1st Edition

Live Looping in Musical Performance Lusophone Experiences in Dialogue

Edited By Alexsander Duarte, Susana Sardo Copyright 2024
    192 Pages 17 B/W Illustrations
    by Focal Press

    192 Pages 17 B/W Illustrations
    by Focal Press

    Live Looping in Musical Performance offers a diverse range of interdisciplinary perspectives on the application of live looping technology by lusophone performers and composers. This book explores various aspects, including the aesthetic component, instrumentation, and setup, highlighting the versatility of this technology in music-making.

    Written by musicians and researchers from Portuguese-speaking countries, this book comprises eleven chapters that delve into various musical contexts, genres, and practices. The novelty of including collaborative texts written alongside non-professional researchers offers the possibility of drawing from real experience to consider how live looping has been changing and "cyborguising" the concept of music, the ritual of the performance, the identity of the musicians, and the public's expectations.

    Live Looping in Musical Performance provides cutting-edge reading for composers and performers, as well as ethnomusicologists, students, and researchers working in the areas of music production, technology, and performance. This book addresses a broader audience, both academic and non-academic, who are interested in new processes of musical creativity in a post-human world.

    List of Contributors


    Introduction – Alexsander Duarte and Susana Sardo

    PART I Auto-ethnographic experiences (from the lab)

    1 From the studio to the stage: Reflections on live looping and instrumentality through the performance of Import/Export: Percussion Suite for Global Junk by Gabriel Prokofiev – Luís Bittencourt

    2 HASGS: Its repertoire using live looping – Henrique Portovedo

    3 Interaction and reaction: Reflections about performance, composing, and live looping – Iury Matias de Sousa

    4 Viola Sertaneja and live looping in the performance of Antônio Madureira’s Repente – Erik Pronk

    5 Quasitude: The processes and methods of the composition work for xylophone and live looping – Helvio Mendes and Samuel Peruzzolo Vieira

    6 Densus Bridge: For trumpet and live electronics (live looping and effects) – Elielson da Silva Gomes and Alexsander Duarte

    7 Perhaps the loop station is not the point José Valente

    PART II Collaborative writing experiences (from the field)

    8 Creating atmospheres with LL: The forms of creativity of Tiago Oliveira – Melina Aparecida dos Santos Silva, José Cláudio Siqueira Castanheira and Tiago Oliveira

    9 The loop pedal and the guitar – individual practice and its connection to sociality – Ricardo Jorge Monteiro Cabral and Jorge Vicente dos Santos Almeida

    10 Taking the live out of looping – composing with the loop pedal – Aoife Hiney and Isabel Novella

    11 The one and the many: Interview with Portuguese singer and songwriter Joana Lisboa – Samuel Peruzzolo Vieira and Joana Lisboa



    Alexsander Duarte is currently working as a Lecturer at the Federal University of Pará (UFPA) in Belém, Brazil. He is also a researcher at the "Music and Identity in the Amazon" Research Group at UFPA and a collaborator at the Institute of Ethnomusicology – Center for Studies in Music and Dance (INET-md), University of Aveiro, Portugal. As a musician and ethnomusicologist, his academic activities include concerts, as well as the publication of various forms of research output, such as CDs, ethnographic documentaries, articles, books, book chapters, and musical scores. His research interests encompass popular music in Lusophone territories, Intangible Cultural Heritage, and the application of audio technologies in sound production. As a postdoctoral researcher, he established LoopLab, a laboratory dedicated to live looping experimentation at the University of Aveiro.

    Susana Sardo is Associate Professor of Ethnomusicology at the University of Aveiro in Portugal and Visiting Professor at Goa University in India, for the Cunha Rivara Chair. Her research interests include music and post-colonialism, sound archives, music in the Lusophone world, and the intersection of music and post-dictatorship regimes. Since 2013 she has been actively engaged in promoting shared research practices in ethnomusicology using research as a means for social transformation in the field. Susana Sardo is also the co-chair of the Study Group of Historical Sources for the International Council for Traditional Music (ICTM). In 2007, she founded the University of Aveiro branch of the Institute of Ethnomusicology – Research Center for Music and Dance (INET-md), which she coordinated until January 2023.