196

Authors:

 Zampronha, Edson S.

Title:

 NON-LINEAR TIMBERS AND PERCEPTUAL INSTABILITY

Keywords:

 Music - Non-linear timbres - perceptual instability - compositional procedures

Abstract:

 Timbre is in the confluence of music, science and technology. If traditional point of view sees the world as stable and predictable, looking for stable, periodic and regular timbres, this is not the case with twentieth century contemporary music. In twentieth century timbre was transformed in an essential element of musical language construction, still further with the introduction of computers and electroacoustic media in composition. Recently, with a new paradigm emergence, with conceptual and technological different tools appearing, new experimentation was made possible. Concepts as fractals, strange attractors, non-linearity, unpredictability and complexity turn out to be part of musical researches. In this context this speech is going to: (1) present the point where our researches are in the search of non-periodic, non-linear computer generated timbres. The approach here is intended to be more conceptual than technical in a sense that non-specialized listener could follow the presentation. (2) take some sound examples to show how timbres conceived according to this have their instability transferred to perception. Perception becomes unstable. As such they are distinct from traditional musical timbres. They are in the half way between the regularity of traditional musical instruments and "noises" (statistic produced sounds). At the same time they have an inner coherence this coherence is unpredictable, turning perception floating. (3) how these sounds, being a new material for musical composition, asks for and instigate new compositional procedures. In this sense, music, science and technology interact in a re-thinking of compositional materials and procedures, bridging these two aspects, traditionally conceived separately, in a continuum.
Zampronha, Edson S. zampra@mandic.com.br Studied Composition and Conducting at Arts' Institute of São Paulo State University (UNESP) and Philosophy at Pontifical Catholic University of São Paulo (PUC/SP). Continued his studies and obtained the Master Degree in Musical Composition at Rio de Janeiro Federal University (UFRJ). The initial background in philosophy opened the path to studies in the area of semiotics related to music, obtaining then the Doctorate at Post Graduate Program in Communications and Semiotics of PUC/SP, in 1998. Nowadays is professor of Musical Composition at Arts' Institute of UNESP and post-doctorate researcher at PUC/SP. Regularly participates of nationals and internationals festivals and biennials of contemporary music. Has been receiving invitations to compose from different ensembles and institutions. Received two prizes from São Paulo Association of Arts Critics (APCA): in 1993, to the work Toccata II as "Best Soloist Composition", and in 1996, to the work Modelagem VII as "Best Instrumental Ensemble Composition".The post-doctorate research that is being developed at Sound Language Laboratory of Communication and Semiotic Program at PUC/SP searches for the application of semiotics and chaos theory in the constitution of sound materiality in musical composition, also taking in account the reflexes it has in musical language.