Dissertations / Theses on the topic 'Multiphonics'

This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-12-20T16:08:13Z No. of bitstreams: 2 Dissertação - Lamartine Silva Tavares - 2016.pdf: 2434263 bytes, checksum: 036c5901c614e340c7ce6380c4a430a8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-12-26T12:41:00Z (GMT) No. of bitstreams: 2 Dissertação - Lamartine Silva Tavares - 2016.pdf: 2434263 bytes, checksum: 036c5901c614e340c7ce6380c4a430a8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made available in DSpace on 2016-12-26T12:41:00Z (GMT). No. of bitstreams: 2 Dissertação - Lamartine Silva Tavares - 2016.pdf: 2434263 bytes, checksum: 036c5901c614e340c7ce6380c4a430a8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-12<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>In this research we address multiphonics sounds in bassoon. Our objective was to investigate technical support for the performance of Cantares para Airton Barbosa by Aylton Escobar, because the lack of knowledge about the technique for the emission of these sounds precludes this performance. We conducted primarily a bibliographic study of methods that address the technique for issuing multiphonics sounds. Later we proceeded a technical and interpretive study of Escobar's work, based on studies of the previous phase. Finally, our goal was to diagnose the real technical extensions required for the issue of multiphonics. For this, we compared the instructions for fingering, embouchure and air pressure of Weissenborn´s method 1887, the reference to traditional bassoon technique, with the instructions found on modern methods, which address the multiphonics, as the methods of Bartolozzi (1967), Penazzi (1971), Gallois (2009) and Sampson (2004). After conducting this research, we concluded that the materials presented here, provide sufficient technical support for the performance of multiphonics present in Cantares. However, we observed different results in different types of materials, which shows the need to test by the performer. We also conclude that for the issue of multiphonics sounds there were technical extensions fingering, at the mouth and in the field of air pressure in relation to the Weissenborn instructions for the performance of the bassoon.<br>Nesta pesquisa abordamos sons multifônicos ao fagote. Nosso objetivo foi investigar e discutir subsídios técnicos para a performance da obra Cantares para Airton Barbosa do compositor Aylton Escobar, pois o desconhecimento sobre a técnica para a emissão desses sons impossibilita esta performance. Realizamos primeiramente um estudo bibliográfico envolvendo métodos que abordam a técnica para a emissão dos sons multifônicos. Posteriormente procedemos um estudo técnico-interpretativo da obra de Escobar, fundamentado nos estudos da fase anterior. Por fim, nosso objetivo foi diagnosticar as reais extensões técnicas requeridas para a emissão dos multifônicos. Para isso, comparamos as instruções relativas a dedilhado, embocadura e pressão de ar, do método de Julius Weissenborn, de 1887, referência da técnica tradicional do fagote, com as instruções encontradas nos materiais modernos que abordam os multifônicos, como em Bartolozzi (1967), Penazzi (1971), Gallois 2009 e Sampson (2014). Após a realização dessa pesquisa, pudemos concluir que os materiais apresentados aqui, oferecem subsídios técnicos suficientes para a performance dos multifônicos presentes em Cantares. Porém, observou-se diferentes resultados em diferentes tipos de materiais, o que mostra a necessidade de testes por parte do performer. Concluímos também que para a emissão dos sons multifônicos houveram extensões técnicas no dedilhado, na embocadura e no domínio da pressão do ar, em relação às instruções de Weissenborn para a performance do fagote.

This thesis introduces the modern flute techniques used in the solo flute piece Laconisme de l’aile by Kaija Saariaho. The purpose is to find ways to excecute the techniques so that they serve the music in the best way. The techniques are divided in five groups based on how they are excecuted: effects made with the mouth, changing the timbre, multiphonics, effects made by fingers and diffenent sounds by blowing. As an attachment there is a recording of the piece and how the techniques sound in the context. At the end of the process it has been evaluated, if the modern techniques help with the ordinary flute playing as well.<br><p>A recording of Laconisme de l'aile by Kaija Saariaho</p>

Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.

