Between August 18 and 28, 2014 I participated of the 1st French-Brazilian Colloquium on Computer Aided Music Creation and Analysis, organized by NICS (Sound Communication Interdisciplinary Center, where I am a registered student) in partnership with Faculty of Electrical Engineering (FEEC-Unicamp), Arts Institute (IA-Unicamp), the Center of Integration, Documentation and Cultural Diffusion (CIDDIC), USP e UNESP. The Colloquium was also supported by FAPESP.
That was a special event for two reasons: the online real-time event transmission and the participation of three RepMus researchers.
The Équipe de Représentations Musicales (RepMus) is a research laboratory maintained by IRCAM whose theme is the representation of musical structures, languages and computational paradigms applied to music. During the Colloquium we had the presence of Gérard Assayag, Moreno Andreatta e Jean Bresson.
In addition to the mentioned researchers we also had several important brazilian researchers in music technology area: Jônatas Manzolli, Stéphan Schaub, Silvio Ferraz, Fernando Iazzetta, Flo Menezes and Tuti Fornari.
Among the covered topics we discussed about advanced processes applied to musical analysis and creation, real-time musical interaction and formalization of musical structures.
Perhaps the most interesting think about this Colloquium was the emphasis on the practical aspects of music technology. Unlike various congresses and symposiums in the music area, this Colloquium assigned the two final days to the elaboration of practical activities that culminated in a concert at Almanaque Café on August 28 (2014) entitled “Livre Digital: Fronteiras Musicais Tecnologias que desafi(n)am os sentidos”.
During this stage some Brazilian researchers had the opportunity to present their projects in progress to the RepMus guests. This was, in my opinion, the highlight of the event since the exchange of information when I was presenting my project contributed in an inestimable way to my growth as a researcher, along with providing important information that contributes with the progress of the research. At this stage there were also practical activities of hardware and software experimentation previously created by the researchers, which intensified the conviviality of the participants.
There is a great criticism to the academic practice of music because of the conceptual and theoretical focus and for the consequent distance to the musical practice. This type of initiative approximates theory (or theorization) and practice, in addition to bring something tangible to the event participants.
I’m looking forward to attend more events like this!