{"id":47884,"date":"2012-08-10T14:22:51","date_gmt":"2012-08-10T17:22:51","guid":{"rendered":"http:\/\/revistapesquisa.fapesp.br\/?p=47884"},"modified":"2012-12-10T14:29:20","modified_gmt":"2012-12-10T16:29:20","slug":"building-music","status":"publish","type":"post","link":"https:\/\/revistapesquisa.fapesp.br\/en\/building-music\/","title":{"rendered":"Building music"},"content":{"rendered":"
\"\"ALAN VITOR PIMENTA<\/span>

Sound sculpture by Marco Scarassatti: Tzimtzum \u2013 Pal\u00e1cio e ref\u00fagioALAN VITOR PIMENTA<\/span><\/p><\/div>\n

The heroic times when a composer would engage in the tough battle to \u201cconstruct the great revolutionary work\u201d are now well past. This is how the S\u00e3o Paulo state born composer Marco Scarassatti, aged 41, a professor at the Federal University of Minas Gerais (UFMG) starts his thoughts in Of\u00edcio do compositor hoje <\/em>[The profession of composer today] <\/em>(Perspectiva, 2012). This is a collection of 14 essays edited by L\u00edvio Tragtenberg. Most of the texts are about marking out territory. Scarassatti, along with the composer Silvio Ferraz, also from S\u00e3o Paulo state, aged 52, from the State University of Campinas (Unicamp), are two researchers who think consistently about the creation of current music.<\/p>\n

\u201cThe composer\u2019s field has become far vaster and more all-encompassing than the expansion capacity of the concept of music. Music has become merely one of the arts linked to sound or to sound art,\u201d Scarassatti writes. \u201cMy work is much more part of the field of sound art than of music.\u201d<\/p>\n

Author of the excellent Walter Smetak, o alquimista dos sons<\/em> [Walter Smetak, the alchemist of sounds] (Perspectiva, 2008), about the Swiss \u201csound sculptor\u201d established in the state of Bahia who trained generations of erudite and popular musicians, Scarassatti says that he also likes to \u201cbuild music materially, with my own hands.\u201d Like Smetak, he invents musical instruments with pieces from discarded objects, bringing together conceptual fragments from other cultures, and shapes this combination by practising sound exploration through directed improvisation. His Sonax group creates musical sculptures and sound interventions with live electronics. The materials are wooden boxes, PVC tubes, discarded elements, pulleys, springs, ropes, pegs, etc. \u201cMy interests are acoustic sounds, the invention of new instruments bringing together new sounds in plastic form.\u201d<\/p>\n

Several sound sculptures are reproduced in his book. His dream is to \u201clive off collecting objects and fragments of objects around us. To compose and recompose utensils, apparatuses, artifacts in general (\u2026) there would only be negotiation and barter. A fair with objects to barter.\u201d<\/p>\n

Negotiation of listening, a fair with objects to barter. This might be the product of chance, but it does not look like it. Silvio Ferraz\u2019s article, \u201cEscutas e reescritas\u201d [Hearings and rewritings] is constructed with interconnected aphorisms. \u201cWriting music corresponds to letting it pass by in just one moment, a slice of life, people and places, in a handful of sound space-time.\u201d Silvio proposes to \u201csilence the codes\u201d that are anchored \u201cto the idea of art, and art overlaps with what is attractive, useful, important, noble, revolutionary.\u201d Marco and Silvio reject \u201cthe great revolutionary work.\u201d They want to interact with \u201clife, people, places\u201d (Silvio); to compose\/recompose the world by joining together pieces of objects (Marco).<\/p>\n

Silvio indicates other important points. He warns that \u201cin the game of music writing, perhaps the most difficult thing is to remain a free power, like a loose line that links more than one collective, that delimits a space while also opening itself to others.\u201d He compares the art of the composer to that of a swarm of bees. At the center, these insects are slower; at the edge, they are freer and faster.<\/p>\n

\u201cThe art of a composer lies in sometimes finding the center and losing his speed of invention, and other times placing himself on the edge and getting rid of the codes that determine the collective element.\u201d A paradox, because, while he is \u201chappy to have his work accepted,\u201d he \u201cquestions this acceptance and acknowledges having lost the power that lent him speed.\u201d<\/p>\n

He assumes the pendular movement between avant-garde and tradition, aware that \u201cafter time has passed, the comfort of the receptiveness of a collective is more than comforting, it is stifling. At this point, the composer is born, he who invents new ways of letting oxygen in.\u201d<\/p>\n

Marco and Silvio are guided by what the former calls \u201cde-territorializing what one conceives of as music, de-mechanizing the ready-made and pre-established relations.\u201d The other reminds us of Guimar\u00e3es Rosa\u2019s diving \u201cinto the speaking of the men from the hinterlands, connecting man to jaguar and jaguar to sound, as if a language were being born while we read. Perhaps this is the point that music should seek out, the point at which a language is invented, that unfolds and is invented at the same time as it is heard, always for the first time.\u201d<\/p>\n

To listen to and to read:<\/strong>
\nCD Sonax<\/em>, with Marco Scarassatti, Nelson Pinton Filho and Marcelo Bomfim, Creative Sources, 2008, Portugal
\nCD Tr\u00f3pico das repeti\u00e7\u00f5es<\/em>, with the works of Silvio Ferraz, Sesc, 2008
\nWalter Smetak, alquimista dos sons<\/em>, by Marco Scarassatti, book + CD, Ed. Perspectiva, 2008
\nM\u00fasica e repeti\u00e7\u00e3o<\/em>, by Silvio Ferraz, Educ, 1998
\nLivro das sonoridades<\/em>, by Silvio Ferraz, Editora 7 Letras, 2005
\nO of\u00edcio do compositor hoje<\/em>, L\u00edvio Tragtenberg (ed.), Ed. Perspectiva, 2012<\/p>\n","protected":false},"excerpt":{"rendered":"Texts of researchers that compose","protected":false},"author":35,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[154],"tags":[248],"coauthors":[134],"class_list":["post-47884","post","type-post","status-publish","format-standard","hentry","category-arts","tag-music"],"acf":[],"_links":{"self":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/47884","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/users\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/comments?post=47884"}],"version-history":[{"count":0,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/47884\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/media?parent=47884"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/categories?post=47884"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/tags?post=47884"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/coauthors?post=47884"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}