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1
Gärtner, Susanne. "Werkstatt-Spuren : die Sonatine von Pierre Boulez : eine Studie zu Lehrzeit und Frühwerk /." Bern [etc.] : P. Lang, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783039112029.
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Walters, David. "The aesthetics of Pierre Boulez." Thesis, Durham University, 2003. http://etheses.dur.ac.uk/3093/.
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To enable the reader to find references as quickly and easily as possible, I have grouped all references together in the bibliography in alphabetical order. Texts by the same author are distinguished first by year and second, if there are several texts from the same year, by letter. Interviews and writing collaborations (including published correspondence) involving Boulez are also ordered alphabetically. The year given at the beginning of each bibliographical entry is, in the majority of cases, the year in which the text was first published (not necessarily the year of the edition cited). For all writings written by Boulez, I have provided the original title under which the text in question was first published (usually in French). Many articles have subsequently been translated into English and therefore I have decided to provide page references for both versions. For all texts by writers other than Boulez, I have cited the version of the text I have used. Wherever possible, I have cited the existing English translations of texts originally written in French. However, on many occasions I have considered it necessary to make alterations to the published translations. This is particularly applicable to Boulez on Music Today (1971) and Orientations (1986), both of which display an often heavy-handed and rather inaccurate approach to the task of translating specific concepts employed by Boulez. In contrast. Stocktakings of an Apprenticeship (1991) has required only occasional minor amendments. All changes to the published English translations are acknowledged in the corresponding footnote. None of the material m this thesis has previously been submitted for a degree in this or any other University. The copyright of this thesis rests with the author. No quotation from it should be published without prior written consent and information from it should be acknowledged. I have received permission to exceed the word limit from the Graduate School Committee at the University of Durham.
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Campbell, Edward. "Boulez and expression : a Deleuzoguattarian approach." Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/22797.
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Hecker, Martin. "Formreflexion und Struktur der 2ème Sonate pour piano von Pierre Boulez : von der Inszenierung eines Übergangs /." Hamburg Kovač, 2008. http://d-nb.info/990746321/04.
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Nemecek, Robert. "Untersuchungen zum frühen Klavierschaffen von Pierre Boulez /." Kassel : G. Bosse, 1998. http://catalogue.bnf.fr/ark:/12148/cb370328804.
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Heinemann, Stephen Heinemann Stephen Heinemann Stephen. "Pitch-class set multiplication in Boulez's Le marteau sans maitre /." Thesis, Connect to this title online; UW restricted, 1993. http://hdl.handle.net/1773/11257.
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Gärtner, Susanne. "Werkstatt-Spuren: die Sonatine von Pierre Boulez eine Studie zu Lehrzeit und Frühwerk." Bern Berlin Bruxelles Frankfurt, M. New York, NY Oxford Wien Lang, 2005. http://d-nb.info/989810186/04.
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Padilla, Alfonso. "Dialectica y musica : espacio sonoro y tiempo musical en la obra de Pierre Boulez /." Helsinki : Suomen musiikkitieteellinen seura, 1995. http://catalogue.bnf.fr/ark:/12148/cb358110288.
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Galaise, Sophie. "Les écrits et la carrière de Pierre Boulez catalogue et chronologie /." [Montréal] : Université de Montréal, 2001. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ82729.
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Thèse (Ph. D.)--Université de Montréal, 2003."NQ-82729." "Thèse présentée à la faculté des études supérieures en vue de l'obtention du grade de philosophiae doctor (Ph. D.) en musicologie." Version électronique égalemnt disponible sur Internet.
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Afonso, Luis Antonio Eugenio. ""Dialogue de L'Ombre Double", de Pierre Boulez : abordagens interpretativas." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284323.
