Sergio Freire Garcia
Biographic Data
| ID | 3861655 |
|---|---|
| NAME | Sergio Freire Garcia |
| GIVEN NAMES | Sergio Freire |
| FAMILY NAME | Garcia |
| SIGNATURE | GARCÍA S F |
| AFFILIATIONS | Universidade Federal de Minas Gerais |
| ORCID | 0000-0002-5072-3114 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Schaeffer's Solfège, Percussion, Audio Descriptors
Pierre Schaeffer's typomorphology (1966) proposes seven criteria of musical perception for the identification and qualification of sound objects, which form the basis of his musical theory. This Solfège fits well into contexts where pitch is not the dominant dimension. Relying on similarities between the practice of reduced listening and the utilization of low-level audio descriptors, we present the first version of a real-time setup in which the…
Towards an interactive tool for music and dance
The paper presents a real-time tool for the segmentation and analysis of body gestures, part of a larger se- tup for exploring music and dance in the contexts of electroacoustic composition, live-electronics and other interac- tive performances. The idea of gesture is the foundation of the proposed interactive strategies, and is discussed from different points of view. The current implementation uses the Max/Msp programming language and Kinect se…
Early Musical Impressions from Both Sides of the Loudspeaker
Ametaphoric image of the loudspeaker and its sides sums up the spatio-temporal ruptures that started shaping aural perception in the late 19th century: on one side, the listener; on the other, sound events conveyed by phonographic products, radio and various sound-recording devices. Diverse practices as well as samples of theoretical and aesthetic thinking from the early 20th century illustrate how new media have affected the musical imagination …
A relação da linguagem com os materials
Instead of the traditional and incomplete opposition between concrete and electronic sounds, the author proposes two focal points to analyze electroacoustic music: one is related to the discourse, and the other, to musical syntax. The discourse may vary between the extremes, characterized as aural and mimetic, depending on the degree of reference to events that occur in reality or are related to more abstract musical values. The syntax, in its tu…
No prominent works on this page.
Early Musical Impressions from Both Sides of the Loudspeaker
Ametaphoric image of the loudspeaker and its sides sums up the spatio-temporal ruptures that started shaping aural perception in the late 19th century: on one side, the listener; on the other, sound events conveyed by phonographic products, radio and various sound-recording devices. Diverse practices as well as samples of theoretical and aesthetic thinking from the early 20th century illustrate how new media have affected the musical imagination …
A relação da linguagem com os materials
Instead of the traditional and incomplete opposition between concrete and electronic sounds, the author proposes two focal points to analyze electroacoustic music: one is related to the discourse, and the other, to musical syntax. The discourse may vary between the extremes, characterized as aural and mimetic, depending on the degree of reference to events that occur in reality or are related to more abstract musical values. The syntax, in its tu…
Towards an interactive tool for music and dance
The paper presents a real-time tool for the segmentation and analysis of body gestures, part of a larger se- tup for exploring music and dance in the contexts of electroacoustic composition, live-electronics and other interac- tive performances. The idea of gesture is the foundation of the proposed interactive strategies, and is discussed from different points of view. The current implementation uses the Max/Msp programming language and Kinect se…
Schaeffer's Solfège, Percussion, Audio Descriptors
Pierre Schaeffer's typomorphology (1966) proposes seven criteria of musical perception for the identification and qualification of sound objects, which form the basis of his musical theory. This Solfège fits well into contexts where pitch is not the dominant dimension. Relying on similarities between the practice of reduced listening and the utilization of low-level audio descriptors, we present the first version of a real-time setup in which the…
Art (3 works) · Music Technology and Sound Studies (3 works) · Acoustics (2 works) · Active listening (2 works) · Aesthetics (2 works) · Artificial Intelligence (2 works) · Communication (2 works) · Computer Science (2 works) · Music and Audio Processing (2 works) · Musical (2 works)