Born in Angola in 1970, Álvaro Barbosa is a Full-Professor of Communication and Media and
Vice-Rector for Strategic Development at the University of Saint Joseph in Macau, a Special
Administrative Region of China. Holding a Doctorate degree in Computer Science and Digital
Communication from Pompeu Fabra University in Spain and an Undergraduate degree in
Electronics and Telecommunications Engineering from University of Aveiro in Portugal, his
core academic research is grounded on the field of Sound and Music Technology, which he
developed as a researcher at the Barcelona Music Technology Group (MTG) between 2001
and 2006. His R&D work, on experimental Network Music and Interactive Sound Design
Systems, was consolidated in 2010 during a Post-Doctoral Research Position at Stanford
University in the Center for Computer Research in Music and Acoustics (CCRMA). His
academic research has been published extensively in peer-reviewed conferences and
journals, collaborating with a large number of renowned international Academics. He has
also produced, presented and performed various artistic projects worldwide, featuring
creative work in Interactive Installations, Electronic and Acoustic Music, Photography,
Sound Design, Computer Animation and Audiovisual Media Production. In recent years, his
focus as a Scholar and Academic, has been in fostering Systematic Creativity and Design
Thinking as essential processes applied to Innovation and Entrepreneurship, by mentoring
start-ups, supervising and teaching in Design, Cultural Studies, Media Communication and
MBA programs.

The Grammar of Sound in Film

Today, the importance of sound and music in audiovisual narratives is well
acknowledged. However, Sound and Music Design in film has been explored
creatively since the advent of Talkies in the 1920’s. Some of the most well
established practices in the use of sound come from the inspiration of film directors
and composers, but in recent years the systematic study of Sound and Music in Film
became increasingly relevant in academic domains, as a subject of study in research
projects. With no intention to provide definite answers to the challenges presented by
this field, but instead to point into a possible direction for developing a Grammar of
Sound in Film, this presentation introduce the Film Sound Analysis Framework
(FSAF). The FSAF is a tool for critical analysis of sound and Music in Film, that is
based on the relationship between Sound Semantics and Syntax from a
Taxonomical and Applied perspective. Using the FSAF in longitudinal studies of film,
allows for a systematical analysis by the observation of similar variables, leading to
the identification and assessment of patterns or trends, when using Sound to convey
meaning and foster emotion.