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Orientador: Silvio Ferraz Mello FilhoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T08:43:08Z (GMT). No. of bitstreams: 1 Afonso_LuisAntonioEugenio_D.pdf: 4378446 bytes, checksum: 6e099355d88b059fe281e3f02bbad006 (MD5) Previous issue date: 2006
Resumo: O presente trabalho tem como intenção fundamental a realização musical da obra ¿Dialogue de L¿Ombre Double¿, de Pierre Boulez, composta para clarinete solo ao vivo, clarinete pré-gravado e Live Electronics. O projeto investiga o processo que o intérprete percorre para vencer os recursos técnicos exigidos pela escrita musical do compositor, com momentos de reflexão interpretativa a respeito dessas exigências estilísticas e técnicas que a linguagem da música contemporânea requer, apresentando algumas visões técnico-interpretativas usadas pelo intérprete na realização progressiva da obra em questão. São apresentadas também discussões entre o intérprete e alguns compositores brasileiros convidados, sobre essas especificidades técnico-interpretativas em trechos desta obra, bem como uma breve descrição das técnicas utilizadas por Boulez tanto para a realização dos trechos pré-gravados, realizados em estúdio, como para a sonorização e a espacialização do som na sala de concerto, no momento da performance
Abstract: The fundamental intention of the present work is the musical realization of the oeuvre ¿Dialogue de L¿Ombre Double¿, from Pierre Boulez, composed for live solo clarinet, together with pre-recorded clarinet and Live Electronics. The project relates the investigation of the process that the performer goes through in order to master the technical resources demanded by the musical writing of the composer, with moments of interpretative reflections regarding the challenges and types of language that contemporary music requires, presenting a few technical-interpretative points of view used by the performer throughout the progressive realization of the researched oeuvre. Discussions between the performer and some invited Brazilian composers regarding the technical-interpretative specificities used in parts of the work are also presented, as well as a brief description of the techniques employed by Boulez for the sonorization and specialization of the sound in the concert hall during the performance
Doutorado
Doutor em Música
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Bonnec, Damien. "Pierre Boulez et Stéphane Mallarmé : essai d’une herméneutique comparée." Thesis, Rennes 2, 2019. http://www.theses.fr/2019REN20054.
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Amateur éclairé des belles-lettres, Pierre Boulez (1925-2016) s’est attaché, à plusieurs reprises, à mettre en musique quelques uns des auteurs les plus originaux de la littérature moderne. Beaucoup commenté, son rapport avec la poésie de Stéphane Mallarmé (1842-1898) s’est manifesté à plusieurs reprises, comme dans le cycle Pli selon pli - composé durant près de trois décennies - ou dans sa Troisième Sonate. Si la problématique dite de l’œuvre ouverte fut un aspect particulièrement abordé, l’influence du poète ne semble pourtant pas s’arrêter à une telle conception de la forme. Aussi, la référence à Mallarmé, n’ayant pas toujours été explicite, devra être recherchée dans des œuvres exemptes de tout traitement textuel. En effet, si le nombre d’œuvres bouléziennes ne font plus aucune allusion au poète, elles ne paraissent pas moins s’inscrire dans le sillage creusé par la rencontre avec la poétique mallarméenne. En dehors des questions relatives aux formes ouvertes, il s’agira de saisir ce qui, dans le dialogue du compositeur et du poète, se déploie. Pour ce faire, la présente thèse entend nouer un dialogue des plus féconds avec la pensée esthétique contemporaine. Prenant appui sur la philosophie française - Deleuze en tête - , il semble que des notions telles que le pli, la résonance ou le suspens soient alors en mesure de thématiser et d’approfondir l’étroite relation entre Boulez et MallarméEnlightened amateur of the litterature, Pierre Boulez (1925-2016) has set several times to put to music some of the most original authors of modern litterature. Many commented, his relationship with the poetry of Stéphane Mallarmé (1842-1898) has manifested itself several times, as in the cycle Fold by fold - composed for nearly three decades - or in his Third Sonata. If the open work’s problematic was a particularly discussed aspect, the influence of the poet does not seem to stop at such a conception of form. Also, the reference to Mallarmé, having not always been explicit, will have to be sought in works devoid of any textual treatment. Indeed, if many Boulezian works no longer make any reference to the poet, they do not seen less to suscribe in the wake digged by the meeting with the Mallarmean poetics. Apart from the questions relating to open forms, it will be a question of grasping what, in the dialogue of the composer and the poet, unfolds. To do this, the present thesis intends to engage in a most fruitful dialogue with contemporary aesthetic thought. Based on French philosophy – as Deleuze’s one - it seems that notions such as fold, resonance or suspense are then able to thematize and deepen the close relationship between Boulez and Mallarmé
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Srawley, Steeve. "Analyse et composition musicale par ordinateur, de Hiller à Boulez." Paris 4, 1995. http://www.theses.fr/1994PA040160.