L’objet de notre étude est la multiphonie en musique acousmatique (aussi appelée concrète/électroacoustique). Nous avons dressé un panorama des différentes problématiques posées par la composition multicanaux en les replaçant dans leur contexte historique. Nous avons souligné les répercutions des évolutions technologiques sur la composition des œuvres multipistes, dressé un état des lieux équipés pour la création et la diffusion multiphonique et posé la question de la multiplicité des formats. La multiphonie permet au compositeur de composer l’espace. En définissant l’écriture en acousmatique, et l’écriture spatiale, nous avons établi des typologies pour les dispositifs, les espaces et les figures spatiales. Après avoir présenté les différents outils existants pour l’analyse, nous avons défini notre démarche analytique, s’attachant à l’étude de l’œuvre elle-même, et nos outils. L’étude d’œuvres de K. Stockhausen, C. Zanési, F. Donato et J. -M. Duchenne a mis en évidence des conceptions spatiales diverses, des écritures complexes de l’espace et des fonctions affectées à l’espace de natures différentes<br>The subject of our study is multiphony in acousmatic music (or concrete/electroacoustic music). We draw up a panorama of questions linked to multi-channels works in their historical context. We emphasized repercussions of technological evolutions on composition of multi-channels works, draw up an inventory of places with equipment for multiphonic creation and diffusion and asked the question on multiplicity of formats. With multiphony, the composer can compose space. In defining writing in acousmatic music, and writing space, we established typologies for loudspeakers equipment, spaces and spatial figures. After the presentation of existing tools for analysis, we defined our approach of analysis, a study of the work itself, and our tools. The study of works of K. Stockhausen, C. Zanési, F. Donato et J. -M. Duchenne revealed different spatial conceptions, complexes space writings and several functions of different natures given to space

Dans les reactions de diffusion inelastique d'ions lourds, au voisinage de l'angle d'effleurement, on excite avec une grande section efficace differentielle les resonances : geantes (rg), premier quantum de vibration du noyau ainsi que les harmoniques superieures : les etats multiphonons. En etudiant la decroissance de ces etats par particules, neutrons ou protons, on est capable d'obtenir une signature de l'etat a deux phonons. Nous avons effectue deux reactions de diffusion inelastique d'#3#6ar a 44mev/u sur des cibles de #9#0zr et #9#4zr au ganil en coincidence avec les neutrons detectes dans le multidetecteur eden. Un des buts etait d'observer une eventuelle difference de structure de ces etats entre le #9#4zr et le noyau magique #9#4zr. L'analyse des spectres inelastiques inclusifs et en coincidence avec les neutrons detectes met en evidence une structure pouvant etre l'etat a deux phonons. On construit alors les spectres en energie manquante pour la rg, a partir duquel nous avons mesure la composante dite directe qui donne des informations sur la structure microscopique de la rg, evaluee a 8% environ dans les deux isotopes en competition avec la decroissance du noyau thermalise dite statistique. Les etats a plusieurs phonons sont interpretes comme des rg construites sur d'autres rg, faiblement couplees. La decroissance directe de l'etat a deux phonons est alors identique a celle de l'etat a un phonon (rg). La correspondance entre le resultat d'une simulation basee sur ce principe et les donnees demontre que l'on a observe l'etat a deux phonons dans les deux isotopes consideres. Nous avons presente un developpement theorique base sur des calculs rpa montrant que l'etat a deux phonons est tres harmonique. Ce resultat est en accord avec les observations de l'etat a deux phonons dans des noyaux de masse variant de 12 a 208 excites par des sondes tres differentes de celle presentee ici.

L'objet principal de cette thèse est l'étude des modes collectifs du type résonances géantes excités dans des réactions par ions lourds. Les systèmes Ar + Pb et Ar et Zr ont été étudiés à 44 MeV/u et 41 MeV/u auprès de l'accélérateur GANIL en utilisant un spectromètre de haute résolution (SPEG). L'observation de structures de faible amplitude à haute énergie d'excitation dans une région du spectre inélastique où le continuum est important, nécessite de s'affranchir de toute pollution expérimentale. Une analyse soigne e de ces spectres a été effectuée, en particulier les défauts de linéarité différentielle des détecteurs à localisation observés dans certains cas ont nécessité la mise en œuvre d'une correction hors ligne des spectres bruts. Les conditions favorables offertes par les ions lourds de moyenne énergie pour l'étude des résonances géantes jointes aux qualités de résolution recueillie détaillée et d'acceptance du SPEG ainsi que la bonne statistique dans cette expérience ont permis d'effectuer une analyse de la distribution de force des différentes multipolarités contribuant dans la région de basse énergie d'excitation(~10-15 MeV). A plus haute énergie (~50 MeV) dans les spectres inélastiques, des structures relativement étroites sont observées sur un fond continu. Ces structures étant à la même énergie d'excitation dans la voie inélastique étudiée à deux énergies incidentes, on peut conclure qu'elles ne sont pas dues à un processus à trois corps mais à une excitation de la cible. Une analyse théorique basée sur une interprétation en termes de multiphonons a permis d'expliquer un grand nombre d'observations liées à ces structures (position, largeur, etc. . . ). Une extension de ce modèle est présentée dans cette thèse pour justifier de façon plus fondamentale ce modèle phénoménologique et pour calculer la déviation du spectre réel par rapport à un spectre harmonique (anharmonicité).

