{"id":5977,"date":"2025-07-19T17:41:16","date_gmt":"2025-07-19T15:41:16","guid":{"rendered":"https:\/\/pigyki.fr\/?p=5977"},"modified":"2025-08-09T08:25:33","modified_gmt":"2025-08-09T06:25:33","slug":"ouvindo-musica-n66-pierre-schaeffer","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/pt\/2025\/07\/19\/ouvindo-musica-n66-pierre-schaeffer\/","title":{"rendered":"Escuta musical n\u00b066 Pierre Schaeffer"},"content":{"rendered":"\n<p>Pierre Schaeffer (1910-1995): o pai da m\u00fasica concreta.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote has-text-align-center is-layout-flow wp-block-quote-is-layout-flow\">\n<p><strong><em>\u201cOuvir \u00e9 estar atento a tudo o que soa.\u201d<br><\/em><\/strong>Pierre Schaeffer<\/p>\n<\/blockquote>\n\n\n\n<p>Com <strong><em><a href=\"https:\/\/pt.wikipedia.org\/wiki\/Pierre_Schaeffer\" target=\"_blank\" rel=\"noreferrer noopener\">Pierre Schaeffer<\/a><\/em><\/strong>, um trem que passa, o barulho de um papel ou o vento tornam-se mat\u00e9ria sonora, um convite para escutar de outra forma.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Primeiro, \u00e9 preciso esclarecer uma confus\u00e3o na qual eu mesmo ca\u00ed: a m\u00fasica concreta n\u00e3o \u00e9 realizada ao vivo usando objetos cotidianos ou instrumentos utilizados de forma incomum para organiz\u00e1-los em um discurso musical.<\/p>\n\n\n\n<p>Esses objetos s\u00e3o gravados primeiro e depois trabalhados, cortados em est\u00fadio para criar um banco de \u201cobjetos sonoros\u201d que ser\u00e3o utilizados em composi\u00e7\u00f5es musicais. Essas primeiras pesquisas partem de corpos sonoros \u201cconcretos\u201d, ricos em vibra\u00e7\u00f5es de origem ac\u00fastica. S\u00f3 alguns anos depois os sons de origem eletroac\u00fastica seriam adicionados.<\/p>\n\n\n\n<p>Talvez a melhor forma de iniciar no trabalho de Schaeffer seja este trecho de entrevista sobre as \u201cVaria\u00e7\u00f5es sobre um Apito Mexicano\u201d:<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Explications-sur-flute-mexicaine-entretien.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Agora, alguns pontos sobre o seu trabalho:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Introdu\u00e7\u00e3o \u00e0 m\u00fasica concreta: estudos ferrovi\u00e1rios &#8211; trem \u2013 P\u00e1ssaro RAI \u2013 Varia\u00e7\u00f5es sobre um Apito Mexicano (1948-49)<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Introduction-Musique-Concrete-1.mp3\"><\/audio><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>Orfeu 53<\/em>, em colabora\u00e7\u00e3o com Pierre Henry (1953)<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Pierre-Henry-Orphee-53-1953.mp3\"><\/audio><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Estudo de objetos (1959)<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etude-aux-objets-Part-1-5-1959.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><br>Pierre Schaeffer \u00e9 uma figura indispens\u00e1vel da criatividade musical do s\u00e9culo XX, que n\u00e3o se considerava um compositor, mas um pesquisador. Rapidamente, ele abandonou o termo \u201cm\u00fasica concreta\u201d em favor de \u201cm\u00fasica experimental\u201d. Ele estava consciente de que suas pesquisas contribuiriam para o surgimento de um tipo diferente de m\u00fasica, paralelamente a uma maneira diferente de ouvir sons e ru\u00eddos.