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Histoire de l'analyse et la composition de la musique avec ordinateur, à partir des expériences de Hiller et Isaacson ("Suite Illiac", 1956) jusqu'à "explosante-fixe" de Boulez. Divers approches et algorithmes sont explicités, et des mises-en-œuvre pratiques suggérées. La synthèse des recettes d'"explosante-fixe" est précédée par une analyse détaillée de l'œuvre. Une transcription de la partition est incluse en annexe. Une application originale d'aide à l'analyse et à la composition par ordinateur est décrite et les algorithmes de plusieurs procédures-clés sont schématisés sous forme d'organigramme. Les codes sources (en langage c) de ces procédures sont données en annexeA critical survey of computer applications in musical analysis and composition, from the pioneering experiments of Hiller and Isaacson ("Illiac Suite", 1956) to "explosante-fixe" by Boulez. Diverse approaches are presented together with practical applications of the algorithms. The synthesis of Boulez’s recipes for "explosante-fixe" is preceded by a detailed analysis of the work. A transcription of the score is included in an annex. A prototype program for computer-aided analysis or composition is described and organigrams of the algorithms for several key procedures are given. Source codes (in c language) are included in an annex
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Tissier, Brice. "Mutations esthétiques, mais continuité technique dans l’œuvre de Pierre Boulez." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040256.
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L’œuvre musicale de Pierre Boulez est l’une des œuvres majeures de la seconde moitié du vingtième siècle. Celle-ci a évolué entre 1945 et 2008 conjointement avec les écrits de Boulez, dans lesquels sa réflexion traite, successivement, les différents aspects de son langage : la théorie entre 1948 et 1963, puis l’esthétique entre 1963 et 1995.Le premier livre de cette thèse traite des évolutions esthétiques de Boulez. Les deux analyses proposées dans le second livre, consacrées aux deux groupes d’œuvres Domaines/Dialogue de l’ombre double et Anthèmes/Anthèmes 2, ont pour objectif de démontrer la complexité toujours présente ainsi que la rigueur de la démarche compositionnelle de Boulez à la lumière des esquisses, nonobstant une simplicité apparente des éléments constitutifsPierre Boulez’s musical compositions are one of the most important compositions in the second half of the twentieth century. They moved a lot between 1945 and 2008 together with his written works, in which his thought deals successively with the different aspects of his language : the theory between 1948 and 1963, then the esthetics between 1963 and 1995.The first part of this doctoral dissertation deals with Boulez’s esthetic evolutions. The two analyses in the second part – devoted to Domaines/Dialogue de l’ombre double and Anthèmes/Anthèmes 2 – aim at demonstrating in the light of the sketches the complexity and the rigour of Boulez’s reasoning when he composes, although the constituents seem apparently simple
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Siclari, Alessio. "The 'objets sonores' : rethinking structural conventions in Schaeffer, Boulez, Grisey." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428771.
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Whitney, Kathryn. "Determining indeterminacy : vision and revision in the writings of Pierre Boulez." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:1ff0a118-6df6-4352-a567-303b2235ce31.
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This study is framed by questions about the wider implications of a belief in Boulez's independent indeterminate aesthetic for divergent trends such as Europeanism vs. Americanism, modernism vs. postmodernism and serial structure vs. non-serial structure. In conclusion it suggests that an ongoing tendency toward historical revisionism in Boulez's texts may be a function of the difficulty in articulating an intentional indeterminate aesthetic in light of the serial inheritance.
