Paisagem sonora: escuta imaginativa e afetos da Escola de Música de Brasília

• Ano de defesa: 2024
• Autor(a) principal: Silva, Bárbara Fragoso
• Orientador(a): Kieling, Alexandre Schirmer
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Católica de Brasília
• Programa de Pós-Graduação: Programa Stricto Sensu em Comunicação
• Departamento: Escola de Educação, Tecnologia e Comunicação
• País: Brasil
• Palavras-chave em Português: Paisagem sonora; Afetos; Escola de Música de Brasília; Processo criativo; Composição musical
• Palavras-chave em Inglês: Soundscape; Affects; Brasília School of Music; Creative process; Musical composition
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://bdtd.ucb.br:8443/jspui/handle/tede/3516

This work proposed the investigation of the affects emerging from the soundscape of the Brasília School of Music. Starting from the composition of a soundscape within the institution in 2022, sound experiences were conducted with both external and internal audiences, who were blindfolded, followed by discussion circles. The aim was to establish how the phenomenon of the EMB's soundscape composition as a symbolic production, stemming from the relationship between sounds and listeners' perception in the environment, along with an approach to creative processes. The theoretical investigations into the concept of soundscapes by Murray Schafer provided the foundation as an acoustic study field (2011; 2019), following the discoveries of what music and musical composition are by John Cage (2013; 2015; 2019; 2021). Similarly, Gilles Deleuze and Félix Guattari (1992) underpin the notion of affect. For the research, a cartographic investigative stance proposed by Deleuze and Guattari was adopted, as an attitude that prepares for the "welcome of the unexpected." This journey suggested the need to invoke an "imaginative flight," as suggested by Katharine Norman (1996) and Hildegard Westerkamp (2002), throughout the composition of a sound landscape. The experiments indicated that the composed soundscape is representative of the EMB. The research didactically addressed cross-cutting themes such as spatiality, sensations, corridors, musical perception, creative process, and memories that emerged in discussion circles. It’s understood that individuals are traversed by affects, collectively constructed, without the possibility of identifying them individually; and that the science of affects isn’t exact. The process of understanding the scenario adds the Brasilia School of Music as a work of art, created by many hands, and the people who pass through it as composers of its soundscape. In this context, the corridor was identified as a physical and/or imaginary space, integrative and resonant within the institution.