GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORK

Detalhes bibliográficos
Autor(a) principal: Oliveira, Rafael de
Data de Publicação: 2010
Tipo de documento: Artigo
Idioma: por
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: https://doi.org/10.34624/postip.v1i0.30174
Resumo: This paper presents a series of processes used for the creation of an environmentally framed musical composition: music that derives its structure and sounds from a soundscape study. To achieve this goal, two contemporary compositional trends that support the creation of such type of music are used: Sound Imagery and Soundscape Composition. The work General Torres (2007) is used as a means to explain how sounds present in a soundscape can favor the creation of a musical composition. This piece is based on the temporal narrative proposed while waiting inside the train station “General Torres”, in Vila Nova de Gaia, Portugal. The structural process and sound discourse used in the piece is described in order to highlight the uses of both Sound Imagery and Soundscape Composition. Thus, the goal for this study was to develop a piece (composition) in which listening awareness was encouraged, and that (what, the listening awareness?)  musically translates a sound context using referential sound material.
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spelling GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORKGENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORKThis paper presents a series of processes used for the creation of an environmentally framed musical composition: music that derives its structure and sounds from a soundscape study. To achieve this goal, two contemporary compositional trends that support the creation of such type of music are used: Sound Imagery and Soundscape Composition. The work General Torres (2007) is used as a means to explain how sounds present in a soundscape can favor the creation of a musical composition. This piece is based on the temporal narrative proposed while waiting inside the train station “General Torres”, in Vila Nova de Gaia, Portugal. The structural process and sound discourse used in the piece is described in order to highlight the uses of both Sound Imagery and Soundscape Composition. Thus, the goal for this study was to develop a piece (composition) in which listening awareness was encouraged, and that (what, the listening awareness?)  musically translates a sound context using referential sound material.UA Editora2010-10-15info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.34624/postip.v1i0.30174oai:proa.ua.pt:article/30174Post-ip: Journal of the International Forum for Studies in Music and Dance; Vol 1 (2009): Post-ip - Revista do Fórum Internacional de Estudos em Música e Dança; 161-169Post-ip: Revista do Fórum Internacional de Estudos em Música e Dança; vol. 1 (2009): Post-ip - Revista do Fórum Internacional de Estudos em Música e Dança; 161-1692184-6138reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPporhttps://proa.ua.pt/index.php/postip/article/view/30174https://doi.org/10.34624/postip.v1i0.30174https://proa.ua.pt/index.php/postip/article/view/30174/20928Direitos de Autor (c) 2010 Post-ip: Revista do Fórum Internacional de Estudos em Música e Dançahttp://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessOliveira, Rafael de2022-12-21T07:46:27Zoai:proa.ua.pt:article/30174Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T16:28:43.527266Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORK
GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORK
title GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORK
spellingShingle GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORK
Oliveira, Rafael de
title_short GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORK
title_full GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORK
title_fullStr GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORK
title_full_unstemmed GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORK
title_sort GENERAL TORRES: COMPOSITIONAL PROCESS IN AN ENVIRONMENTALLY-FRAMED MUSICAL WORK
author Oliveira, Rafael de
author_facet Oliveira, Rafael de
author_role author
dc.contributor.author.fl_str_mv Oliveira, Rafael de
description This paper presents a series of processes used for the creation of an environmentally framed musical composition: music that derives its structure and sounds from a soundscape study. To achieve this goal, two contemporary compositional trends that support the creation of such type of music are used: Sound Imagery and Soundscape Composition. The work General Torres (2007) is used as a means to explain how sounds present in a soundscape can favor the creation of a musical composition. This piece is based on the temporal narrative proposed while waiting inside the train station “General Torres”, in Vila Nova de Gaia, Portugal. The structural process and sound discourse used in the piece is described in order to highlight the uses of both Sound Imagery and Soundscape Composition. Thus, the goal for this study was to develop a piece (composition) in which listening awareness was encouraged, and that (what, the listening awareness?)  musically translates a sound context using referential sound material.
publishDate 2010
dc.date.none.fl_str_mv 2010-10-15
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://doi.org/10.34624/postip.v1i0.30174
oai:proa.ua.pt:article/30174
url https://doi.org/10.34624/postip.v1i0.30174
identifier_str_mv oai:proa.ua.pt:article/30174
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://proa.ua.pt/index.php/postip/article/view/30174
https://doi.org/10.34624/postip.v1i0.30174
https://proa.ua.pt/index.php/postip/article/view/30174/20928
dc.rights.driver.fl_str_mv Direitos de Autor (c) 2010 Post-ip: Revista do Fórum Internacional de Estudos em Música e Dança
http://creativecommons.org/licenses/by-nc/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Direitos de Autor (c) 2010 Post-ip: Revista do Fórum Internacional de Estudos em Música e Dança
http://creativecommons.org/licenses/by-nc/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv UA Editora
publisher.none.fl_str_mv UA Editora
dc.source.none.fl_str_mv Post-ip: Journal of the International Forum for Studies in Music and Dance; Vol 1 (2009): Post-ip - Revista do Fórum Internacional de Estudos em Música e Dança; 161-169
Post-ip: Revista do Fórum Internacional de Estudos em Música e Dança; vol. 1 (2009): Post-ip - Revista do Fórum Internacional de Estudos em Música e Dança; 161-169
2184-6138
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