Leituras de Jocy, edited by Manoel Aranha Corrêa do Lago, Rodrigo Cicchelli Velloso, 2018
A presença do oboé na obra de Jocy de Oliveira é marcante e consistente. Diversos oboístas têm at... more A presença do oboé na obra de Jocy de Oliveira é marcante e consistente. Diversos oboístas têm atuado nas performances da compositora desde a segunda metade da década de 1980, que serão abaixo listados. Neste texto, realiza-se uma descrição de alguns processos criativos e co-criativos estabelecidos com a compositora Jocy de Oliveira, ao longo das últimas décadas, que insere o oboé, o oboísta e outros instrumentos relacionados, em lugar de destaque. O que pretendemos defender aqui neste artigo é a ideia de que a compositora dá ao instrumento uma carga simbólica muito especial, ao explorar sonoridades pouco usuais do mesmo, mas também levando-o a aproximações com outros instrumentos étnicos, além de estabelecer parcerias criativas com seus intérpretes. A este tratamento com o oboé chegamos ao termo "oboísmo", numa analogia ao pianismo, não sem um certo senso de humor e crítico ao papel histórico central do piano na música de concerto. O termo pianismo (em francês, pianisme; em inglês, pianism) é amplamente estabelecido na tradição musical internacional (Hamilton, 2007; Ver-balis, 2012; Timbrell, 1999). Se refere ao arcabouço técnico para a performance e composição do piano, construído ao longo dos séculos. Como é notório, Jocy de Oliveira foi uma pianista que executou de forma única obras seminais de Stravinsky, Olivier Messiaen e John Cage, além de outros. O co-autor Ricardo Rodrigues vive há mais de 25 anos em Berlim, onde leciona o oboé na Hochschule für Musik Hanns Eisler. O co-autor Leonardo Fuks leciona acústica musical e fisiologia da voz na Escola de Música da UFRJ, tendo sido aluno de oboé nos anos 1980. Este artigo é fruto de diversas conversas travadas entre os dois, sobretudo em fevereiro de 2017, em Berlim.
Este capítulo foi aqui depositado para fins de estudos sobre a obra de Jocy de Oliveira, a título provisório, pelo autor LF. Caso haja qualquer empecilho de ordem de direitos autorais, favor entrar em contato e o mesmo será retirado desta plataforma.
Leituras de Jocy, edited by Manoel Aranha Corrêa do Lago, Rodrigo Cicchelli Velloso, 288 páginas, Editora SESI-SP, 2018, ISBN 978-8550403632
Páginas 271-276
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Papers by Leonardo Fuks
This paper discusses the issue of respiration on the bases of anatomical, physiological and mechanical facts and scientific work done with musicians, offering objective recommendations about how to play and how to teach the oboe.
This paper addresses the dialogue among music and science, focusing on how a reed vibrates. There are several scientific studies, from physics and music acoustics, on how the double reeds behave. Reeds could be generally described as mechanical valves that control the airflow and pressure waves between and across the players' mouth and the instrument's air column. However, what does is tell about the sound and the music that is produced by the artist? What practical knowledge can be obtained from such studies, for the benefit of the players and teachers? What should scientists learn from musicians, to better focus their research?
This paper was uploaded to Academia.edu by co-author Leonardo Fuks. In case there is any copyright infringement, please get in contact with Dr. Fuks, and the paper will be removed from this website.
- e desenvolvem ao longo dos anos de prática um sofisticado controle
dos parâmetros de entrada, envolvendo seu próprio corpo em intera-
ções físico-fisiológicas não triviais, que determinam os resultados musicais
de seu ofício. A curiosidade inata do indivíduo aliada a uma observação
empírica do grupo a que pertence faz com que oboístas e fagotistas, em
particular, realizem pesquisas artísticas e técnicas em seus instrumentos,
mediante métodos intuitivos e mesmo sistemáticos, estabelecendo uma
cultura própria à classe de instrumentistas de sopro.
Paralelamente, os instrumentos de palhetas duplas têm sido amplamente
estudados em laboratórios de acústica musical há diversas décadas.
Verificam-se constantes inovações nos instrumentos e acessórios, muitas
delas frutos da associação entre construtores e músicos, entretanto sem
uma satisfatória conexão com as pesquisas científicas realizadas.
