Territórios da videomúsica

• Ano de defesa: 2021
• Autor(a) principal: Rafael Sodré de Castro
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; EBA - ESCOLA DE BELAS ARTES; Programa de Pós-Graduação em Artes; UFMG
• Palavras-chave em Português: Videomúsica; Música eletroacústica audiovisual; Visual music; Arte sonora; Música por computador; Composição musical por computador; Registros sonoros e as artes; Arte e música; Música e tecnologia
• Link de acesso: http://hdl.handle.net/1843/63865

The object of this work is a contemporary audiovisual practice characterized by the hybridization of electroacoustic music with moving images, here referred as videomusic, but also known as electroacoustic audiovisual music, audiovisual composition and other terms. It seeks to understand this practice as an eminently musical genre from the discussion of the idea of music, taking into account the conceptual course stabilished around its many denominations, the conceptions of absolute music and the avant-garde music production of the 20th and 21st centuries. In order to address the aesthetic matters that arise from the works presented, we confronted multiple references from the fields of Music, Cinema, Video and the Visual Arts that could relate to each other regarding their musical expression. Videomusic is pointed out as an unfolding of Visual Music from its intersection with electroacoustic music, occurring in events of experimental cinema, digital arts and music concerts. Besides covering the material properties of videomusic, the genre characterization goes through the identification of its creative and perceptive procedures. Thus, it embraces topics like its heterogeneity, the practice mediated by technological artifacts as well as the territorialization processes managed in reception, in which attributes stand out such as the absence of sensory hierarchy and assimilation of audiovisual events that engender a musicality of its own.