Les isotopes stables, pairs de samarium et de germanium ont été étudiés par le processus de diffusion inélastique de protons (Ep = 24 MeV) et d’apha (Eα= 36 MeV) 148-154 Sm(p,p’) ; 150-152 Sm(α,α’) ; 70-74 Ge(α,α’). Les cibles métalliques, très minces, enrichies et auto-supportées sont utilisées avec les faisceaux de protons et d'alpha, de haute qualité fournis par l'accélérateur Tandem van de Graaff d'Orsay. Les particules diffusées sont analysées en quantités de mouvement par le spectromètre magnétique, split-pole et sont localisées par un ensemble de détecteurs à haute résolution dans le plan focal du spectromètre. Les divers modèles collectifs nucléaires vibrationnel harmonique (VM) et anharmonique (AVM), rotationnel symétrique (SRM) et asymétrique (ARM), rotation-vibrationnel (RVM) et le modèle des bosons en interaction (IBM), utilisés dans les analyses des données expérimentales sont présentés. Les données expérimentales concernant les premiers niveaux des noyaux 148-150 Sm sont analysées dans le cadre de VM au second ordre. Les états multiphonons (1-,5-,3-) de ces noyaux sont étudiés pour la première fois. Ces analyses révèlent qu'il est nécessaire de tenir compte d'effet d'anharmonicité dans ces noyaux en particulier pour les états multiphonons. Quant aux noyaux 152-154Sm, les données concernant les premiers niveaux de la bande fondamentale (0+,2+,4+,6+) sont analysées dans le cadre de SRM. Ces niveaux et les niveaux (1-,3-,5-) bandes vibrationnelles octupolaires, kπ =0- pour les deux noyaux, sont pour la première fois, analysés simultanément et d'une façon cohérente, dans le cadre de RVM. Dans le cas de la diffusion inélastique 70-74 Ge (α,α'), les données pour les premiers niveaux de ces noyaux sont analysées dans le cadre des modèles VM, AVM et ARM. L'AVM donne une meilleure description globale des premiers niveaux de ces trois noyaux. Une méthode plus rigoureuse et cohérente de traiter l'effet d'anharmonicité dans les noyaux vibrationnels est présentée, en partant de l'Hamiltonien de Brink et Kerman ; les résultats obtenus par cette méthode sont très encourageants. L'application d'IBM aux analyses des données de diffusion inélastique est aussi présentée<br>The stable even samarium and germanium isotopes have been studied by means of inelastic proton (Ep = 24 MeV) and aloha (Eα= 36 MeV) scattering: 148-154 Sm(p,p’) 150-152 Sm(α,α’) ; 70-74 Ge(α,α’). Enriched self-supporting, thin metallic targets are used with high quality proton and alpha beams furnished by the Orsay Tandem Van de Graaff accelerator. The scattered particles were momentum analysed by a split-pole magnetic spectrometer and were detected by an ensemble of position-sensitive, high resolution detecter placed at the focal plane of the spectrometer. The various collective nuclear models: vibrations harmonic (VM) and anharmonic (AVM), rotationnal symmetric (SRM)and asymmetric (ARM), rotation-vibration (RVM), and interacting bosons model (IBM), used in the analysis of the experimental data are presented. The data for the low-lying levels of 148-150 Sm are analysed in the frame-work of the second order VM. The multiple-phonon states (1-,5-,3-) are studied for the first time in these nuclei. These analyses revealed that effects of anharmonicity should be considered especially for the multiphonon states. The data for the low-lying members of the ground states band (0+,2+,4+,6+) of 152-154Sm are analysed in the frame-work of SRM. The ground-state band and the octupole-vibrationnal band KIT= 0, (1-,3-,5-), of these two nuclei are for the first time, analysed simultaneous and in a coherent fashion, in the frame-work of the RVM. In the case of the inelastic 70-74 Ge (α,α'), experiments, the data for the low-lying states are analysed in the frame-work of the ARM, VM and AVM. The AVM is found to give a better description of the low-lying states of these three nuclei. A more rigorous and coherent method of treating the anharmonicity in vibrationnal nuclei is presented, starting from the Hamiltonien of Brink and Kerman ; the results obtained by this method is very encouraging. The application of the IBM to the analysis of inelastic scattering data is presented

