{"references": ["Cook, N. (2009). Changing the musical object: Approaches to performance analysis. Music's Intellectual History , New York, RILM, 775-790.", "Costa, V. F., Brito, L. N., & Ciacchi, M. (2018). Mudando o objeto mais uma vez: um modelo possivel de analise morfol\u00f3gica. In XXVIII Congresso da ANPPOM-Manaus/AM", "Feichas, L. V. (2015). The Program Music in Valle's 26 Characteristic and Concert Preludes for Violin Alone: The Performer-Audience Relation on Stage. European Society for Cognitive Sciences of Music (ESCOM), 9, 2015. Manchester, 2015, p. 64.", "Keller, D., Barreiro, D. L., Queiroz, M. & Pimenta, M. S. (2010). Anchoring in ubiquitous musical activities. In Proceedings of the International Computer Music Conference (pp. 319-326). Ann Arbor, MI: MPublishing, University of Michigan Library", "Keller, D., & Feichas, L. (2018). Ecocompositional and Performative Strategies for Creative Usage of Everyday Sounds: Creative Semantic Anchoring. Leonardo , 51(2), 195-196.", "Keller, D., Messina, M., da Silva, C. E., & Feichas, L. V. (2020). Embasamento da Ancoragem Sem\u00e2ntica Criativa. Journal of Digital Media & Interaction , 3(5), 117-132.", "Messina, M., Svidzinski, J., de Menezes Bezerra, D., & Ferreira, D. (2019) Live Patching and Remote Interaction: A Practice-Based, Intercontinental Approach to Kiwi. In 1 4th International Symposium on Computer Music Multidisciplinary Research .", "Messina, M., Feichas, L. V., Ribeiro, L. P. (2019). Musique Concr\u00e8te Instrumentale and Coloniality of Knowledge: Helmut Lachenmann, Flausino Valle and the Euro-normative Bias of New Music Genealogies. II Congreso MUSAM . Madrid: Universidad Complutense de Madrid.", "Messina, M., G\u00f3mez Mej\u00eda, C. M., Feichas, L. V., Silva, C. E. & Martins, A. J. S. (2020). M\u00fasica Experimental, T\u00e9cnicas Estendidas e Pr\u00e1ticas Criativas como Ferramentas Decoloniais: um relato de v\u00e1rias tor\u00e7\u00f5es e tens\u00f5es. PROA: revista de antropologia e arte."]}

Creative semantic anchoring (ACS) is based on the use of verbal indicators in order to facilitate creative processes. Previous research within the g-ubimus, and in particular by the Amazon Center for Music Research, has focussed on the interpretative study of Flausino Valle’s work, based in turn on the compilation of a a set of methodological tools called Interpretative Tokens (in Portuguese, “Fichas Interpretativas” ) [Feichas 2015; Keller e Feichas 2018; Keller et al 2020]. The interpretative tokens were created by Leonardo Feichas in order to help musicians perform the extended techniques called for in Valle’s scores. In general, the results have shown an enhanced response to notated material thanks to the help of verbal clarifications. Now, our proposed piece Contracapas takes verbal cues and textual tokens as a starting point in order to initiate a process that transcends notation and redimensions the discursive hegemony of “the score” as an ultimate and nonnegotiable source of musical “truth”. While Keller et al (2010) enumerate “the score” as part of a set of “social paraphernalia” that potentially “breaks down in the context of ubiquitous music” (Keller et al 2010: 320), Nicholas Cook also recognises the disproportionate hegemony of the score in the context of musicological investigations [Cook 2009; cf. also Costa, Brito and Ciacchi 2018].