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A propos de l’œuvre pour bande seule et de l’écriture musicale de Jean-Claude Risset
Abstract
The starting point of these two articles is an interview with Jean-Claude Risset about his work for tape.
From these analytical elements, Jean-Claude Risset reacts with an organisation in eleven chapters : Titles of the pieces of work and thematic classification (1), Chronology (2), Observations on the global length of the works (3), Number of tracks – Technological Potential (4), Little Boy (5), Acoustic determinism and writing, techniques of synthesis and evolutions (7), Shapes and time segmentation (Mutation 1, Electron-Positron, Echo pour John Pierce, Avel) (8), Unchanging and news(9), Memory in question (10), Research is a “somewhere else” (11).
Availability : Immediate - 15 pages
Création musicale, recherche, nouvelles technologies numériques et institution
Abstract
After technical remarks linked to I.T. tools, the existence of a discrepancy between technical invention and creation is contemplated.Then, in this context, the functioning of research institutions will be examined.
Availability : Immediate - 8 pages
La notion d’apogée dans Lemme-Icône-Epigramme de Brian Ferneyhough
Abstract
One listens to Lemme-Icône-Epigramme, a piece of work that was composed in 1981 by Brian Ferneyhough, and contemplates the definition and the presence or absence, of the concept of apogee.
Recollections about the historical context of classical contemporary music allow the calling to mind of the concept of apogee in pieces of work, as Lemme–Icône–Epigramme holds a peculiar place in contemporary classical creation for piano. Then starting from an analysis of the work realised by Richard Toop in 1988, one moves on to study the relations between the notion of apogee in this work, its initial aural material and, more widely, its form.
Availability : Immediate - 18 pages
La notion de frontière dans l'oeuvre musicale après 1945 : réalité ou utopie? - Exemples d'Ikhoor de Iannis Xenakis, d'Anahit de Giacinto Scelsi et de 4'33’’ de John Cage
Abstract
Here, one contemplates three interpretations of the idea of musical border, each of them being illustrated by the choice of a contemporary classical piece of work.
Using an audio commentary of the Ikhoor string trio (1978) by Iannis Xenakis, “border” is presented as a place of passage, a transition or bridge participating to the coherence of the piece of work. The second example, Anahit (1965) by Giancinto Scelsi, introduces the concept of “border work”, space that is closed by an indivisible perception of the piece of work. The “border work” moves the concept of border out of the piece of work. The last example – 4’33” (1952) by John Cage – symbolises a continuum between existence and art: it is the “piece of work without border”.
Without having the presumption of defining a typology of musical borders, one will be able to better contemplate the aesthetic relation, sometimes ambiguous, between border and piece of work.Availability : Immediate - 15 pages
Modèles de synthèse sonore informatique - Présentation des techniques de synthèse numérique et introduction à une esthétique du timbre synthétique
Abstract
In this work, one is presented with the main models of sound synthesis, simplifying the technical explanations in order to better relate the paradigm of elaboration to the tone. Then one is introduced to a school of critical thought associated to musical use of synthesis models and their scientific developments (JIM 2002), as the models do not represent the same interests for the composer willing to invent (and not to transform) the tone in relation to the writing of a piece.
The 1970s have seen the emergence of systematic thought linking harmony and tone. Today in the domain of digital sound, the issue seems to have changed towards the concepts of model, paradigm, representation and control of the tone.
The conclusion announces that we are already in another era of thought and direction, less constrained by paradigmatic frames, as if the idea of a meta-model represented by the simple question of the control of digital sound could make us forget the question of the choice of the model. The introduction to an aesthetic of synthetic sound, more than describing compositional archetypes, would be more oriented towards the study of the essential link between writing and imagination of the piece of work.
Availability : Immediate - 13 pages
Non répétition et œuvre musicale contemporaine. Réflexions à partir de l’œuvre pour piano d’Arnold Schoenberg
Abstract
Recollections concerning the specificities of the theory of information and analytic remarks about the piece for piano by Schoenberg imply a general question linked to writing : could one contemplate the existence of the contemporary classical work without the notion of repetition?
Publication : 2000 - Availability : Immediate - 10 pages
Présence du répertoire populaire dans la musique occidentale savante - Points de repère concernant la période contemporaine
Abstract
If one refers to common sense, the term “popular” implies diversity and richness of signification, as well as the notions of belonging to a population, of heritage, of use by the people or of the ideas that are addressed to the most people.
The relation between the generic definition of the word “index” and the already more precise definition of “western music” underlines a wide multidisciplinary field that would move from a popular culture to a purely musical creation (and never the opposite). However, the opposition between the terms “popular” and “erudite” does not appear in the wording of the subject. The given list of contemporary pieces confirms the influence of a popular index on western erudite music.
Furthermore, these pieces go beyond the frame of a study of “transcriptions and recordings of music of oral tradition that inspired the composers of today”. The terminological ambiguity, the epistemological position, the different points of view (the analyst, the composer, the historian), the coherence of choices make approaches numerous. Apart from the interrogations linked to the subject in itself, the writer has chosen to present the markers introducing a relation between the types of popular influence and examples of contemporary erudite pieces of work. (19 pieces, accompanied by discographic references).
Availability : Immediate - 6 pages
Quatre variations sur une mort annoncée - Penser l'existence de l'opéra contemporain après 1978
Abstract
After the announced death of opera, it is not enough to see that there exist more than 150 operas written since 1978 in order to describe a renewal of the genre, or simply its existence. The question of the presence of contemporary classical opera is used as the leading frame and is introduced as an approach that is likely to be useful for a deeper analysis of this subject.
Three moments both autonomous and complementary participate to the reflection. A quick historical assessment broadens to the treatment of the voice before 1978, which recalls a musical situation that was rich in potential. Then one is introduced to four operas by European and American composers, belonging to great and peculiar aesthetical movements: Europera 5 (1991) by John Cage, Dédale (1995) by Hugues Dufourt, El Niño (2000) by John Adams, and Das Mädchen Mit Den Schwefelhölzern (1996) by Helmut Lachenmann.
After a personal interpretation of the operas of Cage (absence) and Dufourt (separation), one will tackle the projects of a director, Peter Sellars (“dialogue”) and of a composer, Lachenmann (“totality”). The last part announces a distortion of the first commentary, which is provoked by the introduction of two aesthetical conceptions of music history. From progress in art (Theodor W. Adorno) to the metamorphosis of a genre (Danielle Cohen-Levinas), one will conclude on a perspective, again different, which highlights the announced issue on its own manner.
Disponibilité : Immediate - 10 pages
Se séparer pour découvrir un imaginaire – L’expérience d’une écriture musicale
Abstract
The author exposes a reflection concerning his research orientations in music writing, his research being linked to the will of separating himself from his first emotions and from a general cultural constraint – historical, aesthetical and technical -.
He wishes to favour the emergence of emotional breaks that are not predictable, and surprise himself by his creation. This article relates a stage of his progression and his interrogations.
Publication : 2002 - Availability : Immediate - 6 pages
Virtualité du son et écriture musicale : pour une création algorithmique du timbre
Abstract
This article relates the stakes of our research funded on the writing of the synthetic tone, via the control of a model of synthesis, principally of additive type.
An experimental phase shows the stakes of a relation between the elaboration of a synthesizer, its control, the perception and writing, and the invention of a tone beyond the predetermined natural and instrumental acoustic references (2nd and 3rd chapters). The first observations make us move towards a more efficient and vertical control of synthesis, as well as introducing a general problematic linked to the “all algorithmic”.
Availability : Immediate - 15 pages
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