O propósito deste artigo é o de esboçar conceitos, investigações e escritos
da musicologia sistemática - sobretudo da acústica musical e campos a
ela próximos - e aproximá-los da experiência e análise dos músicos. Para tal
tarefa, é desejável que músicos e cientistas estabeleçam uma troca de saberes
e adotem, dentro do possível, uma linguagem comum, para promover uma
sinergia entre os diferentes profissionais que se dedicam às palhetas duplas.
Propomos aos músicos e professores que, além das práticas didáticas
normalmente aplicadas, realizem exercícios e experimentos e que tentem
reproduzir demonstrações que explorem de forma combinada os fenômenos
objetivos e subjetivos presentes na realidade acústico-musical.
Typical atmospheric air contains a concentration of CO2 ranging between 0.03% and 0.06%, while O2 is found at a percentage of approximately 20.9 %, regardless of local altitude. These are the gases whose percentages change between inhaled and exhaled air. In addition, there is metabolic production of water, which is expelled as saturated vapour. It is also important to note that the respiratory airways comprise a volume defined between the air inlet and the first pulmonary structures, called anatomical dead space, in which the air practically does not change in composition from the ambient values. The anatomical dead space is in average ca. 150 ml. Variations in exhaled CO2 during performance of a solo work with the oboe and sustained tones with the clarinet have been previously documented. The results showed that in wind instrument playing, the CO2 contents in the pulmonary air may vary considerably with time, roughly from 2.5% just after a deep breath up to 8.5% after a long playing period of ca one minute. The O2 contents in the alveolar gas, thus the air to be exhaled, are reported to achieve a minimum value of 14%.
During playing wind instruments such as the oboe and the clarinet, the content of CO2 in the expired air varies between the ambient level and up to 8.5% in extremely long phrases, while for the O2 it may vary from the ambient 21% down to 12%, or even less. The increase in CO2 tends to decrease the pitch and the fall in O2 tends to increase pitch. Even then, due to differences in gas properties and the rate with which the gases vary, the total effect is that of pitch decrease. This effect may account for a fall in fundamental frequency of the tones by more than 20 cents. Although we could presume that the pitch effects induced by gas variation are compensated for by the player by means of varying embouchure, blowing pressure and other playing characteristics, this effect still seems a relevant factor in wind instrument playing.
resulting pitch is investigated. A theoretical-numerical approach is applied to
determine the dependence of sound velocity on the percentage of CO2 contained in
the air. Realistic performance data were obtained from experiments in which a
professional musician played a clarinet and an oboe, while the CO2 content of
exhaled air was recorded together with the audio signal. By calculating the impact
of the variation of CO2 and O2 contents on sound velocity, considerable effects on
the fundamental frequency of the tones produced are predicted.
players (oboe, clarinet, alto-saxophone, bassoon) were measured during playing of exercises and orchestral solo voices. Calibration of the relative contribution of abdominal wall and rib cage regions was achieved from isovolume manoeuvres. Pneumotachometry was applied for absolute calibration of the RIP. Flow through a standard aerodynamic resistance at constant pressure was used for assessing the method of measurement under dynamic conditions. Different possible artifacts are
described and discussed. The method yielded linear and accurate results, provided that significant body movement is absent, appeared to be non-disturbing to the musicians, accurate and robust. Depending on instrument and piece the players initiated the breath groups at 55% - 87% and terminated them between 14% - 52% of their vital capacity. Unlike what has been found for singers, the players generally showed simultaneous and in many cases equally important contributions from rib cage and abdominal wall during playing. In extreme cases, inhalations were achieved in approximately 300 ms and reasonably synchronised with the RIP signals.
This paper discusses the issue of respiration on the bases of anatomical, physiological and mechanical facts and scientific work done with musicians, offering objective recommendations about how to play and how to teach the oboe.
This paper addresses the dialogue among music and science, focusing on how a reed vibrates. There are several scientific studies, from physics and music acoustics, on how the double reeds behave. Reeds could be generally described as mechanical valves that control the airflow and pressure waves between and across the players' mouth and the instrument's air column. However, what does is tell about the sound and the music that is produced by the artist? What practical knowledge can be obtained from such studies, for the benefit of the players and teachers? What should scientists learn from musicians, to better focus their research?