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Berardinelli, José Pedro Cleto. "Pensamento e técnica composicional ao longo da produção de P. Boulez." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/8272.
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Mestrado em MúsicaO presente trabalho pretende encontrar relações, de concordância ou ruptura, ao longo da produção composicional de Pierre Boulez. Para isto, são realizadas análises de obras deste compositor, pertencentes a contextos criativos distintos – nomeadamente, Structures Ia, dois andamentos de ciclos distintos de Le marteau sans maître, Messagesquisse e Dérive –, para, a par com um sustentamento e fundamentação bibliográfica, serem retiradas conclusões relativas aos recursos técnicos e ao pensamento composicional de Boulez, abrangendo um âmbito temporal de cerca de cinquenta anos de produção.
The present work seeks to find relations, of agreement or rupture, along the compositional output of Pierre Boulez. For this, analysis are carried out of works created by this composer, belonging to different creative contexts – namely, Structures Ia, two movements from different cycles of Le marteau sans maître, Messagesquisse and Dérive –, in order to, along with a bibliographic background and support, establish conclusions concerning Boulezʼs technical resources and compositional thinking, covering some fifty years of creations.
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Fernando, Samantha A. M. "Music and text : centre and absence." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:d4f7f4fc-7119-45e6-8c5b-ac0aa0909972.
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This dissertation examines Boulez's notion of 'centre and absence' in relation to his use of text in composition and how his ideas have acted as a springboard for my own compositions. Boulez's writings about 'centre and absence' are investigated as well as its implementation in two vocal works: Improvisation II of Pli selon Pli and Cummings ist der Dichter. This is followed by a detailed commentary on my own music, demonstrating why and how I became interested in Boulez's notion of 'centre and absence' and the effect this has had on both my vocal and my instrumental music. The culmination of this study is my work Sense of Place, for large ensemble, which uses the novel Invisible Cities by Italo Calvino as a 'centre and absence'.
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Pare, Jean. "Langage musical et expression de l'être /." Thèse, Trois-Rivières : Université du Québec à Trois-Rivières, 2000. http://www.uqtr.ca/biblio/notice/tablemat/03-2216537TM.html.
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Cheong, Wai Ling. "The Rite of Spring: Rhythmic Rebirths as Delivered by Messiaen and Boulez." Georg Olms Verlag, 2019. https://slub.qucosa.de/id/qucosa%3A34392.
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In drei Fallstudien werden die Analysen Pierre Boulez' und Olivier Messiaens zu Igor Strawinskys 'Le sacre du printemps' einem Vergleich unterzogen.The article is a comparative study of Boulez's and Messiaen's analyses of 'Le sacre du printemps' by Igor Stravinsky.
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Dal, Molin Paolo. "Introduction à la famille d'œuvres…Explosante-Fixe… de Pierre Boulez : Etude philologique." Nice, 2007. http://www.theses.fr/2007NICE2019.
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La famille …explosante-fixe… est un groupe d’œuvres in progress, liees a un meme materiau de depart, conçu par Pierre Boulez au début des annees 70. La thèse presente en premier lieu la généalogie de cette famille, reconstituée à partir des sources (manuscrits musicaux, editions, enregistrements, correspondances et autres documents). En second lieu sont etudiés trois de ses membres : „…explosante-fixe. . . ” (1971) – l’œuvre-souche –, explosante-fixe pour effectif de chambre et dispositif electronique en temps reel (1972-1974) et rituel. In memoriam bruno maderna pour orchestre en huit groupes et percussions ([1972]-1975). Le travail se fonde principalement sur deux approches considérées comme interdépendantes, à savoir l’étude critique des sources et l’analyse musicale theory-basedThe …explosante-fixe… family is a group of works in progress that are connected through the same initial material, conceived by Pierre Boulez in the early 1970s. The dissertation first presents the family genealogy reconstructed from the extant sources (musical manuscripts, editions, recordings, correspondence, and other documents). Three of the works are then studied in detail: „…explosante-fixe. . . " (1971) – the founder –, explosante-fixe for chamber ensemble and live-electronics (1972-1974), and rituel. In memoriam Bruno Maderna for orchestra in eight groups and percussion ([1972]-1975). The study advances two approaches which are considered to be interdependent : critical investigation of sources and theory-based analysis
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Gonçalves, Miguel Barata. "O estilo composicional de Pierre Boulez nas obras Anthèmes e Anthèmes 2." Master's thesis, Universidade de Aveiro, 2007. http://hdl.handle.net/10773/8973.
