Regularidade e simultaneidade na técnica violonística de mão direita: uma abordagem quantitativa de arpejos, sons plaqué e tremolos

• Ano de defesa: 2012
• Autor(a) principal: Lucas Nezio Malta
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Violão; Sistemas musicais interativos; Técnica violonística; Processamento digital de sons; Musica
• Link de acesso: http://hdl.handle.net/1843/AAGS-95LJVL

The text approaches the issues of simultaneity of attacks and rhythmic-dynamic regularity present in different guitarists right hand techniques, namely: arpeggio and tremolo techniques and plaqué sounds, all hallmarks of this instruments sound. Initially it is discussed, in a qualitative way, several psychoacoustic topics related to these techniques, both to illustrate the complexity present in these issues as to subsidize some methodological decisions of the experimental part.The next section describes the system used in this study, developed in 2011 at the Laboratory of Performance with Interactive Systems in the Music School at UFMG: an acoustic guitar with hexaphonic pickups (one signal per string) connected to a real time digital audio processing software. We also discuss the attack detection, extinguishment of notes and the amplitude estimation, fundamental tools for the proposed analysis. Excerpts of the guitar repertoire of works devoted to the study of the chosen right hand techniques were analysed: "Study nº 1"and "Study nº 4"by Heitor Villa Lobos, "Study nº 2"by Matteo Carcassi and the third movement, "Scherzino", of the composition "Cavatina"by Alexander Tansmans. Simultaneity and regularity aspects present in these works are discussed by comparing different plays (performed by the same or by different musicians), highlighting both common features such as individual differences. Instead of dening a "ideal"standard of execution, it was decided to search for interpretative consistency in each of the performers / performances where right and left hands ngering options are also taken into account. This is not a comprehensive quantitative study of these techniques, but rather a study that opens new methodological possibilities and initiates technical and interpretive issues of the guitar fromthe use of the developed system.