Theoretical Frameworks in Brazilian Electroacoustic Music

Abstract

This article is the final stage of seven years of research dedicated to understanding the theoretical backgrounds of Brazilian electroacoustic music in which a significant amount of data was gathered from a series of questionnaires and interviews with Brazilian composers. Our research focuses mainly on the influence of what we have called the historical matrices: musique concrète, elektronische musik and computer music. We were able to determine to some extent how much each of these matrices weigh on the poetic andpoiesisof the Brazilian electroacoustic production. We were also able to shed some light on how (and if) Brazilian composers relate to these matrices aesthetically and if their relation to them is merely technical, as well as trying to understand how clear cut the borders are between these two aspects of musical creation. The concepts ofoppositional culture(Ogbu 1978) andestablished and outsiders(Elias and Scotson 2000) also helped us understand the dynamics between academia and a certain anti-academic stance seen in some composers of the genre. Using these same concepts, we elaborate, in a final note, on some brief comments about a newer generation of composers who, due to various aspects, were filtered out during the early methodological stages.

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