Leonardo Porto Passos
Professor in the Film and Audiovisual undergraduate course at Unimep (Brazil). Master (2022) and Doctoral Student in Music (in progress) at Unicamp. Postgraduate in Didactic-Pedagogical Processes for Distance Learning Courses at Univesp (2023). Postgraduate in Creative Writing at Vera Cruz Institute (2013). Undergraduate in Literary Studies at Unip (2008). Researcher at Interdisciplinary Sound Communication Center (Nics, Unicamp). Researcher in the areas of Music Cognition, Music Semiotics, Ethnomusicology, Sonology, Music and Technology, music genres, electric guitar, audio signal processing, timbre, sound aesthetics, and construction of meaning in music. Professional performance as soundtrack composer, sound designer, music producer, audio programmer and narrative designer. Guitar player. Authorial composition in alternative rock, extreme metal, experimental music and contemporary improvisation. Brazilian, born in 1978. Married and father of a beautiful little daughter.
Supervisors: Manuel Silveira Falleiros
Phone: +55 (19) 99375-5251
Address: Piracicaba/SP, Brazil
Supervisors: Manuel Silveira Falleiros
Phone: +55 (19) 99375-5251
Address: Piracicaba/SP, Brazil
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Papers by Leonardo Porto Passos
EN: The present article presents bibliographical research, within the field of study of musical genres, about the development
of what is conventionally called “heaviness” sound over approximately seven decades of rock history, which in its origin did not have such a characteristic of sound aesthetics, but which gradually became evident over time, becoming a constant concern of many musicians or even a defining feature of several rock subgenres.
EN: As has happened with radio, television and even literature, today video games are victims of prejudice on the part of the media, politicians, religions and even academic researchers. Despite being so ubiquitous in all human cultures, games have always been associated with shady behavior, gambling, bohemia, and unruly life. Today it is no different, many still mention the deleterious effects of its practice on the youth who inhabit cyberspace and its social networks. This article tries to bring a counter-argumentative view, highlighting the cognitive and educational benefits of games, especially video games.
EN: In this article, we present the prototype of a web application accessible to the visually impaired for music production education and training in sound perception, with which the user can, through voice commands, mix the music being played, by adding and remove musical instruments and audio effects and change panning. Mixing is of fundamental importance in the musical recording process, but many listeners and musicians are unaware of the tools and techniques used in this stage, not being able to identify such procedures, which give uniqueness and special aesthetic characteristics to a recording, which motivated the development of the proposed app.
EN: Schoenberg was one of the most influential composers and musicologists in the history of music. His serialist approach broke the tonal hierarchy, opening new horizons for the development of sound art. This article presents a mathematical model called Serial Keeper, which is based on the Schoenbergian serialist principle for the development of an audiogame, an acousmatic game with the purpose of both playful and educational use of atonal musical perception.
EN: The present article presents bibliographical research, within the field of study of musical genres, about the development
of what is conventionally called “heaviness” sound over approximately seven decades of rock history, which in its origin did not have such a characteristic of sound aesthetics, but which gradually became evident over time, becoming a constant concern of many musicians or even a defining feature of several rock subgenres.
EN: As has happened with radio, television and even literature, today video games are victims of prejudice on the part of the media, politicians, religions and even academic researchers. Despite being so ubiquitous in all human cultures, games have always been associated with shady behavior, gambling, bohemia, and unruly life. Today it is no different, many still mention the deleterious effects of its practice on the youth who inhabit cyberspace and its social networks. This article tries to bring a counter-argumentative view, highlighting the cognitive and educational benefits of games, especially video games.
EN: In this article, we present the prototype of a web application accessible to the visually impaired for music production education and training in sound perception, with which the user can, through voice commands, mix the music being played, by adding and remove musical instruments and audio effects and change panning. Mixing is of fundamental importance in the musical recording process, but many listeners and musicians are unaware of the tools and techniques used in this stage, not being able to identify such procedures, which give uniqueness and special aesthetic characteristics to a recording, which motivated the development of the proposed app.
EN: Schoenberg was one of the most influential composers and musicologists in the history of music. His serialist approach broke the tonal hierarchy, opening new horizons for the development of sound art. This article presents a mathematical model called Serial Keeper, which is based on the Schoenbergian serialist principle for the development of an audiogame, an acousmatic game with the purpose of both playful and educational use of atonal musical perception.
EN: This work is an analysis about the Watchmen graphic novel, from the British artists Alan Moore and Dave Gibbons, based on the concepts of Literariness as developed by the Russian Formalists in the first half of the 20th century, studying if there is any literary characteristics in the work’s script, and if, through its importance to the genre, it should be, or not, considered canonical.
EN: An interdisciplinary study of sound communication in narrative games seeks to investigate the role of sound communication in video games beyond a mere addition to the predominant visual communication. Because it is a videocentric media (whose focus is the use of vision to capture information through an electronic/digital screen), and consequently visocentric (refers to vision in general, not necessarily through an electronic/digital screen), the sound element is generally underestimated as a component of the languages used in games, including in their narrative use. More than just evoking emotions, transmitting information and bringing characters to life through voices, sounds are fundamental to provide feedback to the player and contribute to their immersion, make the virtual universe more believable, generate expectations, provoke responses and reactions, in addition to contributing to interactive engagement, providing specific game mechanics (the procedures, interactions, and rules of a game, which establish the goal, how players can achieve it, and what happens while they trying it), allow accessibility to people with visual and motor impairments and be an inherent part of the game’s aesthetics. In this study, we sought to identify the ways in which sound communication is able to achieve such goals in games, with theoretical surveys and analysis of the techniques used, preceded by the areas of knowledge used as a methodological basis and theoretical reference in the research: Sonology, Cinema, Narratology and Game Design; by the presentation of the definition of game by important authors (Johann Huizinga, Roger Caillois, Jesse Schell, Katie Salen and Eric Zimmerman, Jesper Juul and Aspen Aarseth), followed by a proper definition of game and presentation of its types; presentation of the definition of videogame, its origins, the history of the use of sounds in games, approach to the issue of the predominance of visuals in games, examination of its main characteristics and explanation of the concept of audiogame; survey of narrative definitions by selected authors followed by their own definition, approach to the idea of conflict and the role of narrative in games; presentation of the uses of sound communication in games, the concept of diegesis and the types of sounds used; and finally, a survey on the main audio resources used in games.