<\/p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile is-image-fill-element\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"790\" height=\"469\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image.png\" alt=\"\" class=\"wp-image-5662 size-full\" style=\"object-position:56% 50%\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image.png 790w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image-300x178.png 300w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image-768x456.png 768w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image-281x167.png 281w\" sizes=\"auto, (max-width: 790px) 100vw, 790px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Pierre Schaeffer (1910-1995) foi um engenheiro, pesquisador, te\u00f3rico, compositor e escritor franc\u00eas. Foi tamb\u00e9m homem de r\u00e1dio, fundador e diretor de diversas se\u00e7\u00f5es.<\/p>\n\n\n\n<p>Voc\u00ea pode saber mais sobre t\u00edtulos seguidos de * em&nbsp;<strong><em><a href=\"#savoir+\">\u00ab\u00a0Saiba mais &#8230;\u00a0\u00bb<\/a><\/em><\/strong><\/p>\n<\/div><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">O que \u00e9 m\u00fasica concreta?<\/h2>\n\n\n\n<p>A m\u00fasica concreta \u00e9 uma m\u00fasica resolutamente ac\u00fastica que <strong>busca sua mat\u00e9ria em corpos sonoros<\/strong> cujos sons s\u00e3o captados por microfones e geralmente trabalhados ap\u00f3s a grava\u00e7\u00e3o: ou mecanicamente (montagem, modifica\u00e7\u00e3o da velocidade de leitura) ou eletronicamente (filtragem do espectro de frequ\u00eancias, amplifica\u00e7\u00e3o).<\/p>\n\n\n\n<p>A m\u00fasica concreta n\u00e3o \u00e9 m\u00fasica eletr\u00f4nica, pois esta produz sons artificialmente criados, inexistentes na natureza. No entanto, no s\u00e9culo XX, estabelece-se um v\u00ednculo forte entre os dois movimentos, com obras musicais que utilizam ambas as t\u00e9cnicas, chamadas de m\u00fasica <strong>acusm\u00e1tica<\/strong>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Por que Pierre Schaeffer dizia que a m\u00fasica concreta \u201cn\u00e3o era m\u00fasica\u201d?<\/h3>\n\n\n\n<p>Pierre Schaeffer n\u00e3o inventou a m\u00fasica concreta como um estilo, mas como uma experi\u00eancia de escuta. Ele queria se questionar:<strong><em> \u00ab\u00a0O que \u00e9 m\u00fasica se n\u00e3o trabalhamos mais com notas escritas, mas com sons gravados?\u201d<\/em><\/strong><\/p>\n\n\n\n<p>Ap\u00f3s seus primeiros trabalhos, ele constatou:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Que muitas obras concretas permaneciam colagens de sons sem uma linguagem musical clara.<\/li>\n\n\n\n<li>Que \u00e0s vezes faltava uma estrutura emocional e po\u00e9tica que ligasse os sons.<\/li>\n\n\n\n<li>Que a pesquisa era interessante, mas nem sempre produzia o que ele considerava \u201cm\u00fasica\u201d.<\/li>\n<\/ul>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-center\"><strong><em>\u201cO que fiz n\u00e3o era m\u00fasica,<br>era uma pesquisa que questionava a m\u00fasica.\u201d<\/em><\/strong><br>Pierre Schaeffer<\/p>\n<\/blockquote>\n\n\n\n<p><br>Por isso, preferiu continuar <strong>refletindo e ensinando a escuta<\/strong>, deixando para outros compositores a continuidade da m\u00fasica concreta em v\u00e1rias dire\u00e7\u00f5es art\u00edsticas, como seu colaborador: <strong><em><a href=\"https:\/\/pt.wikipedia.org\/wiki\/Pierre_Henry\" target=\"_blank\" rel=\"noreferrer noopener\">Pierre Henry<\/a><\/em><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>O cat\u00e1logo de Pierre Schaeffer \u00e9 bastante reduzido e suas obras nem sempre s\u00e3o feitas para serem ouvidas como pe\u00e7as musicais finalizadas.<br>No entanto, s\u00e3o muito interessantes de descobrir, por isso apresento-as aqui:<\/p>\n\n\n\n<p><strong><em><a href=\"#podcast\">Podcast *<\/a><\/em><\/strong><br><strong><em>Recomendo fortemente a leitura dos textos fascinantes desse podcast, traduzidos para o portugu\u00eas e dispon\u00edveis em um <a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/PT-Podcast-Pierre-Schaeffer-Traduction-portugaise.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">link em PDF<\/a>.