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Mestrado em MúsicaA presente dissertação propõe-se realizar um estudo analítico das obras Anthèmes e Anthèmes 2 do compositor Pierre Boulez. O corpo do texto é constituído por cinco capítulos e bibliografia. Em apêndice encontram-se as transcrições do material que esteve na origem da composição destas obras e que consultámos na Fundação Paul Sacher, em Basileia. Este trabalho pretende ser um contributo para o conhecimento analítico da obra deste compositor que marcou profundamente a evolução da música a partir da segunda metade do século XX.
The proposal of this work is to make an analytical study of the pieces Anthèmes and Anthèmes 2 of the composer Pierre Boulez. The corpus of the work is made of five chapters and a bibliography. In append there are the transcriptions of the material which was in the origin of the composition of these works that was consulted in the Foundation Paul Sacher, in Basel. This dissertation pretends to give some information for the analytical knowledge of the work of this composer which marked profoundly the evolution of music after the second half of the twentieth centaury.
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Rocca, Francisco <1977>. ""Structures I" per due pianoforti di Pierre Boulez: studio del processo compositivo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/7883/1/Rocca_Francisco_tesi.pdf.
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La dissertazione presenta uno studio del processo compositivo del primo libro di Structures (1951-1952) di Pierre Boulez, frutto di una ricerca condotta sugli schizzi conservati presso la Paul Sacher Stiftung di Basilea. Si è prestato particolare attenzione a mettere in evidenza l’impianto organico del ciclo, dalla definizione del dispositivo di partenza fino agli sviluppi che caratterizzano ogni brano. L’analisi dei procedimenti compositivi è accompagnata dalla ricostruzione integrale dei piani seriali che regolano le diverse componenti della scrittura musicale, mostrando il modo in cui Boulez allarga via via le possibilità della tecnica seriale: dalla rigidità di concezione di Structure Ia alle molteplici soluzioni esperimentate in Structure Ib, passando per la fase intermedia rappresentata da Structure Ic.The dissertation presents a study of the compositional process of the first book of Structures (1951-1952) by Pierre Boulez, and is the result of a research based on the sketches kept at the Paul Sacher Foundation in Basel. Special attention has been paid to highlight the organic conception of the cycle, from the original kernel to the developments that characterize each piece. The analysis of compositional procedures is accompanied by a complete reconstruction of the serial schemes that regulate the interaction between the four musical parameters, showing the way in which Boulez develops the possibilities of serial technique: from the automatisms of Structure Ia to the multiple solutions experimented in Structure Ib, passing through the intermediate stage represented by Structure Ic.
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Meïmoun, François. "La construction du langage musical de Pierre Boulez : la Première Sonate pour piano." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0040.
