Guilherme Schmidt Câmara
In my Ph.D. project, I will be investigating the interaction between timing and sound at the level of rhythmic production, as well as perception, in live groove-based contexts. In the ‘production’ component, a series of performance experiments will seek to answer to what extent instrumentalists might systematically manipulate ‘sound’ parameters – such as intensity, acoustic envelope and timbre – when playing under various instructed microrhythmic timing conditions (‘laid-back’, ‘pushed’, or ‘on-the-beat’). In the ‘perception’ component, by using real musical stimuli from recordings of the performance experiments (as opposed to artificial/synthetic sounds more commonly used in audio perception studies) a series of ‘P-center’ (perceptual center) experiments will seek to discern how various microtiming configurations might alter subjects’ temporal perception of those instruments’ sounds – both when presented as single, isolated events, as well as in compound forms. The extent to which cultural familiarity with groove-based genres and/or instrument training may influence both the general production and perception of micro-temporal/sound relationships will also be of central concern.
My Ph.D. is a part of the Timing and Sound in Musical Microrhythm (TIME) project at the Department of Musicology (IMV). http://www.hf.uio.no/imv/english/research/projects/time/
I have a Bachelor’s (2013) and Master’s degree (2016) in Musicology from the Department of Musicology at the University of Oslo. My main academic area of interest has been rhythmic analysis of groove-based music – that is, the study of temporal relationships between constituent groove elements, all the way from the macro-structural level (measure-length, basic rhythmic patterns) to the micro level (order of tens of milliseconds). Questions such as ‘what makes a rhythmic pattern, in fact, groove’, and ‘how do performers successfully produce/perceive groove’ have been of central importance to my research. In my master’s thesis, I empirically investigated the extent to which pioneer musicians of classic funk and jazz-funk (1967-1971) applied microrhythmic expression devices such as ‘swing’ (non-isochronous subdivision) as well as asynchrony, at the 16th-note level.
Parallel to my scholarly pursuits, I have been active as a performing musician (guitar and percussion) for several years, playing with a variety of funk/soul, reggae/ska and samba/bossa-nova groups, as well as a composer/arranger and recording engineer/producer. As of 2017, my main musical activity is with the revivalist, funk-soul ensemble, ‘Baba Soul & The Professors of Funk’, where I am guitarist and band director/arranger.
Camara, Guilherme Schmidt (2016). Swing in early Funk and Jazz-Funk (1967-1971): Micro-rhythmic and Macro-structural investigations. Master thesis, University of Oslo
Baba Soul & The Professors of Funk - Chronotapes. So Real International 2017. (Album - Producer/Composer/Arranger/Performer) [Soul/Funk]
Chakras - Understand. 2015. (Album - Perfomer/Arranger) [Reggae/Ska]
- Danielsen, Anne; Nymoen, Kristian; Haugen, Mari Romarheim & Câmara, Guilherme Schmidt (2017). Project presentation: Timing and Sound in Musical Microrhythm (TIME).
- Martin, Charles Patrick; Gonzalez Sanchez, Victor Evaristo; Kelkar, Tejaswinee; Zelechowska, Agata; Berggren, Stig Johan; Hopgood, Christina; Wallace, Benedikte; Brustad, Henrik; Utne-Reitan, Bjørnar; Ellefsen, Kai Olav; Nygaard, Tønnes Frostad; Søyseth, Vegard Dønnem; Câmara, Guilherme Schmidt & Diaz, Ximena Alarcón (2017). Ensemble Metatone - Improvised Touchscreen Performance.