Soundpainting

Öz Soundpainting Walter Thompson tarafından 1970'li yıllarda, müzisyenler, dansçılar, aktörler ve görsel sanatçılar için yaratılmış evrensel eşzamanlı besteleme işaret dilidir. Dilin içerisinde bulunan 1500'den fazla hareket, Soundpainter adı verilen besteci/şef tarafından topluluğa işaret edilir ve gruptaki icracılar da bu hareketlere kendi disiplinleri ile cevap verirler. Daha çok performansa yönelik kullanılan bu dil, son yıllarda müzik eğitiminde de kullanılmaktadır. Yaratıcılığı geliştirdiği düşünülen Soundpainting dilinin öğrencilerin rastlamsal müzik dinleme, sahne fobisi, doğaçlama yapabilme, kendine güven duyma gibi performansa yönelik davranışlarına olumlu etkileri olduğu belirtilmektedir. Günümüzde eğitimin yapılandırmacı bir yaklaşım içerinde olması, öğrencilerin yaparak, aktif olarak derse katılarak eğitimin içerisinde olmalarını gerektirmektedir. Soundpainting performansında bir öğrenci, hem icracı (yapan) hem de Soundpainter (yaptıran) olarak etkin bir şekilde derse katılabilir. Böylelikle kazandırılmak istenen davranışlar Soundpainting yolu ile kazandırılmış olacaktır. Yapılan bu çalışma konservatuvar öğrencilerinin Soundpainting eğitimine yönelik tutumlarını tespit etme amacı taşımaktadır. Bu amaç doğrultusunda Soundpainting eğitimine gönüllü olarak katılan öğrencilere öz değerlendirme formu hazırlanmış ve görüşleri alınmıştır. Öz değerlendirme sorularından elde edilen cevaplar değerlendirilerek yorumlanmıştır. Araştırma sonucunda, konservatuvar öğrencilerinin Soundpainting çalışmalarına katıldıktan sonra özgüven ve motivasyonlarında olumlu yönde değişmeler olduğu, doğaçlama konusunda farkındalıklarının arttığı ve kısmen yapabildikleri, ancak yeteri kadar yaratıcı olamadıkları ve Soundpainting eğitimini diğer dersler ile ilişkilendirebildikleri sonuçları ortaya çıkmıştır. Abstract Soundpainting is a composing sign language, which came out and is developed at the end of 70's for musicians, dancers, actors and visual artists by Walter Thompson, an educator and composer from New York. At present, the Soundpainting language comprises more than 1500 gestures that are signed by the composer/director, known as the Soundpainter. Performers, who perform in Soundpainting group response with their disciplines according to Soundpainter's signs. Soundpainting language, which is mostly used in performance, has been used in music education in recent years. It is stated that Soundpainting sign language, which is thought to develop creativity, have affect on students' listening Aleatoric music, stage phobia, playing improvisation, self-confidence. Today, education is in a constructivist approach and it is required to be in training making students actively participating in the course. A student can participate in Soundpainting performance effectively both performer and Soundpainter. Thus, to gain the desired behaviour will be conferred with Soundpainting way. In this study it is intended to determine the attitudes of conservatory students towards the Soundpainting education. For this purpose Soundpainting self-evaluation form were prepared and taken

Common characteristics of Orff, Kodaly and Dalcrose music education approaches are not only that they are the education methods improving the creativity but it is also that they gain aimed behaviours in dramatization, improve musical skills and ensure adaption into social environment thanks to music, acquire mental skills such as motivation, attention and self-confidence. Soundpainting is the universal live composing language created for musicians, dancers, actors, poets and visual artists working in their improvised environment. Soundpainting, a performance art based on improvisation, has started to be used in education in recent years. Just like other music education methods, education of Soundpainting is quite an important music education approach in terms of development in the creativity of individuals, their musical and mental skills. With this study, it has been tried to emphasize the Soundpainting's common points with other music education approaches by providing information about Soundpainting. Within this study, it is aimed at contributing to music education and teaching as a new approach. This research is one of the very few studies, which carried out in the fields of Soundpainting. Therefore, it is important in terms of its contribution to the both education and Soundpainting fields. This research is descriptive research and data were obtained by literature review. At the end of the research, it was emerged that Soundpainting has common ground with the other music education approaches and it could be used in music education.