This paper was uploaded to Academia.edu by co-author Leonardo Fuks. In case there is any copyright infringement, please get in contact with Dr. Fuks, and the paper will be removed from this website.
- e desenvolvem ao longo dos anos de prática um sofisticado controle
dos parâmetros de entrada, envolvendo seu próprio corpo em intera-
ções físico-fisiológicas não triviais, que determinam os resultados musicais
de seu ofício. A curiosidade inata do indivíduo aliada a uma observação
empírica do grupo a que pertence faz com que oboístas e fagotistas, em
particular, realizem pesquisas artísticas e técnicas em seus instrumentos,
mediante métodos intuitivos e mesmo sistemáticos, estabelecendo uma
cultura própria à classe de instrumentistas de sopro.
Paralelamente, os instrumentos de palhetas duplas têm sido amplamente
estudados em laboratórios de acústica musical há diversas décadas.
Verificam-se constantes inovações nos instrumentos e acessórios, muitas
delas frutos da associação entre construtores e músicos, entretanto sem
uma satisfatória conexão com as pesquisas científicas realizadas.
O propósito deste artigo é o de esboçar conceitos, investigações e escritos
da musicologia sistemática - sobretudo da acústica musical e campos a
ela próximos - e aproximá-los da experiência e análise dos músicos. Para tal
tarefa, é desejável que músicos e cientistas estabeleçam uma troca de saberes
e adotem, dentro do possível, uma linguagem comum, para promover uma
sinergia entre os diferentes profissionais que se dedicam às palhetas duplas.
Propomos aos músicos e professores que, além das práticas didáticas
normalmente aplicadas, realizem exercícios e experimentos e que tentem
reproduzir demonstrações que explorem de forma combinada os fenômenos
objetivos e subjetivos presentes na realidade acústico-musical.
Typical atmospheric air contains a concentration of CO2 ranging between 0.03% and 0.06%, while O2 is found at a percentage of approximately 20.9 %, regardless of local altitude. These are the gases whose percentages change between inhaled and exhaled air. In addition, there is metabolic production of water, which is expelled as saturated vapour. It is also important to note that the respiratory airways comprise a volume defined between the air inlet and the first pulmonary structures, called anatomical dead space, in which the air practically does not change in composition from the ambient values. The anatomical dead space is in average ca. 150 ml. Variations in exhaled CO2 during performance of a solo work with the oboe and sustained tones with the clarinet have been previously documented. The results showed that in wind instrument playing, the CO2 contents in the pulmonary air may vary considerably with time, roughly from 2.5% just after a deep breath up to 8.5% after a long playing period of ca one minute. The O2 contents in the alveolar gas, thus the air to be exhaled, are reported to achieve a minimum value of 14%.
During playing wind instruments such as the oboe and the clarinet, the content of CO2 in the expired air varies between the ambient level and up to 8.5% in extremely long phrases, while for the O2 it may vary from the ambient 21% down to 12%, or even less. The increase in CO2 tends to decrease the pitch and the fall in O2 tends to increase pitch. Even then, due to differences in gas properties and the rate with which the gases vary, the total effect is that of pitch decrease. This effect may account for a fall in fundamental frequency of the tones by more than 20 cents. Although we could presume that the pitch effects induced by gas variation are compensated for by the player by means of varying embouchure, blowing pressure and other playing characteristics, this effect still seems a relevant factor in wind instrument playing.
resulting pitch is investigated. A theoretical-numerical approach is applied to
determine the dependence of sound velocity on the percentage of CO2 contained in
the air. Realistic performance data were obtained from experiments in which a
professional musician played a clarinet and an oboe, while the CO2 content of
exhaled air was recorded together with the audio signal. By calculating the impact
of the variation of CO2 and O2 contents on sound velocity, considerable effects on
the fundamental frequency of the tones produced are predicted.
players (oboe, clarinet, alto-saxophone, bassoon) were measured during playing of exercises and orchestral solo voices. Calibration of the relative contribution of abdominal wall and rib cage regions was achieved from isovolume manoeuvres. Pneumotachometry was applied for absolute calibration of the RIP. Flow through a standard aerodynamic resistance at constant pressure was used for assessing the method of measurement under dynamic conditions. Different possible artifacts are
described and discussed. The method yielded linear and accurate results, provided that significant body movement is absent, appeared to be non-disturbing to the musicians, accurate and robust. Depending on instrument and piece the players initiated the breath groups at 55% - 87% and terminated them between 14% - 52% of their vital capacity. Unlike what has been found for singers, the players generally showed simultaneous and in many cases equally important contributions from rib cage and abdominal wall during playing. In extreme cases, inhalations were achieved in approximately 300 ms and reasonably synchronised with the RIP signals.