This dissertation analyzes the original composition Radial, which is scored for alto saxophone solo, small orchestra and live electronics. Multiphonics are a common feature on the aural surface of Radial. This analysis will show that alto saxophone multiphonics are also a primary structural element in the work, hierarchically organizing the timbres, harmonies, instrumental interactions and large-scale form of the score. Interestingly, no source suggests how multiphonics can be an independent organizational force. Numerous book length multiphonic catalogues for diverse instruments give fingerings for these sounds and describe them as harmonies so that they can be fitted into harmonic contexts, and a small but significant scientific literature on multiphonics discusses the acoustic principles underlying these sounds, but no document considers their independent structural potential. After providing a general account of multiphonics and their relation to harmonic and inharmonic sounds, this dissertation will propose an answer to that problem by drawing together concepts from American experimental music, spectralism and cognitive music theory, with Radial reviewed as an example of this method in action. Historical issues and a broad range of implications for this research will also be discussed.

abstract: Clarinet multiphonics have become increasingly popular among composers since they were first introduced in the 1950s. However, it is a topic poorly understood by both performers and composers, which sometimes leads to the use of acoustically impossible multiphonics in compositions. Producing multiphonics requires precise manipulations of embouchure force, air pressure, and tongue position. These three factors are invisible to the naked eye during clarinet performance, leading to many conflicting theories about multiphonic production strategies, often based on subjective perception of the performer. This study attempts to observe the latter factor—tongue motion—during multiphonic production in situ using ultrasound. Additionally, a multiphonic catalog containing 604 dyad multiphonics was compiled as part of this study. The author hypothesized that nearly all, if not all, of the multiphonics can be produced using one of four primary production strategies. The four production strategies are: (A) lowering the back of the tongue while sustaining the upper note; (B) raising the back of the tongue while sustaining the upper note; (C) changing the tongue position to that of the lower note while sustaining the upper note; and (D) raising the root of the tongue (a sensation similar to constricting the throat) while sustaining the upper note. To distill production strategies into four primary categories, the author documented his perceived tongue motion over twenty repetitions of playing every multiphonic in the catalog. These perceptions were then confirmed or corrected through ultrasound investigation sessions after every five repetitions. The production strategies detailed in this study are only for finding the correct voicing to produce the multiphonics. The catalog compiled during this study is organized using two different organizational systems: the first uses the traditional method of organizing by pitch; the second uses a fingering-based system to facilitate the ease of finding multiphonics in question, since notated pitches of multiphonics often differ between sources.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2018

The principal aim of this project is to stimulate and facilitate the creation of a new Australian saxophone repertoire utilising multiphonics. This dissertation will begin by examining the theoretical context of multiphonics, discussing their nature, physics and history in the saxophone repertoire. Although there are different ways of producing multi phonics, this paper will focus on producing multiphonics using special fingerings. Next, prerequisites for the production of multiphonics and methods of utilising them will be addressed. The dissertation will then outline ways in which I collaborated with Australian composers in order to facilitate the composition of new works containing multiphonics. Finally, I will discuss the resultant works, examining how multiphonics were applied by Australian composers. The scores are included as appendices to this dissertation, together with recordings of the new works. The motivation for doing this project arises in part from a personal interest in multiphonics, since they have played an integral role in my own development as a saxophonist. I have found that acquiring the ability to use multiphonics greatly enhances a saxophonist's development and versatility, as multi phonic production draws upon multiple skills. The new works that are created through this project may provide a foundation for the teaching of multiphonics and, therefore, the acquisition of such skills.

