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This paper addresses issues related to glitch music, a genre linked to the aesthetics of error that emerged in the 1990s. It is divided into two points: in the first, the research starts with initial definitions of glitch and glitch music, seeking to outline the general context in which the genre developed. We also raise conceptual questions about "error", seeking to point out the use of error as an aesthetic in music. In the second, we show three different approaches to glitch in three different composers: Yasunao Tone, Oval and Alva Noto. Finally, the work seeks to open up new discussions about what the glitch music genre is and what it encompasses.
About the author
With a Master's degree in Art, Culture and Languages and a Bachelor's degree in guitar, both from the Federal University of Juiz de Fora, he has been dedicated to researching and producing glitch art and glitch music since 2010. He is a member and founder of the research and sound experimentation group 4zero4, through which he has produced various experimental productions and performed at festivals.