útil e alto índice de rejeição dentro de um lote adquirido. É investigada a relação do consumidor com o produto, através devsubsídios fornecidos pela acústica musical; ergonomia e pela experiência relatada dos profissionais. São aplicados os modelos de qualidade de ciclo produtivo e qualidade total do produto, com o objetivo de analisar o produto nos contextos da produção industrial e do mercado. A partir da hipótese de que é possível expressar as qualidades da palheta como especificações técnicas, são desenvolvidos critérios e testes para a sua avaliação e, numa etapa posterior, aplicados com sucesso sobre amostras do produto. É discutida a tendência de substituição do material natural por sintético, como ocorrida em diversos outros instrumentos musicais.
The wind instruments studies concentrate on breathing and blowing under realistic conditions and provide a deeper insight on required aerodynamical input parameters. The variation of blowing pressure with loudness and fundamental frequency was measured in professional players of oboe, bassoon, clarinet, and alto saxophone and was found to be quite systematic, though differing between the instruments. Airflow for sustained tones was measured by indirect spirometry, together with blowing pressure and sound pressure level, using extreme reeds, one soft and one hard. Recordings were made in an ordinary room as well as in a calibrated reverberant chamber. Also, tones with an intense vibrato were analysed for the oboe, the saxophone and the bassoon. The results revealed wide variations in blowing pressure, suggesting that a rhythmic modulation of the contraction of expiratory muscles was a main factor, and relatively small variation in fundamental frequency. The players’ perception of self-produced static lung pressures typically used in performances was analysed in a psychophysical experiment, that revealed a quasi-linear relationship between perceived and produced pressures. The respiratory movements during playing were measured by a non-invasive technique, respiratory inductive pletysmography, which offered acceptably reliable data. The results revealed significant participation of the rib cage in all players and also of the abdominal wall in several players. Also, the impact of the continuous changes of O2 and CO2 gases in the pulmonary air exhaled during performance on the fundamental frequency was predicted from theory and compared with experimental data. The effect, smaller than that of temperature variation, still would represent a factor of potential relevance to wind instrument intonation. In addition, the sound production characteristics of a particular type of phonation, perceptually judged as similar to that used in Tibetan chant, were studied by high-speed imaging. Also, it was examined using acoustical and physiological methods. The results revealed a synchronised co-oscillation of the vocal and ventricular folds, which yields a lowering of fundamental frequency due to multiplication of the vocal fold period.
Este capítulo foi aqui depositado para fins de estudos sobre a obra de Jocy de Oliveira, a título provisório, pelo autor LF. Caso haja qualquer empecilho de ordem de direitos autorais, favor entrar em contato e o mesmo será retirado desta plataforma.
Leituras de Jocy, edited by Manoel Aranha Corrêa do Lago, Rodrigo Cicchelli Velloso, 288 páginas, Editora SESI-SP, 2018, ISBN 978-8550403632
Páginas 271-276
dentre outros. Diferentemente do observado em outras tecnologias, aquelas desenvolvidas na música têm um comportamento distinto,
permanente, o que desafia a noção usual de obsolescência tecnológica. A tecnologia implica novos sons no meio ambiente, impactando na percepção auditiva e gerando uma nova paisagem sonora. A abundância de bens de consumo, em particular de dispositivos eletromecânicos, e seu correspondente descarte, disponibiliza uma riqueza de recursos a serem aproveitados, mediante oficinas de construção, de reciclagem e outras
práticas criativas e pedagógico-musicais.
Diversos músicos e grupos profissionais utilizam instrumentos recriados, com grande aceitação, o que valida artisticamente as
oficinas construtivas. Mediante a associação entre música e tecnologia, é reforçada a comunicação entre as artes sonoras e as demais disciplinas escolares.
PALAVRAS-CHAVE: Música. Tecnologia.
Acústica. Organologia. Oficinas. Construção.
Reciclagem.