Audiotactile Music

This book is dedicated to the study of improvisational processes in music, from the productive and generative psychological-cognitive point of view, in the contextual socio-anthropological dimension and in the structural immanent one; this vast phenomenology is considered through a unified theoretical model, in the context of various musical traditions: African-American music, classical music and non-western cultures (Central West Africa, South Asia, Middle East, South East Asia). The research stems from the need to respond to a series of problematic issues that seem to relegate the theoretical representations of these creative processes in a still nebulous area. From the critique of historically established explanatory models emerges an original speculative design, the Theory of Audiotactile Formativity, whose paradigms and theoretical constructs are verified on the concrete examples of real-time creative activity in different cultural fields. This innovative perspective gives rise to original notions and concepts: among others, the "Audiotactile Principle"; the notion of "extemporization", which flanks that of improvisation; the "Neo-Auratic Encoding"; the conception of improvisational processes as a global projection of the local audiotactile principle, with a wide-ranging reflection that involves Western art music, traditional music, jazz, rock and popular repertoires.

Listening will be considered here in the specific context of the musical aesthetic experience resulting from certain poetics that seek to give an artistic form to a multiplicity of cultural “materials” and through interaction, groove and musical improvisation. These poetics will be named “Poetics of Interactional-Formative Space”. So while focusing on the problem of the “multiplicity of listening” already included in the poetic phase process of forming a musical work resulting from the interaction among several people, we ask ourselves the following question: to what extent the aesthesic phase of listening does consider such multiplicity from the poietic phase?

EL PRESENTE DOCUMENTO TIENE POR OBJETO PERMITIR UN RECORRIDO RÁPIDO RESPECTO DEL CONTENIDO DE LA TESIS DOCTORAL A LA QUE REFIERE Y FACILITAR EL ACCESO AL DOCUMENTO ORIGINAL.

DEL DOCUMENTO ORIGINAL SE INCLUYEN AQUÍ SU ÍNDICE, CAMPO TEMÁTICO, TEMA, RESUMEN, REFERENCIAS BIBLIOGRÁFICAS Y LISTADO DE CONTENIDOS MULTIMEDIALES EN LÍNEA.

EL DOCUMENTO COMPLETO SE ENCUENTRA DISPONIBLE PARA SU DESCARGA GRATUITA INGRESANDO AL REPOSITORIO DE LA UNIVERSIDAD NACIONAL DE LA PLATA EN http://sedici.unlp.edu.ar/handle/10915/59524

O artigo “Remarques sur l’expérience esthétique interactionnelle chez Miles Davis en 1969 : le projet de “Bitches Brew” et les concerts avec le 3e Quintette”, publicado em 2015 na revista Epistrophy está disponível em português na tradução de Patricia de Souza Araújo. No plano teórico, o texto apresenta a relação entre as noções de “formatividade” e “artisticidade” de Luigi Pareyson no âmbito da Teoria Audiotátil, desenvolvendo conceitos originais para o estudo da interação musical, incluindo o “ Lugar interacional-formativo” [LIF] e o “Evento interacional formativo” [EIF]. No plano da análise musical, o autor identifica o LIF na macroforma da música “Bitches Brew” no estúdio e na articulação macroformal da mesma peça em concertos.

This article seeks to propose a reflection on musical  pedagogical practices in Latin America. In order to do that, it first refers  to the considerations made by the musicologist Juan Pablo González  (2013) about “post-colonial listening”, bringing them close to performances and practice musical discussions. In another direction, it  will also refer to the medialogical approach proposed by Vincenzo  Caporaletti's audiotactile theory, trying to analyze to what extent the  medium interferes in the development of practical knowledge about the  subcontinent's repertoire. Finally, as an example, it exposes a brief musical analysis of a traditional popular Paraguayan theme in its written and recorded form, proposing a path of listening and understanding, finishing with some practical ideas that can be applied in piano practice.
Keywords: Latin American music. Latin American popular music. Theory of audiotactile music. Latin American piano.

The author sheds light on certain transcultural dynamics appearing in the creative process of recording of audiotactile expression in Brazilian music, and analyses how other aesthetic criteria linked to groove emerge in the musical interaction and can lead the form of a piece of music rooted in Brazilian scholarly tradition toward a macro-groovemic form.