<\/em><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"#\u00e9l\u00e9ments\"><em>Estudos sobre ru\u00eddo (1948) *<\/em><\/a><\/h4>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1\">00:00<\/a> Estudos ferrovi\u00e1rios &#8211; trem <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=173s\">02:53<\/a> Estudos emtorniquetes&nbsp;\u2013 carross\u00e9is e percuss\u00e3o <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=292s\">04:52<\/a> Estudo violette &#8211; piano gravado para Schaeffer por Boulez <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=492s\">08:12<\/a> Estudo negro &#8211; piano gravado para Schaeffer por Boulez <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=731s\">12:11<\/a> Estudo pat\u00e9tica \u2013 panelas, barca\u00e7as, canto, fala, acorde\u00e3o, piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etudes-de-bruits-1948.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Varia\u00e7\u00f5es sobre um Apito Mexicano&nbsp;(1949)<\/em><\/h4>\n\n\n\n<p><br>Obra clara do trabalho de Schaeffer: ele utiliza apenas os primeiros 8 sons de um apito. No est\u00fadio, manipula-os, extrai ataques, materiais percussivos, joga com velocidades, sobreposi\u00e7\u00f5es, etc.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Variations-sur-flute-mexicaine.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><em>P\u00e1ssaro RAI<\/em> (1949)<\/h4>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Loiseau-R-A-I.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Suite para 14 instrumentos (1949)<\/em><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>I. Introdu\u00e7\u00e3o<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-I.-Prelude.mp3\"><\/audio><\/figure>\n\n\n\n<p>II. Courante-roucante<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-II.-Courante.mp3\"><\/audio><\/figure>\n\n\n\n<p>III. Rigodon<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-III.-Rigodon.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>IV. Vagotte-gavotte<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-IV.-Gavotte.mp3\"><\/audio><\/figure>\n\n\n\n<p>V. Sphoradie<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-V.-Sphoradie.mp3\"><\/audio><\/figure>\n\n\n\n<p>Suite em 5 movimentos<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><em><strong><em>Orfeu<\/em><\/strong> 53 (1953)<\/em><\/h4>\n\n\n\n<p><strong><em>Orfeu 53<\/em><\/strong>, em colabora\u00e7\u00e3o com <strong>Pierre Henry <\/strong>(1953)<br>I. Pr\u00f3logo &#8211; [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=75s\">01:15<\/a>] II. Primeira \u00e1ria de&nbsp;Orfeu &#8211; [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=197s\">03:17<\/a>] III. Primeiro recitativo de Orfeu &#8211; [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=397s\">06:37<\/a>] IV. Monstros &#8211;  [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=600s\">10:00<\/a>] V. <br>Desfile de Eur\u00eddice &#8211; [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=804s\">13:24<\/a>] VI. Debate de&nbsp; Orfeu &#8211;  [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=1119s\">18:39<\/a>] VII. Desintegra\u00e7\u00e3o final&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Pierre-Henry-Orphee-53-1953.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"https:\/\/www.youtube.com\/@TheWelleszTheatre\"><\/a><a href=\"#objets\"><em>Estudo de objetos Part 1-5 (1959) *<\/em><\/a><\/h4>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2\">0:00<\/a> Objetos desmontados <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=217s\">3:37<\/a> Objetos expandidos <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=395s\">6:35<\/a> Objetos multiplicados <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=580s\">9:40<\/a> Objetos encadeados <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=770s\">12:50<\/a> <br>Objetos combinados<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etude-aux-objets-Part-1-5-1959.mp3\"><\/audio><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Objeto Sonoro<\/h2>\n\n\n\n<p><strong>A Experi\u00eancia musical<\/strong> foi uma s\u00e9rie de seis programas de r\u00e1dio. <br>Aqui est\u00e1 um trecho radiof\u00f4nico interessante pelo di\u00e1logo entre Schaeffer e a entrevistadora, mas\u2026 exigente pela densidade de explica\u00e7\u00f5es, que pede m\u00faltiplas escutas para compreender bem!