Between listening and solfeges: affects and critical rewriting in musical composition

This work has two main objectives. The first is to affirm the singularity of critical rewriting as a special way of rewriting or of intertextual relationship in the field of musical composition. Comprising the rewriting as common practice of reworking materials, gestures, technics and musical procedures previously conceived and built, I seek here to defend the thesis that critical rewriting singularizes itself as a compositional operation that makes it possible for a work or ancient musical material to be heard by new listening modes. To better consolidate the thesis I organized the work into three major chapters, in which it correspondent themes produces a path to the thesis affirmation. In the first chapter I understand the affects while the plurality of expressive lines of diverse natures (qualitative, emotional, geographical, cultural, political, economic, historical, etc.) that appear and complicate one each other in the musical event and that affect us in the listening. In the second chapter is the concept of solfege I discuss, comprising it as the operational logics, necessarily attentive to the effects they produce in listening, of consolidating various heterogeneous materials in a musical composition. Solfege is thus a constellation of affects, a combination of modes to be affected, to feel, to see and to hear more or less determinable. Finally, the third chapter discusses the critical rewriting as an act of reworking characterized by crossing two kinds of solfeges at least, in order to disturb the original listening mode implied in the ancient materials or procedures, which are thus heard in other ways. The second main objective of this thesis is the integration of problems I seek to solve on my own compositional practical work with the theoretical and philosophical problematizations and themes discussed in each of the chapters. In this sense, it is a scientific research in which I seek to better understand my own compositional practice by relating it to works of other authors, through the injection of some collective problems and ideas that are also dear to me in my own artistic and compositional research (AU)