This submission for the degree of Master of Philosophy in Music Performance at the Elder Conservatorium of Music, University of Adelaide, investigates through performance, two extended clarinet techniques: multiphonics and portamenti, as they pertain to the Boehm system soprano clarinet. The submission consists of a portfolio of recorded performances presented on four CDs, supported by an explanatory, 5000 word exegesis. The exegesis explains the application of these techniques in selected contemporary clarinet repertoire and the associated challenges they have for performance. The exegesis documents and evaluates the performer's approach in addressing those intrinsic challenges. The works presented are: Ship Jang Saeng I by Bong-Ho Kim; Fantasie by Jörg Widmann; Double Life by Eric Mandat; Preludes Book 1 by Eric Mandat; Seeking The Path That Leads Home by Nicholas Denison; Rondo by Nicholas Denison; Czernowitzer Skizzen by Alexander Kukelka; Moments musicaux by Pēteris Vasks and Perspectives by Callie Wood.<br>Thesis (M.Phil.) -- University of Adelaide, Elder Conservatorium of Music, 2013

Thesis (M.A.)--York University, 2001. Graduate Programme in Music.<br>Typescript. Includes the following original compositions (leaves 93-219): I remember the north wind over the water in January 1986 : for female choir & bowed vibraphone ; Prelude to Step down off the last whale : for tenor recorder, 2 Hohner Melodicas, trumpet B♭, piano, contrabass ; Portent from Step down off the last whale : for voice, 2 Hohner Melodicas, bowed piano ; A tree with bare branches thought itself to be a man : for voice, 2 Hohner Melodicas ; The butchershop quartet : for 4 male subtone singers ; Dark noon : for 3 voices ; Agnus Dei : for subtone-harmonic choir ; A calling so it would seem (A child's finger paint in rain) : for eight harmonic voices ; Skull music (for Dark noon) : for eight subtone-harmonic voices ; Father I just found a meterorite : for solo B♭ trumpet ; Be still there, be still here : for flute, B♭ clarinet/bass clarinet ; vibraphone/glockenspiel, piano, violin, cello ; The word music--poems. Includes bibliographical references (leaves 86-89). Discography: leaf 90. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ66380.

Hungarian flutist Gergely Ittzés (b. 1969) has enjoyed a flourishing career as a recording and performing artist and has also developed a reputation as a composer of avant-garde flute music. His works are some of the most difficult and fascinating in the repertoire, emerging out of Ittzés’s desire to fully explore, in a systematic way, the technical, acoustic and musical possibilities of the flute. A commission by the prestigious National Flute Association in the United States in 2011 has brought his music to a wider international audience. His reputation as a composer has only blossomed fairly recently and combined with his relative youth, this has meant that there is very little scholarly literature focussing directly on Ittzés and his work. To date, there have been no large-scale studies undertaken examining his compositional output. This study fills a gap in the literature by providing an extensive exploration of the use of extended techniques in Ittzés’s flute compositions, through performance and written exegesis. This is the first comprehensive study into the use of extended techniques across Ittzés’s repertoire of flute works. Drawing on interviews with the composer, this research also provides a unique insight into Ittzés’s life and the inspiration and concepts behind his work. This exegesis also includes a guide for performing Ittzés’s works and sheds light on how Ittzés intends for them to be interpreted. Chapter 1 provides biographical details about Ittzés and outlines the literature discussing extended techniques. The second chapter explores the key influences on Ittzés’s work as a flutist and composers, particularly the influence of Hungarian flutist István Matuz. Chapters 3 and 4 discuss Ittzés’s compositions from 1988 through to 2012, tracing the development of his style over his career so far. Chapter 5 is a performance guide, offering a method for studying three of Ittzés’s compositions. The techniques from this guide can then be extrapolated to apply to the remainder of his oeuvre. Ittzés is still composing, so this study explores what may amount to only the first part of his output, but it lays the groundwork for future studies into one of the most significant and experimental flutist-composers of his generation.