<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Lobjet-musical.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"#solf\u00e8ge\"><em>Solfejo do Objeto Sonoro (1967) *<\/em><\/a><\/h4>\n\n\n\n<p>Acompanhamento sonoro do <strong>\u201cTratado dos Objetos Sonoros\u201d<\/strong>.<br>Pr\u00f3logo: os quatro elementos do solfejo \u2013 narrado por Pierre Schaeffer. <strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Solfege-de-lobjet-sonore-Prologue.mp3\" target=\"_blank\" rel=\"noreferrer noopener\">Podcast<\/a><\/em><\/strong><br>Voc\u00ea pode encontrar o texto traduzido para o portugu\u00eas-BR em <strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/PT-Traite-des-objets-musicaux-Traduction-portugaise-.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">PDF aqui<\/a><\/em><\/strong> e em <strong><em><a href=\"#savoir+\">\u00ab\u00a0Saiba mais &#8230;\u00a0\u00bb<\/a><\/em><\/strong>.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Solfege-de-lobjet-sonore-0-Prologue-les-quatres-elements-du-solfege-IX.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Para comparar a escuta\u2026<\/em><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Bidule en ut (1950)<\/em><\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Bidule-en-ut.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Bilude (1979)<\/em><\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Bilude-\u2014-Pierre-Schaeffer-Official-Music-Video.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading has-text-align-center\">\u00ab\u00a0<em>Estudos ferrovi\u00e1rios &#8211; trem\u00a0\u00bb<\/em><\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Vers\u00e3o original de 1948 por Pierre Schaeffer<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/pierre-schaeffer-etude-aux-chemins-de-fer-1.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Nova interpreta\u00e7\u00e3o em 2011 por Pierre Borel (saxofone) e Hannes Lingens (percuss\u00f5es e objetos).<br><strong><em><a href=\"https:\/\/youtu.be\/AuALNiUspjs?si=tfZrXxEb6M12oWsf\" target=\"_blank\" rel=\"noreferrer noopener\">V\u00eddeo da performance.<\/a><\/em><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etude-aux-chemins-de-fer-1948-version-for-saxophone-and-snare-drum-2011.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" id=\"savoir+\"\/>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"\u00e9l\u00e9ments\"><em><strong><em>\u00ab\u00a0Saiba mais &#8230;\u00a0\u00bb<\/em><\/strong>.<\/em><\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">Elementos biogr\u00e1ficos de Pierre Schaeffer ao redor das \u201cCinco Etudes de Bruits\u201d e das \u201c\u00c9tude aux Objets\u201d.<\/h5>\n\n\n\n<p>Al\u00e9m de inovador como compositor, Schaeffer foi te\u00f3rico musical e escritor, com vasta obra publicada.<\/p>\n\n\n\n<p>Nascido em 1910, formou-se em estudos t\u00e9cnicos e cient\u00edficos, atuando como engenheiro de telecomunica\u00e7\u00f5es e t\u00e9cnico de som desde 1934 antes de come\u00e7ar sua carreira de compositor. Essa experi\u00eancia, junto ao dom\u00ednio do violoncelo, permitiu-lhe realizar suas primeiras pe\u00e7as de m\u00fasica concreta, como as \u201cCinco Etudes de Bruits\u201d em 1948, e dirigir de 1951 a 1953 o Groupe de Recherches de Musique Concr\u00e8te (GRMC), depois Groupe de Recherches Musicales (GRM), que nos anos 1970 se fundiu com o Institut National de l\u2019Audiovisuel para se tornar o INA GRM.