O Músico Computadorizado fichamento

Seguem alguns trechos de duas entrevistas originalmente publicadas na revista COMPUTE!, em 1986, sobre sintetizadores e o uso de computadores na composição  musical. Os entrevistados são Wendy Carlos e Frank Zappa, e as entrevistas foram conduzidas por Kathy Yakal.

Wendy Carlos, uma das pioneiras na música eletrônica (ou “pioneiro”, já que quando começou a colaborar no desenvolvimento dos sintetizadores Moog me parece que seu nome ainda era Walter), compôs e produziu a trilha sonora de filmes como A Clockwork Orange e Tron.

Sobre controle x criatividade (grifo meu):

If you have a machine that gives the pilot of a plane the ability to move every molecule on the surface of the plane, the pilot will probably crash the plane because there’s too much there to control – it’s overwhelming. Whereas if you have an automatic pilot with a lot of automatic features, the pilot has very little to do, and there’s very little difference from one flight to another because it’s almost automatic. (…) Somewhere in-between is where we stand with synthetizers.

Sobre alienação e o significado da arte:

I suspect there are going to be an awful lot of uptight people who, when they hear my new work, are not going to understand it, or they’re not going to want to understand it because it represents leaving the confines of what they do and facing the great unknown, which is what art sould always be about.

Sobre insônia criativa:

I can hardly go to sleep at night. It’s like I have to get all of these things done before death happens.


Na segunda entrevista, Frank Zappa fala sobre o computador como uma ferramenta que pode valorizar a criação, por conta de oferecer tantas possibilidades e facilidades ao compositor:

So if the real concern is music being played accurately and being true to the composer’s wishes, the computer is the thing that’s going to allow that to happen.

Zappa também mostra o outro lado, do que ele considera que o computador não é capaz de fazer (ou simular):

With certain other types of music that require a lot of styling and nuance, it is difficult to put the same kind of element into the digital storage of the composition. If there are a lot of rubatos in it or a lot of dynamics, some of the computer music systems don’t handle that kind of information too well. But if you’re just talking about getting rhythms played correctly or the right pitches always in tune, stuff like that, it can be done.

Fonte: Compute! The Journal for Progressive Computing. The Leading Magazine of Home, Educational, And Recreational Computing. January 1986. Issue 68.Vol 8. N 1.

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