Artigos publicados

Timbristic Organization with Just Intonation Structures (2022)

The processes presented aim to establish principles for the organization of Just Intonation systems in the electronic environment by changing partials of a timbre. We intend to merge harmony and timbre as in Spectralism, but starting from the harmonic theories of Partch (1974), Johnston (2006), and Wilson (NARUSHIMA, 2018), to modify timbres. In this article, the Combination-Product Sets theory, by Erv Wilson, will be the focus

Criação Mediada Tecnologicamente: O Fast Fourier Transform (2021)

This article aims to highlight some properties of the Fast Fourier Transform (FFT) thatmay have aesthetic/technical impact on a musical composition and, therefore, should be minimallyacknowledge by the artist. To give a didactical contribution to the problem, at the end of the article,we present an OpenMusic library (a work in progress) that allows the visualization andunderstanding of each separate part of the FFT process.

Impasses no uso de estruturas microtonais na composição eletroacústica - (2020)

In this text, we investigate how microtonal structures were organized by composers in electroacoustic works. More than a musical analysis, we are interested in exploring the emerging compositional problems when we come across the concepts and terminologies of pitch classification (microtonality, temperament, timbre, etc.). We explore, therefore, how it is and how the parameter of pitch was applied within works of the repertoire, more specifically their qualities and potentials within the theme of microtonality. To this end, we base our analyses on the studies of Franck Jedrzejewski, Peter Manning, Curtis Roads, Harry Partch, among others. As a result, we seek to encourage discussion and artistic production on the theme, highlighting the composer's craft in environments with digital technological support.

Instrumentos Eletroacústicos de tecla e seu uso na música microtonal PT-BR - (2019)

In this text we analyze the electroacoustic keyboard instruments that enable the rendering of microtonal structures and alternative tuning. In addition to a historical analysis of these instruments, we are also interested in understanding their relationship to microtonal composition. We also investigate the reasons why these instruments did not reach a level of mass diffusion. We conclude that there is a strong relationship between microtonal instruments and the culture of sound perception, and the issues are not necessarily on the feasibility of building new instruments. In this research we rely on the studies of Joel Chadabe, Hugh Davies, Nicole Gagné, Franck Jedrzejewski, Jon Appleton, Ben Kettlewell, Thomas Patteson, and Curtis Roads.

Uma Aproximação aos Sistemas de Afinação de Harry Partch e Ben Johnston PT-BR - (2016)

This paper aims to investigate the tuning systems of Harry Partch (1901 - 1974) and Ben Johnston (1926 - ) in order to emerge their structures. It also seeks to investigate a trend in American music, with a strong foundation on mathematics and musical acoustics. This paper is based mainly on the writings of these two composers, such as Partch's "Genesis of a Music" and Johnston's "Maximum Clarity".

Dissertação de Mestrado

Afinação Justa, Crivos e (As)Simetrias: Estratégias Composicionais com Implementação em OpenMusic - (2021)

In this research, we will present ways of organizing pitches from Just Intonation through Iannis Xenakis’ Theory of the Sieves. We will focus on Harry Partch’s Just Intonation with the Diamond-Tonality, on the Tuning system used by Ben Johnston in the string quartets no. 2 and no. 3, in the Moment of Symmetry by Erv Wilson, and finally in the Combination Product-Set also by Erv Wilson. Subsequently, we will focus on the use of Sieves Theory to control the Just Intonation within our compositional context. After this theoretical part, we will introduce the libraries OM-JI and OM-Sieves, which facilitates the incorporation of Just Intonation and Sieves Theory in OpenMusic/OM-Sharp environment. Finally, we will share the compositional processes of the Arabesque | 19 11 97.