<\/p>\n\n\n\n<p>Desenvolveu profundamente sua reflex\u00e3o te\u00f3rica iniciada muito cedo, paralelamente \u00e0 pr\u00e1tica musical, para definir sua vis\u00e3o da m\u00fasica: Schaeffer considerava que a m\u00fasica ocidental, ao focar em instrumentos tradicionais e alturas fixas, se privava de um campo importante.<br>Seu questionamento sobre os instrumentos e a escuta, ligado a Var\u00e8se, Cage e Messiaen, levou-o a compor e trabalhar sons, originando a m\u00fasica concreta.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"objets\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>A \u201c<em><strong>Estudo de objetos<\/strong><\/em>\u201d, descrita por M\u00f6ller como \u201ca obra-prima de Schaeffer\u201d, pode ser entendida como \u201cresultado das pesquisas de manipula\u00e7\u00e3o sonora\u201d e representa a \u00faltima grande obra de Schaeffer, que sempre duvidou de seu papel como m\u00fasico. A obra comp\u00f5e-se de pequenos estudos e, ap\u00f3s ela, Schaeffer abandonou a composi\u00e7\u00e3o por um longo per\u00edodo.<br>Segundo ele, essa composi\u00e7\u00e3o \u00e9 \u201cuma paisagem\u201d onde \u201cos objetos sonoros [\u2026] s\u00e3o dispostos para formar uma mat\u00e9ria sonora fundamental que jamais ser\u00e1 tra\u00edda.\u201d<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"solf\u00e8ge\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Solfejo do Objeto Sonoro<\/em><\/h4>\n\n\n\n<p>Para esta tradu\u00e7\u00e3o, utilizei o texto pronunciado por Pierre Schaeffer no pr\u00f3logo da grava\u00e7\u00e3o.<br>Os marcadores de tempo correspondem aos exemplos sonoros, que voc\u00ea pode <strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/PT-Traite-des-objets-musicaux-Traduction-portugaise-.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">ouvir aqui.<\/a><\/em><\/strong><\/p>\n\n\n\n<p>Tamb\u00e9m h\u00e1 um v\u00eddeo em que a compositora <strong>Beatriz Ferreyra<\/strong> explica o solfejo de Schaeffer, no qual colaborou ativamente ao lado de <strong>Guy Reibel<\/strong>. <\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"[P\u00e9dago] PIERRE SCHAEFFER : &#039;LE SOLF\u00c8GE DE L&#039;OBJET SONORE&#039;\" width=\"760\" height=\"570\" src=\"https:\/\/www.youtube.com\/embed\/pwDnpiecev8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"podcast\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Podcast sobre Pierre Schaeffer<\/h2>\n\n\n\n<p><a href=\"https:\/\/embed.radiofrance.fr\/francemusique\/diffusion\/2745b095-f0a9-42da-9938-434b02f4ff6d\">https:\/\/embed.radiofrance.fr\/francemusique\/diffusion\/2745b095-f0a9-42da-9938-434b02f4ff6d<\/a><\/p>\n\n\n\n<p><strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/PT-Podcast-Pierre-Schaeffer-Traduction-portugaise.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Textos do podcast sobre Pierre Schaeffer, traduzidos para o portugu\u00eas.<\/a><\/em><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Com Pierre Schaeffer (1910-1995), o pai da musique concr\u00e8te, o trem que passa, o farfalhar de pap\u00e9is e o som do vento tornam-se mat\u00e9ria sonora, um convite para ouvir de uma maneira diferente.<\/p>\n","protected":false},"author":1,"featured_media":5663,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"yes","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[258,182],"tags":[],"class_list":["post-5977","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr-pt","category-non-classe-pt"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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