A masterização como processo artístico-musical
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Data
2022
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Resumo
No contexto da produção musical discográfica, de forma genérica, a
masterização assume-se como uma prática que permite aperfeiçoar a mistura musical,
dando assim, após o seu término, por concluída a produção do projeto. Esta manifesta-se
como a última etapa, crucial para a definição da qualidade e identidade sonora do objeto
artístico. Entende-se como a última abordagem técnico-artística e documental de uma
obra musical na qual antecede a sua distribuição comercial.
Com o aparecimento de aplicações de masterização que recorrem a tecnologias
associadas à inteligência artificial, importa criar perspetivas de diferenciação entre
homem-máquina ao se enfatizar a dimensão artística desta etapa de produção, isto é, a
valorização das suas dimensões criativas uma vez que esta prática é indissociável do
produto que dela emerge: a música e o som.
Importa perceber que virtudes criativas podem ser associadas à singularização,
mesmo que subjetiva, do papel do masterizador. A partir das variadas referências
bibliográficas, constata-se que a masterização ainda se associa a considerações
agregadas à sua natureza técnico-documental, sendo desconsiderada da sua componente
estética. Destaca-se a pertinência deste estudo perante a ausência de reflexões
académicas sobre a dimensão artístico-musical do processo. Deste modo, a hipótese
geral, passa pela assunção de que a masterização faz parte do processo artístico e que o
seu domínio pode ser compreendido à luz da tipificação e exploração criativa dos
diversos parâmetros de expressão musical. Através da sistematização de variadas
referências literárias e análise de entrevistas, criaram-se condições para a consolidação
de um enquadramento teórico catapultando a masterização para a sua afirmação
enquanto prática artístico-musical.
In the context of a record musical production, in a typical way, mastering is recognized to be the practice that allows the improvement of a musical mix, thus, concluding the project’s musical production after its completion. This manifests itself as the last stage, crucial for defining sound quality and identity of the artistic object. It is recognized as the last technical-artistic and documental approach to a musical work before proceeding to its commercial distribution. With the emergence of mastering applications that use technologies associated with artificial intelligence, it is important to create perspectives of differentiation between man and machine by emphasizing the artistic dimension in this production process, that is, the valorization of its creative dimension since this practice is inseparable from the product that emerges from it: music and sound. It is important to understand that creative virtues can be associated with the singularization, even if subjective, of the role of the mastering engineer. From the various bibliographical references, it becomes apparent that mastering is still associated with considerations from its technical-documentary nature, disregarding its entire aesthetic component. The relevance of this study is reinforced in the absence of academic reflections on the artistic-musical dimension of the process. The main hypothesis is based on the assumption that mastering is part of the artistic process and that its artistic domain can be understood at the light of the typification and creative explorations of the various parameters of musical expression in mastering. Through the systematization of various literary references and analysis of interviews, conditions were created for the consolidation of a theoretical framework, catapulting the mastering towards its affirmation as an artistic-musical practice.
In the context of a record musical production, in a typical way, mastering is recognized to be the practice that allows the improvement of a musical mix, thus, concluding the project’s musical production after its completion. This manifests itself as the last stage, crucial for defining sound quality and identity of the artistic object. It is recognized as the last technical-artistic and documental approach to a musical work before proceeding to its commercial distribution. With the emergence of mastering applications that use technologies associated with artificial intelligence, it is important to create perspectives of differentiation between man and machine by emphasizing the artistic dimension in this production process, that is, the valorization of its creative dimension since this practice is inseparable from the product that emerges from it: music and sound. It is important to understand that creative virtues can be associated with the singularization, even if subjective, of the role of the mastering engineer. From the various bibliographical references, it becomes apparent that mastering is still associated with considerations from its technical-documentary nature, disregarding its entire aesthetic component. The relevance of this study is reinforced in the absence of academic reflections on the artistic-musical dimension of the process. The main hypothesis is based on the assumption that mastering is part of the artistic process and that its artistic domain can be understood at the light of the typification and creative explorations of the various parameters of musical expression in mastering. Through the systematization of various literary references and analysis of interviews, conditions were created for the consolidation of a theoretical framework, catapulting the mastering towards its affirmation as an artistic-musical practice.
Descrição
Orientação: Luís Cláudio dos Santos Ribeiro
Palavras-chave
MESTRADO PRODUÇÃO E TECNOLOGIAS DO SOM, AUDIOVISUAL, TECNOLOGIAS DO SOM, MASTERIZAÇÃO DE MÚSICA, MÚSICA, ESTÚDIOS DE GRAVAÇÃO, CRIAÇÃO ARTÍSTICA, CRIATIVIDADE, AUDIOVISUAL, SOUND TECHNOLOGIES, MASTERING MUSIC, MUSIC, RECORDING STUDIOS, ARTISTIC CREATION, CRIATIVITY