Collaborative Dynamics in Electroacoustic Music Creativity: Telematic Dialogues Across Apparatuses

Paulo C. Chagas; Ivana Petković Lozo

doi:10.5216/mh.v26.85132

Autores

Paulo C. Chagas University of California, Riverside, California, USA paulo.chagas@ucr.edu https://orcid.org/0000-0003-1706-5508
Ivana Petković Lozo University of California, Riverside, California, USA ivanap@ucr.edu https://orcid.org/0009-0003-4847-3077

DOI:

https://doi.org/10.5216/mh.v26.85132

Palavras-chave:

electroacoustic music. collaboration. creativity. apparatus. telematic dialogue.

Resumo

Este artigo investiga as dinâmicas da colaboração em música eletroacústica no âmbito de complexos campos tecnológicos, sociais e filosóficos. Ao enfatizar a interação entre a criatividade humana e os aparelhos técnicos, o estudo emprega conceitos teóricos como o diálogo telemático de Vilém Flusser, a noção de composição como resistência em Jacques Attali, a ontologia da arte e da tecnologia em Martin Heidegger e a teoria dos sistemas de Niklas Luhmann. Por meio de exemplos históricos—incluindo o Estúdio de Música Eletrônica da Rádio WDR de Colônia, Alemanha— e de obras recentes do compositor Paulo C. Chagas e da flautista Cássia Carrascoza, em particular Sound Imaginations: Telematic Immersion [Imaginações sonoras: Imersão telemática], o artigo examina de que modo as práticas eletroacústicas engendram novas formas de autoria, copresença e ritual simbólico. Tais práticas desafiam as fronteiras convencionais entre compositor, intérprete, público e máquina, propondo, em seu lugar, um modelo participativo de troca criativa. Por fim, o estudo sustenta que a colaboração eletroacústica redefine não apenas os processos de criação musical, mas também modos mais amplos de engajamento tecnológico, produção cultural e interação social na era digital.

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Biografia do Autor

Paulo C. Chagas, University of California, Riverside, California, USA paulo.chagas@ucr.edu

Paulo C. Chagas is an international composer, scholar and a Professor of Composition at the University of California, Riverside, USA. With a prolific output of over 230 works that span orchestra, chamber music, electroacoustic, audiovisual, multimedia, and telematic music, Chagas innovative approach integrates advanced technology in music production and composition. A survivor of torture by the Brazilian military, his music reflects themes of healing and resistance. Chagas studied at the University of São Paulo (Brazil), the Conservatoire Royal de Musique in Liège (Belgium) and the Cologne Academy of Music (Germany), earning his PhD in Musicology from the Université de Liège. In the 1990s, he was the sound director and composer-in-residence at the WDR Electronic Studio in Cologne. Chaga’s compositions, showcase his ability to fuse traditional musical elements with electronic and digital innovations. As a scholar, he has contributed to the fields of music semiotics and the philosophy of technology. His publications include 'Unsayable Music' (Leuven University Press, 2014), 'Sounds from Within: Phenomenology and Practice' (Springer, 2021), and 'Zwischen Klängen und Apparaten: zur Theorie und Praxis der elektronischen Musik' (Rediroma, 2021). Chagas's research was recognized with the prestigious Fulbright Research Scholar Award for a residency in Berlin (2022-23).

Ivana Petković Lozo, University of California, Riverside, California, USA ivanap@ucr.edu

Dr. Ivana Petković Lozo is a musicologist whose research focuses on European fin-de-siècle music, the interplay among music, literature, and the visual arts, and the philosophical and aesthetic foundations of musical experience. She earned her PhD from the Faculty of Music at the University of Arts in Belgrade, where she taught for fifteen years as an Assistant Professor of Musicology. Also contributed to the Interdisciplinary Studies program at the University of Arts in Belgrade. Her teaching portfolio spans undergraduate and graduate courses on Western music history, fin-de-siècle Serbian music, aesthetics, contemporary musical poetics, synesthesia, and interdisciplinary approaches to music. She initiated the master’s program Artistic Synesthesia: Theory and Practice at the University of Arts and has supervised numerous student research projects, master’s theses, doctoral artistic projects, and cross-disciplinary studies. She has also participated in international research initiatives at the Institut für Musikwissenschaft, University of Vienna, and through the Erasmus+ program at the Lithuanian Academy of Music and Theatre. As a project leader and co-investigator, she has demonstrated strong expertise in grant writing, research management, and interdisciplinary coordination, contributing to projects supported by academic institutions, government agencies, international foundations, and university research councils. She is currently a Visiting Scholar in the Department of Music at the University of California, Riverside, US, and an active member of the International Musicological Society (IMS), American Musicological Society (AMS), the Modernist Studies Association (MSA), the International Association for Semiotic Studies (IASS), The Society for Electro-Acoustic Music in the United States (SEAMUS), the College Music Society (CMS), the Serbian Musicological Society (SMS), and the Music Writers’ Chapter of the Composers’ Association of Serbia.