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".
Afinação Justa de Partch filtrada pelas sieves de Xenakis em OpenMusic - (2020)
This article aims to discuss and demonstrate an approach to the pitch parameter, to obtain musical data from Iannis Xenakis’ theory of sieves and apply them to Tonality-Diamond, a theory developed by the American composer Harry Partch. It is part of our objective to propose a method to reduce the influence of notation on musical composition, as well as to reduce the tonal/modal application of Partch’s Tonality-Diamond. This article includes the implementation of this method in the software OpenMusic (from CAC - Computer-Aided Composition).
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.