Due to lack of tone colour research on the guitar, the technique of multiphonics was investigated on this instrument. It was part of a strategy of presenting non-guitarist composers with new results from the exploration of unconventional performance techniques. Colour research on the guitar is usually carried out by such composers but these tend to dismiss the instrument. If, enticed by these results, they consider composing for guitar, the research's aim of contributing to the promotion of colour research on this instrument and to the establishment of multiphonics as part of its vocabulary would be fulfilled. The technique of multiphonics consists, like the technique of harmonics, in damping out some of the vibrational modes of the string by lightly touching it at certain locations during or after its excitation (or both). Unlike with the technique of harmonics, the filtering of the vibrational modes is not systematic with respect to mode number, for which it is easier to perceive multiple pitches, of which some may be quite soft. The technique has yet to be absorbed into the guitar's vocabulary, possibly because it only recently received renewed attention. The information that is provided in the recent scientific literature is, however, limited. Moreover, it ignores the influence of the differences that may exist between players/instruments, it does not always take psychoacoustics into account, and it does not explore the amplification of the sounds, a gap that was also verified in the artistic literature. Testing was therefore carried out to determine the influence of amplification on the audibility of the softer main components of the sounds. It consisted in recording with close microphone placement a sample of guitarists playing on their guitars a set of takes of the lowest string lightly touched at a myriad of established locations, and left to vibrate. The recordings were then spectrally analysed and the data was treated and evaluated taking psychoacoustics into account. The results show that the amplification with close microphone placement of sounds of guitar multiphonics introduces novelty to an audience relatively to the non-amplified instrument, regardless of room size. The results and assumptions based thereon were implemented in a piece for amplified guitar and live electronics, and in a guitar piece for which artistic research was carried out, leading to a new form of multiphonics usage.<br>A guitarra encontra-se a um nível inferior relativamente a outros instrumentos no que respeita à pesquisa tímbrica. Esta situação pode ser explicada pela falta de interesse pelo instrumento da parte de compositores não-guitarristas, visto serem estes compositores os que geralmente efectuam aquele tipo de pesquisa. As limitações sonoras da guitarra e um certo desagrado pelo seu som paradigmático são duas das razões do seu desinteresse. Apresentar aos compositores que dispensam a guitarra por estas razões novos resultados provenientes da investigação de técnicas não-convencionais poderia eventualmente aliciá-los a considerar a escrita para guitarra, já que estas técnicas não só produzem sons com timbres pouco usuais mas também poderão ser úteis, por si só ou em combinação com outras técnicas, para ultrapassar limitações sonoras. Entre estas técnicas encontra-se a de multifónicos que ainda está por integrar no vocabulário da guitarra, possivelmente porque apenas recentemente foi alvo de atenção renovada. Estas recentes pesquisas foram, no entanto, realizadas no âmbito de projectos de um contexto mais alargado, pelo que a informação que delas resultou é limitada. Para além disso, esta informação é baseada na execução de um único guitarrista, essencialmente numa única guitarra, ignorando as diferenças que poderão existir entre instrumentistas/guitarras. Acresce que questões de psicoacústica nem sempre foram consideradas. Assim, deu-se início a uma investigação exaustiva da técnica de multifónicos na guitarra, da qual esta tese foi o ponto de partida, por forma a mostrar à comunidade artística um maior leque de possibilidades da técnica, e a providenciá-la com informação relevante, o que deverá fomentar a utilização da técnica e levar compositores não-guitarristas a pesquisá-la também, satisfazendo o objectivo da investigação de contribuir para a promoção da pesquisa tímbrica na guitarra e para a integração da técnica de multifónicos no seu vocabulário. O primeiro passo da investigação foi uma cuidada análise teórica da técnica do ponto de vista acústico e psicoacústico, com vista à sua melhor compreensão e à elaboração de uma explicação detalhada que não existia na literatura. A técnica de multifónicos consiste, tal como a de harmónicos, no abafamento de alguns dos modos de vibração da corda através de um leve toque em certos pontos da corda durante ou depois da sua excitação (ou ambos), e resulta melhor nas cordas com enrolamento. Ao contrário do que acontece com a técnica de harmónicos, a filtragem dos modos de vibração não é sistemática relativamente ao número do modo, dando origem a um som em que as frequências (quase) harmónicas de componentes vizinhos não se encontram todas igualmente espaçadas, o que facilita a percepção de diversas notas. Os sons apresentam assim uma química diferente dos outros sons harmónicos complexos da guitarra. O seu volume sonoro máximo é contudo menor do que o dos sons convencionais e o volume sonoro relativo de alguns dos seus principais componentes pode ser bastante baixo. Apesar disto, nem os autores científicos nem os compositores que de quando em quando usaram a técnica, exploraram a amplificação dos sons. O que levou a perguntar se esta traz novidade a um público – caso contrário, não faz sentido usar a técnica de multifónicos na actuação ao vivo com guitarra amplificada, pois o ouvinte poderá conotar o som com o do instrumento não-amplificado e ficar decepcionado. Foi então formulada a hipótese de a amplificação de sons de multifónicos com o microfone a curta distância trazer novidade a um público, pois, caso contrário, este não conseguiria percepcionar alguns dos componentes principais dos sons, independentemente do tamanho da sala. A hipótese foi testada numa experiência em que uma amostra de guitarristas foi gravada com o microfone a curta distância a tocar nas suas guitarras um conjunto de takes do leve tocar da corda mais grave em pontos previamente estabelecidos, deixando depois a corda vibrar. Estes pontos encontram-se não só em trastos como também em trastos virtuais, isto é, em pontos entre trastos, fáceis de situar visualmente – o que nem sempre é considerado na literatura e poderá diminuir a reprodutibilidade dos sons. As gravações foram analisadas espectralmente e os dados foram tratados e avaliados tendo em conta questões de psicoacústica. Os resultados mostram que a hipótese é verdadeira mas apresentam certas limitações, como, por exemplo, o facto de poderem não ser válidos se, em vez de ser usado um microfone de alta sensibilidade como o da experiência, for usado um com uma sensibilidade mais baixa. Os resultados e suposições feitas a partir deles foram implementados em duas peças musicais: uma para guitarra e outra para guitarra amplificada e electrónica em tempo real. Para a primeira, foi ainda realizada investigação artística, o que levou uma nova forma de utilização dos sons de multifónicos. Estes sons foram notados de forma diferente nas partituras das duas peças, pois são usados em contextos sonoros distintos.