The ongoing works presented in this 1st JeMMa - First Seminar of the Center for the Study of Audiotactile Music and Musicology eMMa, are part of the GRIIMPAT project (PRPPG / UFES 8948/2018) – Groove, Improvisation and Musical Interaction: Audiotactile Pertinency and Transculturality. JeMMa takes place in December 10 at the Federal University of Espirito Santo, and was directed by Prof. Fabiano Araújo Costa.
Through a systematic survey of the musicological literature, discography, interviews and audiovisual sources, GRIIMPAT Project aims at thematize  various forms of groove manifestation, improvisation and musical interaction, in brazilian and other musical cultures and microcultures, considering in critical key the taxonomic model of the Audiotactile Music Theory (AMT) by Vincenzo Caporaletti, which distinguishes the musical systems and experiences in function of their cognitive and cultural determinants, thus defining three great musical realities: (1) Western Written Tradition Music; (2) Oral Tradition Music; and (3) Audiotactile Music (jazz, rock, pop, rap, Brazilian popular music, improvised music, world music, etc.).
The analysis of the poetics, aesthetics, manifestos, practices, semantic declinations of the mentioned phenomena in the respective cultures, of the sources, of the analytical approaches, etc., will support future discussions for the comprehension of audiotactile pertinency in the knowledge of the inter- and transcultural dynamics of these phenomena and of its heuristic potential.

From the Lewis Porter's "Preface" : "Vincenzo Caporaletti is doing some of the finest work in jazz analysis today. It helps that he is a guitarist himself who studied with Joe Pass and performed with Tony Scott, among others. This has given him insights into the music that are not available to those who don’t play an instrument, or who do play but have not improvised. Professor Caporaletti has thought long and hard about the special challenge of analyzing improvisation [...] The first chapter introduces his approach to analysis, and it sets the stage for the chapters that follow. As he explains, he is interested in a broad-based look at improvisational music that takes into account audiotactile and neurological features. After that, each chapter of the book is a study of some particular pieces of music. This collection makes a coherent whole, as it covers some of the most important masters of jazz, Louis Armstrong, Charlie Parker, Thelonious Monk, Charles Mingus. In each case, Caporaletti deals with a significant issue – for example, transcription in the case of Armstrong, rhythm in the case of Monk – that has broader significance for the study of jazz and of music generally. [...] Caporaletti himself is interested in a great variety of music, and he is in addition one of the only scholars to have made a specialty of works that bridge the divide between jazz and pop, and to discuss the constant interactions between those types of music. His chapter about the pioneering group Soft Machine exemplifies his work in this area. [...] In Chapter IX, he returns to the question of transcription, pointing out that the quality of the transcription will have a great effect, good or bad, upon the analysis. By the end of the book, the reader will have gained an understanding of many kinds of music, from many different angles, and always with an historical perspective. There is much to learn from the work of Vincenzo Caporaletti."

«What's the atmosphere we wanna play?»; «Such a nice mood!»; «We’ve created some interesting situations here»; «You gave a nice hint!»; «I felt something strong in this improvisation». These phrases are taken from verbal exchanges that took place in improvisation groups I had the pleasure of forming, to follow closely or in which I participated as a musician. Phrases of a spoken and contextual language, without therefore any scientific claim, that the musicological community often feels obliged to fight against in favour of a terminology of greater musical and musicological relevance. But should we really avoid them? What if these expressions had, in fact, a deeper and more genuine meaning?
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In this paper, I propose a new model that acts in the interaction process in conducted improvisations (Conduction, Soundpainting et al.)

Background: Children with visual impairment cannot visualize plaque over the tooth surface so even appreciating the significance of good oral health is complex for them, resulting in progressive destruction of the periodontium and advancement of dental caries. Methods and Material: Fifty one visually impaired school children were randomly selected between age group 9 to 15 years from R V Madhve blind school, Pune. The children were then divided into three equal groups. Group 1: Braille, group 2: ATP (audio, tactile, performance technique), Group 3: ATP + Braille. A questionnaire was developed to evaluate their understanding regarding oral hygiene before the commencement of the study. Oral hygiene status was recorded using plaque index and gingival index at baseline and after 3 months. Paired t test, ANOVA and tukey's post hoc test were used for statistical analysis. Results: : On intergroup comparison using t test, group 3 showed higher decrease in the mean plaque and mean gingi...