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A l'heure où de nombreuses études ont déjà été effectuées sur Pierre Boulez, tant d'un point de vue biographique qu'analytique, peu de recherches ont été effectuées sur ses jeunes années de compositeur. en effet, les premières œuvres que Pierre Boulez inscrivit à son catalogue furent composées à la sortie du conservatoire. sa formation académique fut très brève et, dès ces premières compositions, Pierre Boulez voulu créer un langage nouveau, inouï même, souhaitant que sa pensée musicale ne laissa transparaître aucune influence décelable du passé. mais comment s'organisa dans cet espace de temps si court l'évolution de sa pensée artistique et créatrice? Avec quelles références musicales, littéraires, picturales celle-ci s'opéra-t-elle? mais surtout, avec quels moyens compositionnels? Quels furent, en un mot, les jalons successifs de cette table rase revendiquée? Comment apparaissent dans ses partitions les traces de ses évolutions successives? Comment s'observe, dans la pensée et l'écriture musicales de P. Boulez, ce conflit progressif qui s'opéra entre la modernité officielle (A. Honegger, le groupe jeune france, ...) et l'avant-garde naissante regroupée initialement autour de la personnalité, plus en marge, de René Leibowitz?cette vaste étude, pour laquelle j'ai déjà entrepris de nombreuses analyses dans les directions sus présentées, a l'ambition, outre d'analyser la vie musicale et intellectuelle d'un pan peu connue de l'existence d'un compositeur majeur de notre temps, de vouloir remonter à la source d'un langage musical et esthétique qui s'édifia en un espace de temps très court et dans un moment historique, intellectuel et musical en complet bouleversementAt a time when numerous studies have already been carried out on Boulez stone, both biographically and analytically, little research has been done on his young years as a composer. in fact, the first works that Boulez wrote in his catalogue were composed at the end of the conservatory. his academic training was very brief and, from these first compositions, Pierre Boulez wanted to create a new language, even unheard of, wishing that his musical thought did not reveal any discernible influence of the past. But how was the evolution of his artistic and creative thinking organized in this short space of time? with what musical, literary, pictorial references did it operate? but above all, with what compositional means? what were, in a word, the successive milestones of this claimed clean table?how do traces of his successive evolutions appear in his partitions? how is observed, in the musical thought and writing of p. Boulez, this progressive conflict that took place between the official modernity (a. Honegger, the young group france, ...) and the nascent vanguard initially grouped around Rene Leibowitz’s personality, more on the margins?this vast study, for which I have already undertaken many analyses in the above-mentioned directions, has the ambition, in addition to analysing the musical and intellectual life of a little known part of the existence of a major composer of our time, to want to go back to the source of a musical and aesthetic language that was built in a very short space of time and in a historical, intellectual and musical moment in complete upheaval
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Tönies, Simon. "Au fond de l'inconnu : Technique et esthétique dans "Polyphonie X" de Pierre Boulez." Thesis, Université Côte d'Azur, 2021. http://www.theses.fr/2021COAZ2000.
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Écrite en 1951, "Polyphonie X" est une œuvre clé des débuts du sérialisme et une pierre angulaire de la phase la plus expérimentale dans la carrière de Pierre Boulez. Cependant, le fait que la pièce ait été retirée peu après sa création a inhibé la possibilité même d’une réception ou d’une compréhension adéquate. Le présent travail vise à combler cette lacune en fournissant une analyse approfondie des procédés de composition sous-jacents ainsi qu’une discussion esthétique. En plus des trois mouvements achevés de "Polyphonie X", son prédécesseur Première Polyphonie, plus vaste, mais abandonné à un stade rudimentaire, est également pris en considération. Après un bref aperçu du contexte historique et une discussion sur le concept de polyphonie de Boulez, l’analyse se poursuit en deux étapes : tout d’abord, la structure complexe de fond est reconstruite à partir des esquisses en accordant une attention particulière à la relation entre les différentes dimensions compositionnelles telles que la hauteur, le rythme ou le timbre. Ensuite, il est examiné comment le compositeur travaille avec cette structure de fond dans la partition afin, par exemple, d’accentuer certains potentiels perceptifs. À cette fin, une méthodologie d’analyse harmonique est proposée qui intègre également les conclusions de diverses recherches empiriques axées sur la perception. Les résultats de l’analyse sont ensuite pris comme point de départ pour une critique esthétique. Il