abstract: Examples of new or extended clarinet techniques first appeared early in the twentieth century. By the 1960s, composers and performers began to drastically augment standard clarinet technique, by experimenting with multiphonics and microtones. Subsequently, clarinetists-teachers William O. Smith, Gerard Errante, Ronald Caravan, and others further pushed the limits of sound through their compositions for clarinet. This study explores the important contributions of clarinetist-teacher-composer Eric Mandat to the clarinet repertoire, and presents readers with a detailed biography of Mandat. Additionally, this research paper provides insights into Eric Mandat's instinctive approach to life and considers how this modus operandi translates into success as a composer, as a clarinetist, and as a teacher. Interviews with Eric Mandat comprise the basis for this document; these are supplemented by his writings, articles about Mandat, reviews of his music, and interviews with select colleagues and students. This is the first document to examine Eric Mandat's history and development as a composer, teacher and clarinetist.<br>Dissertation/Thesis<br>D.M.A. Music 2012

L’espace est un élément peu exploré en musique. Méconnu des compositeurs, il n’est généralement pas pensé comme paramètre musical « composable ». Pourtant si la musique peut être perçue comme une organisation et une succession d’éléments dans le temps, pourquoi ne pourrait-elle pas l’être aussi dans l’espace? Ce travail se veut en quelque sorte un pont entre la recherche et la pratique, qui se construit par la synthèse de l’information que j’ai pu trouver sur chacune des quatre méthodes de spatialisation abordées ici. Dans un premier temps, je traiterai de leur développement, leur fonctionnement et des possibilités d’intégration de ces méthodes dans le processus de composition musicale, notamment en discutant les outils disponibles. Dans un second temps, les pièces Minimale Sédation et Fondations, toutes deux composées en octophonie seront discutées. J’expliquerai leurs processus de composition à travers les intentions, les techniques d’écriture et les outils qui ont menés à leurs créations.<br>Space is a parameter of sound that is relatively unexplored in music. Misunderstood by composers, it is not generally thought of as "composable" musical parameter. Yet if music can be seen as an organization and a succession of elements in time, why could it not also be in space? This work is intended to somehow bridge the gap between research and practice, by synthesizing the information I could find on each of the four sound spatialization methods discussed here. As a first step, I will discuss their development, operation and integration capabilities in the process of musical composition, as well as the tools available. In a second step, the work Minimale Sédation and Foundations, both composed in eight channels will be discussed. I will explain their process of composition through intentions, writing techniques and tools that have led to their creations. Keywords