This paper proposes to address the most significant performance problems within the field of directed improvisation. Focusing mainly on the two main methods of this practice, Soundpainting and Conduction®, the dissertation consists of four chapters. The first two describe the historical context and the basic structure of the organization and functioning of each of the methods by addressing their communication systems, and practical aspects. On the third and fourth chapters it presents a comparison of both from the perspective of compositional logic against the reasoning of the improvisation group, followed by an observation and analysis of performance problems that occur in the methods here addressed, by interviews with practitioners of Soundpainting and Conduction® and empirical experiences with students of UFMG .

Soundpainting is the method of "live composition" invented by New York-based composer and saxophonist Walter Thompson. Using physical gestures for the spontaneous creation of music, Soundpainting therefore shares similarities with other types of gesture-based systems for music performance, such as orchestral conducting. Thompson himself (2006) describes his Soundpainting system as a "universal live composing sign language for the performing and visual arts," and therefore Soundpainting can be considered as a subset of other communication systems such as verbal and written language, kinesics, and paralanguage.

This thesis outlines the general principles of Soundpainting as a system for setting into motion spontaneously created music. The author's aim is to describe Soundpainting in relation to the linguistic turn in Thompson's own definition. This opens the way to a sociosemiotic analysis, in which it is susceptible to examination in the light of some theories of language that have emerged in the course of the twentieth century.

A theoretical framework is developed drawing on the work of such pioneers of semiotics as Saussure and Peirce, as well as the later work in philosophy of language of Wittgenstein, Barthes, Eco, Derrida, and others. The eclectic concerns of Soundpainting suggest situating Thompson's language in the context of current debates in critical theory about tonality, jazz, and improvisation as strategies for constructing identity. Soundpainting, by demonstrating that musical signification can be negotiated through consensus, problematizes the convention of the composer as the sole legitimating authority of the work.

Considering Soundpainting as a processual activity, this dissertation outlines the general principles of Soundpainting as a system for the spontaneous creation of music. Emphasizing the process-based character of Soundpainting (and its affinity with other forms of improvised music) suggests that such categories of musical activity need to be studied from a different vantage point from that of historical musicology.

A Soundpainting egy 40 éve fejlődő jelnyelv, mely lehetőséget teremt zenészeknek, színészeknek, táncosoknak, képzőművészeknek vagy más, tetszőleges összetételű közösségnek a kollektív alkotásra. A közösséget egy vagy több vezető (soundpainter) kézjelekkel irányítja, így hozva létre ú.n. valós-idejű kompozíciókat (real-time compositions) A kézjelek pontos jelentéssel bírnak, értelmezésük nem intuitív, viszont mindaz amit a jelek nem kötnek meg, az előadók szabad döntése alapján változhat. Az eseményeket strukturáló vezető felelőssége, hogy egy-egy résztvevőnek mennyi szabadságot biztosít az alkotásban. A kézjelek rendkívül praktikusak, a nyelv szórendje könnyen elsajátítható. A jelek többségére minden akadémiai diszciplinán belül értelmezhető így a vezető elhatározásán illetve esztétikai preferenciáin múlik a létrejövő kompozíció multidiszciplinaritásának minősége. Ugyanakkor a kézjelek alkalmasak arra, hogy összekössék és átjárhatóvá tegyék a különböző műfajokat, hiszen a jelek által meghatározott keretek például kérhetnek minden előadót, hogy csak mozdulattal, beszéddel vagy akár énekléssel reagáljanak. Így egyszerű struktúrákban hozhatóak létre olyan helyzetek, melyekben az előadók eredeti műfajuktól eltérő eszközöket használnak az alkotás során.

Dolgozatomban a Soundpainting multidiszciplináris gyakorlatát illetve a valós idejű kompozíció létrehozásának esztétikáját mutatom be

