônica em tempo real o tempo musical deve ser controlado, durante a performance, principalmente pelo músico instrumentista que, além de propor as nuances interpretativas de seu instrumento, deve também interagir e operar satisfatoriamente sobre a resposta eletroacústica de seus gestos instrumentais. Oceanos foi gravada no estúdio do compositor em 9 de julho de 2016 e posteriormente mixada e masterizada.
This article intends to analyze the issue of musical form from the moment, in the beginning of the 20th century, there is a rupture with predetermination, when form begins to configure as the result of different operations or compositional processes. In this context, we address the concept of statistical form that is linked to isomorphism and continuity within different temporal scales found in a work of music (MEYER-EPPLER, 2009 [1954]; STOCKHAUSEN, 1959; EIMERT, 1959) and to the principle of degree of alternation (STOCKHAUSEN, 1989b [1958]; KOENIG, 1963, 1965), as well as the idea of form as an emergence linked to heteromorphism and discontinuity within the various temporal scales (VAGGIONE, 1994, 2010). To this end, we use as a theoretical basis: Gilbert Simondon’s allagmatic method and the principle of form individuation (2005); and René Thom’s morphological characteristics of perception - saillance and prégnance (1988, 1990a) - and his catastrophe theory (1985). Within this context, timbre fusion is conceived as an allagmatic process that generates new forms. It is analyzed from various possibilities such as jitter (DUBNOV; TISHBY; COHEN, 1997), granular synthesis, permeability (LIGETI, 2010a [1958]), micropolyphony (LIGETI, 2010c [1980]) and convolution (ERBE, 1997; JAFFE, 1987; ROADS, 1993; VAGGIONE, 1996). In conclusion, we regard the fusion process analyzed not only in isolation, but also as operations that bring forth musical form, affirming the thought of form as a process and not something defined a priori.
Abstract. In this article we describe and analyze the creative process of the work Poussières cosmiques, addressing its instrumental conception and the electronic treatments. The procedures of interaction and convergence between these two universes are related to the idea of sound morphology, based on the undulatory and granular models of sound construction and/or decomposition. We conclude addressing the duality between the continuous and the discontinuous, which passes by the different temporal levels of the work.
Abstract: In this article, we approach the work Oceanos from the perspective of the composition and the performance, in search of the interaction between instrumental and electroacoustic means, regarding to the sound morphology. As a theoretical reference, we address the concepts of Simondon about the technical objects, perception, amplification and modulation, and their application in electroacoustic mixed music. We conclude, from the presented issues, about the importance of the collaboration between the composer and the performer in order to construct the general sonority of the work.