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Authors
Advisor(s)
Abstract(s)
Com este trabalho pretendi contribuir para a área da coreomusicologia – o estudo das
relações entre dança e música - numa vertente de investigação-acção. Relatando e
reflectindo sobre vários projectos colaborativos e outras experiências na área da música
e dança, que constituíram um total de quatro anos de investigação, procurei novas
estratégias e ferrmentas que ajudem a criar pontos de partida sólidos para compositores
que pretendam entrar em colaborações criativas com a dança. A base da investigação foi
o desenvolvimento de acções práticas como: a programação de sistemas de interacção
humano-computador (HCI) para controlo gestual de som; duas colaborações realizadas
com duas coreógrafas diferentes, para co-criação de peças coreomusicais; quatro anos de
aulas de dança contemporânea, para um maior entendimento experiencial do campo.
O cruzamento destas com conhecimento das áreas da cognição corporizada, metáfora
conceptual, e experiências de flow, mostraram a necessidade de uma nova sistematização
e organização de noções ambíguas na coreomusicologia – como a diferenciação entre o
estudo do “relacionamento” entre criadores no processo colaborativo, e dos modos de
“relação” entre música e dança que podemos encontrar em performance. A partir deste
novo olhar proponho algumas ferramentas e quadros teóricos para a análise, criação e
investigação coreomusical. Nomeadamente, sugiro uma tipologia das abordagens aos
“relacionamentos” co-criativos; uma categorização em cinco modos possíveis para as
“relações” coreomusicais em performance; algumas “suposições” básicas, que estruturam
uma percepção mais ou menos inconsciente de criações de dança e música, por um
público contemporâneo.
Por fim, proponho as noções de “ensaio” e “jogo” como bases para construir um novo
lugar para a composição nos relacionamentos coreomusicais, e apresento um esboço do
meu primeiro esforço nesse sentido: um sistema de HCI para a tradução de aspectos do
movimento de um bailarino em subtis alterações num “ambiente” musical electrónico.
ABSTRACT - The following work is my contribution for the field of choreomusicology – the study of the relationships between music and dance – upon a practice-based research methodology. By relating and refelcting on several colaborative projects, as well as other experiences in the coreomusical field, during four years of research, I intended to find new strategies and tools that could help composers who want to develop creative collaborations with dance. The research was based on actual actions such as: programming human-computer interaction systems, for getural control of sound; two collaborations with two differnete choreographers, towards the co-creation of horeomusical pieces; four years of contemporary dance classes, in order to achieve na experiential understanding of the field. By crossing these with knowledge from the fields of embodied cognition, conceptual metaphor, and flow experiences, I have come to understand the need for new ways to systematize and organize some ambiguous notion in choreomusicology – such as the differentiation between the study of “relationships” among creators in colaborative processes, and the modes of “relation” between dance and music during a performance. With this new perspective I propose some new tools and frameworks for choreomusical analisys, creation and research. Namely, I suggest a typology for diferente approaches to co-creative “relationships”; a categorization along five possible modes of choreomusical “relations” in performance; some basic “assumptions”, which structure a more or less unconscious perception of dance-music creations, by a contemporary audience. Finally, I propose the notions of “rehearsal” and “game” as the core of a new place for musical composition within a choreomusical “relationship”. Also, I presente a sketch of my first effort towards this direction: an HCI system for translating aspects of dance movement into subtle changes in a musical “environment”.
ABSTRACT - The following work is my contribution for the field of choreomusicology – the study of the relationships between music and dance – upon a practice-based research methodology. By relating and refelcting on several colaborative projects, as well as other experiences in the coreomusical field, during four years of research, I intended to find new strategies and tools that could help composers who want to develop creative collaborations with dance. The research was based on actual actions such as: programming human-computer interaction systems, for getural control of sound; two collaborations with two differnete choreographers, towards the co-creation of horeomusical pieces; four years of contemporary dance classes, in order to achieve na experiential understanding of the field. By crossing these with knowledge from the fields of embodied cognition, conceptual metaphor, and flow experiences, I have come to understand the need for new ways to systematize and organize some ambiguous notion in choreomusicology – such as the differentiation between the study of “relationships” among creators in colaborative processes, and the modes of “relation” between dance and music during a performance. With this new perspective I propose some new tools and frameworks for choreomusical analisys, creation and research. Namely, I suggest a typology for diferente approaches to co-creative “relationships”; a categorization along five possible modes of choreomusical “relations” in performance; some basic “assumptions”, which structure a more or less unconscious perception of dance-music creations, by a contemporary audience. Finally, I propose the notions of “rehearsal” and “game” as the core of a new place for musical composition within a choreomusical “relationship”. Also, I presente a sketch of my first effort towards this direction: an HCI system for translating aspects of dance movement into subtle changes in a musical “environment”.
Description
Mestrado em Música – Área de Composição
Keywords
Coreomusicologia Bolaborações criativas Cognição corporizada Composição musical Interacção humano-computador (HCI) Gesto Experiências de flow Metáfora conceptual Choreomusicology Creative collaborations Embodied cognition Music composition Human-Computer Interaction (HCI) Gesture Flow experiences Conceptual metaphor
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Música de Lisboa