La questione quantitativa del diritto d'autore per le "utilizzazioni" del repertorio tutelato è, da sempre, oggetto di discussioni, di contrattazioni tra le parti, e di critiche mosse alla Società Italiana degli Autori ed Editori (S.I.A.E.). La narrazione giunta fino a noi, tratta l'argomento esclusivamente dalla posizione dell'avente diritto, di chi autorizza l'uso di un bene immateriale analogo alla proprietà privata. In questo breve contributo si vuole indagare più profondamente sulle diverse fenomenologie di "utilizzo" delle opere dell'ingegno avvalendosi della "Teoria della Formatività Audiotattile" . Grazie agli esiti di questo innovativo modello teorico è possibile risolvere aporie sulla ratio dei compensi per diritto d'autore in presenza di performance di musica dal vivo, con particolare riguardo a quelle inerenti le fenomenologie creative dotate di un alto tasso di manipolazione estemporanea dei modelli figurali di opere. E' stato quindi individuato un gradiente del Principio Audiotattile variabile in base alle principali diverse pratiche e culture musicali.

This paper looks at the interactional-improvisational aesthetic experience based on Luigi Pareyson’s notions of “formativity” and “spunto” as well as on the concepts and the taxonomy of Vincenzo Caporaletti’s audiotactile formativity theory. On the theoretical ground, we propose a deeper investigation of the key concepts in the audio tactil phenomenology, such as the “audiotactile principle” [ATP] and the “audiotactile conceptual schemes”. Original concepts for the study of musical interaction are also developed, noticeably the notion of the “interactional formative space” [IFS].

La questione quantitativa del diritto d'autore per le "utilizzazioni" del repertorio tutelato è, da sempre, oggetto di discussioni, di contrattazioni tra le parti, e di critiche mosse alla Società Italiana degli Autori ed Editori (S.I.A.E.). La narrazione giunta fino a noi, tratta l'argomento esclusivamente dalla posizione dell'avente diritto, di chi autorizza l'uso di un bene immateriale analogo alla proprietà privata. In questo breve contributo si vuole indagare più profondamente sulle diverse fenomenologie di "utilizzo" delle opere dell'ingegno avvalendosi della "Teoria della Formatività Audiotattile" . Grazie agli esiti di questo innovativo modello teorico è possibile risolvere aporie sulla ratio dei compensi per diritto d'autore in presenza di performance di musica dal vivo, con particolare riguardo a quelle inerenti le fenomenologie creative dotate di un alto tasso di manipolazione estemporanea dei modelli figurali di opere. E' stato quindi individuato un gradiente del Principio Audiotattile variabile in base alle principali diverse pratiche e culture musicali.

RESUMO: Este artigo tem como objetivo evidenciar a atuação do flautista Altamiro Carrilho na função específica de solista acompanhador, utilizando como documento sonoro de suporte suas intervenções no LP Depoimento do Poeta (1970), de Nelson Cavaquinho, do qual fazemos uma breve contextualização histórica. Através das ferramentas teóricas básicas propostas pela TMA (Teoria das Músicas Audiotáteis), tais como as noções de CNA (Codificação Neoaurática) e de extemporização-conforme elaboradas pelo musicólogo italiano Vincenzo Caporaletti e demais autores-propomos uma adequação terminológica do campo de estudos da improvisação às práticas musicais concernentes ao universo dos conjuntos de acompanhamento de música brasileira, representados aqui pelos regionais e seus solistas, atuantes em gêneros como o choro e o samba. Para demonstrar algumas das práticas interpretativas de Carrilho no referido disco, escolhemos para o âmbito deste artigo a análise do caso das introduções extemporâneas de samba e um levantamento de aspectos da ornamentação na interpretação do flautista, com enfoque especial ao glissando e sua preeminência tátil.