ÖZET Soundpainting, müzisyenler, dansçılar, aktörler ve görsel sanatlar alanında çalışan icracılar için 1974 yılında Walter Thompson tarafından yaratılmış, çok disiplinli, eş zamanlı işaret dilidir. Genellikle grubun önünde duran Soundpainter (besteci), el ve vücut hareketlerini kullanarak, grup tarafından icra edilmek üzere belirli ve/veya rastlamsal materyalleri işaret eder. Soundpainter icracıların cevaplarını (response) geliştirir, onları bestenin içerisine göre biçimlendirir ve şekillendirir ve daha sonra, bir başka seri işaret ve cümle (phrase) belirler ve parça kompozisyon sürecine devam eder. Soundpainting, ortaya çıkarıldığı zamandan günümüze kadar, daha çok performans boyutu ile icracıların ilgisini çekmiştir. Yapılan bazı çalışmalara bakıldığında eğitimin çocuklara yönelik boyutunda eksiklikler göze çarpmaktadır. Bu araştırma, Soundpainting eğitimcilerinin, çocukların müzik disiplini içerinde Soundpainting eğitiminde karşılaştıkları sorunları ve çözüm önerilerini ortaya koyma amacı taşımaktadır. Araştırma nitel bir çalışmadır ve verilerin elde edilmesi için yapılandırılmış görüşme soruları uygulanmıştır. Bulgular, Fransa'nın Tours şehrinde 2016 yılında gerçekleştirilen Uluslararası Soundpainting İnteraktif Konferansına katılan eğitimcilere yöneltilen sorular yoluyla elde edilmiştir. Verilerin analizinde ise içerik analizi yöntemi kullanılmıştır. Araştırma sonucunda çocukların Soundpainting eğitimlerinde doğaçlama yapmakta ve fikir üretmekte yetersiz kaldıkları, sözdizimlerini ve bazı jestleri hatırlamakta zorluk çektikleri ortaya çıkmıştır. Bunlara ek olarak çocukların Soundpainting performansı gerçekleştirirken utangaç davrandıkları sonucu da eğitimciler tarafından vurgulanmıştır. Soundpainting alanında yazılmış bilimsel çalışmaların henüz çok az olması nedeniyle, özgün olan bu çalışmanın Soundpainting alanında çalışmak isteyen eğitimcilere ışık tutacağı düşünülmektedir.

Este artigo apresenta o projeto de extensão da Universidade Federal do Recôncavo da Bahia – UFRB: SONatório (Laboratório de Pesquisa , Prática e Experimentação Sonora) e como este tem articulado eventos de escuta dentro da Universidade. Refletimos a relação das práticas sonoras do projeto junto a comunidade interna e externa à UFRB,
apresentamos nossas dificuldades e o resultado das ações do projeto. Schafer (1991, 2001, 2009), Thompson (2006), Makela (2017) e Trueman (2007) são importantes em nossa fundamentação teórica.

Palavras-chave: práticas sonoras, orquestra de laptop, soundpainting

El objetivo de esta investigación ha sido analizar y describir cómo se ha aplicado el lenguaje Soundpainting en tres ámbitos educativos diferentes. Partiendo de la metodología cualitativa se seleccionaron un conservatorio, un centro de educación primaria y una escuela de música como estudio de caso colectivo. Las diferentes sesiones fueron grabadas en vídeo, revisadas y codificadas con la ayuda de programas de análisis cualitativo. Posteriormente se realizó una entrevista semiestructurada a cada uno de los profesores. Los resultados muestran que aplicando el lenguaje Soundpainting desde la perspectiva del juego y haciendo un uso didáctico de los gestos se facilitó el desarrollo de las capacidades musicales y personales en los alumnos de los tres ámbitos educativos observados, tal y como se describe en las conclusiones.

Com a revolução tecnológica surgem milhões de possibilidades para o audiovisual. Cada realizador pode criar seu modo de fazer audiovisual. O cinema já nasce como um experimento e se mantém assim até hoje, investigando novas ferramentas a partir das tecnologias de nosso tempo. Neste trabalho , apresentamos uma das experiências do Laboratóri de Pesquisa, Prática e Experimentação Sonora – Sonatório, projeto de extensão da Universidade Federal do Recôncavo da Bahia, na cidade de Cachoeira-BA. O Sonatório vai propor um corpo-tela/corpo-sonoro. Nesses corpos são projetados samples visuais por meio da técnica de video mapping􏰥􏰝􏰜􏰘􏰋􏰊􏰈􏰗􏰒􏰒􏰝􏰚􏰦. O som é realizado em tempo real pelos corpos-telas a partir da linguagem de sinais soundpainting regida por um painter (compositor-regente).

«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.)

