Substituição instrumental e difusão do repertório: um relato sobre “Directionlessness” (2020/2022), de Luís Bittencourt

Fernando Martins de Castro Chaib; Luis Alberto Teixeira Bittencourt

doi:10.33871/vortex.2026.14.11015

Authors

Fernando Martins de Castro Chaib Universidade Federal de Minas Gerais, Escola de Música, PPGMUS | Belo Horizonte, Minas Gerais, Brasil https://orcid.org/0000-0001-9606-6335
Luis Alberto Teixeira Bittencourt Instituto Politécnico de Castelo Branco | Castelo Branco, Portugal / Universidade de Coimbra | Coimbra, Portugal https://orcid.org/0000-0001-6141-1792

DOI:

https://doi.org/10.33871/vortex.2026.14.11015

Keywords:

Instrumental substitution, Performance, Percussion, Innovation, Dissemination

Abstract

The eclectic instrumentation of percussion works often restricts their dissemination due to the difficulties in obtaining specific instruments. Cultural, budgetary and/or logistical aspects end up limiting the repertoire dissemination, restricting the public enjoyment of some musical practices. It is up to the percussionist to find creative solutions to supply/replace certain materials, being able to carry out the performance of works that were “unattainable” due to instrumental requirements, expanding the impact of their music-making through the dissemination, communication and creative potential of the works and their performance. We selected Directionlessness (2020/2022), by Luís Bittencourt (1981-), as a case study to demonstrate the possibilities of instrumental substitution. Supported by authors such as Gianesella, Schick, La Frave, Reed, Stene, Fernando e Santos, we suggest replacing the glass pieces, comparing them sonically, as well as reflecting on the musical and performative viability of the proposed replacement.

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Author Biographies

Fernando Martins de Castro Chaib, Universidade Federal de Minas Gerais, Escola de Música, PPGMUS | Belo Horizonte, Minas Gerais, Brasil

Fernando Martins de Castro Chaib (www.fernandochaib.com) He is a percussionist, musical director, and arranger. He teaches undergraduate and graduate courses at the School of Music of the Federal University of Minas Gerais. Internationally awarded, he performs premieres and first auditions in Brazil, the USA, South America, Europe, and Asia in solo performances, chamber music, integrated arts, and symphonic ensembles. Eclectic, his discography comprises more than 12 albums. He is the founder and member of the ¿Silencie? Percussion Collective. In Portugal, he founded the Simantra Percussion Group. He holds a PhD and a Master's degree, with postdoctoral studies completed at the University of Aveiro (Portugal). In the academic field, he has conducted research and projects in percussion that have earned him awards, patents, and published articles in Brazil and abroad. Since 2021, he has been the Editor-in-Chief of Per Musi Academic Music Journal.

Luis Alberto Teixeira Bittencourt, Instituto Politécnico de Castelo Branco | Castelo Branco, Portugal / Universidade de Coimbra | Coimbra, Portugal

Luís Bittencourt (www.luisbittencourt.com) He is a percussionist, composer, improviser, producer, researcher (PhD), and science communicator. He teaches in the Master's program in Musical Computing at the University of Coimbra (UC), at the Higher School of Applied Arts of the Polytechnic Institute of Castelo Branco (ESART-IPCB), at the Higher School of Arts of Porto (ESAP), and at the International University of La Rioja (UNIRIOJA). He holds a PhD from the University of Aveiro (UA) and a bachelor's degree from the Federal University of Santa Maria (UFSM). His works have been awarded prizes and commissioned by institutions such as the Guildhall School of Music and Drama and Cannes Lions. He has collaborated with artists such as Lee Ranaldo, Phill Niblock, David Cossin, Jon Rose, and Found Sound Nation. His research on experimental creativity, instrumentality, and sound objects has received international recognition and has been presented at events such as EPARM, PSN, and Darmstadt. He serves on the editorial boards of Shima and Per Musi and reviews for art and music journals and conferences.

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