Soundpainting constructed by composer Walter Thompson is a simultaneous universal composition sign language which is made for musicians, dancers, poets and visual artists operated in improvisational environment. Today soundpainting language contains more than 1500 signs. In this research it is aimed to analyze (converting visual texts to writing texts) the gestures (moving visuals) in 1 st level of soundpainting. Content analysis was made in this study. After the data analysis, it was discovered that soundpainting sign language gestures have common features in real life body language. Also it was seen that these gestures have universal communication language which has no boundaries like language or hearing deprivation.

Junto con la primera Facultad de Artes Escénicas (FARES) del Perú, situada en la Pontificia Universidad Católica del Perú (PUCP), se avista una primera propuesta de carácter universitario sobre cómo debería formarse a un actor o actriz. La base de esta propuesta es el Sistema Stanislavsky de actuación junto con otros cursos prácticos complementarios. Sin embargo, con la primera promoción de alumnos a puertas de su graduación, a través de observación sobre cómo se vienen concatenando las materias y propuestas curriculares: se puede visibilizar algunos de los principales problemas en su planteamiento actual. Se centran, principalmente, en cómo es que los cursos complementarios (música, entrenamiento corporal, entrenamiento vocal, etc.) están siendo comprendidos, aprendidos y aprehendidos por los alumnos. Frente a esta cuestión se formulará un diagnóstico sobre la actual propuesta. Luego se propondrá una posible solución: un espacio de integración de dichos contenidos para los alumnos. Debido a que la facultad propone que durante los primeros dos años se enseña la base de su formación actoral, y con miras hacia una investigación concisa y puntual, esta se centrará en esos primeros dos años.

Palabras clave: formación actoral, integración, complementación, pedagogía teatral, actuación, Stanislavsky, teatro

El objetivo de esta investigación ha sido analizar y describir cómo se ha aplicado el lenguaje Soundpainting en tres ámbitos educativos diferentes. Partiendo de la metodología cualitativa se seleccionaron un conservatorio, un centro de educación primaria y una escuela de música como estudio de caso colectivo. Las diferentes sesiones fueron grabadas en vídeo, revisadas y codificadas con la ayuda de programas de análisis cualitativo. Posteriormente se realizó una entrevista semiestructurada a
cada uno de los profesores. Los resultados muestran que aplicando el lenguaje Soundpainting desde la perspectiva del juego y haciendo un uso didáctico de los gestos se facilitó el desarrollo de las capacidades musicales y personales en los alumnos de los tres ámbitos educativos observados, tal y como se describe en las conclusiones.

O presente trabalho propoe abordar os problemas mais significativos de performance dentro do campo da improvisacao dirigida. Tendo como foco principal os dois principais metodos desta pratica, o Soundpainting e o Conduction®, a dissertacao e composta de quatro capitulos. Os dois primeiros descrevem o contexto historico e a estrutura basica de organizacao e funcionamento de cada um dos metodos, abordando seus sistemas de comunicacao, e aspectos praticos. Apresenta-se no terceiro e quarto capitulos, uma comparacao de ambos sob a otica da logica composicional contra o raciocinio da improvisacao em grupo, seguida de uma constatacao e analise dos problemas de performance que ocorrem nos metodos de improvisacao dirigida aqui abordados, fruto de entrevistas com praticantes de Soundpainting e Conduction® e experiencias empiricas com alunos da UFMG.

Today, contemporary music emerges as an experimental phenomenon trapped in the laboratory environment rather than an element of skill. Modern music, where principles such as specialism and rationality are determinative, has become difficult to understand not only for performers who carry it on the stage but also for today's audience. One of the works done in recent years is Soundpainting, which is based on improvisation and allows everyone to do this stage art. Soundpainting is the multidisciplinary live composing sign language for Musicians, Dancers, Actors and Visual Artists. Presently the language comprises more than 1750 gestures that are signed by the Soundpainter to indicate the type of material desired of the performers. The Soundpainter (the composer) standing in front (usually) of the group communicates a series of signs using hand and body gestures indicating specific and/or aleatoric material to be performed by the group. The Soundpainter develops the responses of the performers, molding and shaping them into the composition. In this research, it is aimed to determine the perceptions of the audiences who are listeners in a Soundpainting performance and at the same time performers in Soundpainting performance. The specify of this perception is important in terms of determine the attitude of the listeners fort he first time involved in the Soundpainting performance as well as bringing solutions to the problem of music and alienation from a different point of view.