est soutenu que le rejet de "Polyphonie X" par Boulez résulte d’une crise non résolue de la créativité subjective par rapport à un matériau musical de plus en plus aliéné et auto-perpétué. En outre, il est estimé que c’est précisément ce conflit qui rend la pièce pertinente, c’est à dire transformatrice en ce qui concerne la conception traditionnelle de l’œuvre. Enfin, à la lumière de ces considérations, je fais quelques suggestions sur la manière dont la pièce peut être abordée aujourd’hui.Written in 1951, "Polyphonie X" is a key work of early serialism and a corner stone of the most experimental stage in Pierre Boulez’s career. However, the fact that the piece has been withdrawn shortly after its premiere has inhibited the very possibility of an adequate reception or understanding. The present study aims to fill this gap by providing an in-depth analysis of the underlying compositional procedures as well as an aesthetic discussion. In addition to the three completed movements of "Polyphonie X", its larger scoped but only rudimentarily mapped-out predecessor Première Polyphonie is also taken into consideration. After a brief overview of the historical context and a discussion of Boulez’s concept of polyphony, the analysis proceeds in two steps: Firstly, the intricate background structure is reconstructed from the sketch material, paying particular attention to the relationship between the different compositional dimensions such as pitch, rhythm or timbre. Secondly, it is examined how the composer works with this background structure in order to, for example, accentuate certain perceptive potentials. To this end, I propose a methodology of harmonic analysis that also incorporates the findings of empirical, perception-centered research. The results of the analysis are then taken as a starting point for an aesthetic critique. It is argued that Boulez’s rejection of "Polyphonie X" is the result of an unsolved crisis of creative agency in relation to an increasingly alienated, self-perpetuating musical material. Moreover, it is opined that it is precisely this conflict that makes for the transformative relevancy of the piece. Finally, in light of these considerations, I make some suggestions as to how the piece can be approached today
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Chang, Sangtae. "Boulez's Sonatine and the Genesis of His Twelve-tone Practice." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278125/.
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This dissertation proposes that the Sonatine broadly unfolds a kinetic structure that stems from the traditional tension-relief model and, consequently, its dependence on tradition proves much deeper than Boulez would acknowledge.
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Yamamoto, Mizuka. "Forming an interpretation of the violin works of Boulez, Cage, Nono : a comparative study." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/9622/.
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This thesis contains documentation to support my interpretation of violin works written in the twentieth century. Selected works for this study are: John Cage’s Freeman Etudes; Luigi Nono’s La Lontananza Nostalgica Utopica Futura and “Hay Que Caminar” Soñando; also, Pierre Boulez’ Anthèmes 1 and 2. The three composers’ works are discussed separately. In the first chapter, notation and distinctive violin techniques in the Freeman Etudes are explored, and a recording analysis answers ambiguous aspects in its notation. An interview with the British violinist Irvine Arditti also reveals his practical opinions for the Freeman Etudes. Interpreting the eight-channel tape of La Lontananza and solving the notational issues are the main subjects in the second chapter. A new performance edition provided here comprises fully-corrected notational errorsin the manuscript, and reflects Irvine Arditti’s performance style. The last chapter explores details in electronics, and considers a way to perform with the electronics from the violinist’s point of view. At the end of every chapter, consensus violin techniques are discussed. Conclusions are also added at the end of every chapter to illustrate performance plans.
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Guldbrandsen, Erling E. "Tradisjon og tradisjonsbrudd : en studie i Pierre Boulez "Pli selon pli" - portrait de Mallarmé /." Oslo : Scandinavian University press, 1997. http://catalogue.bnf.fr/ark:/12148/cb40034579q.
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Mosch, Ulrich. "Musikalisches Hören serieller Musik : Untersuchungen am Beispiel von Pierre Boulez Le Marteau sans maître /." Saarbrücken : Pfau, 2004. http://catalogue.bnf.fr/ark:/12148/cb392127117.
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Tual, François-Gildas Bayer Francis. "La pensée sérielle : théâtre social et nouvelles dramaturgies /." [Paris] : [F.-G. Tual], 2002. http://catalogue.bnf.fr/ark:/12148/cb40025319b.
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Mikirtumov, Yan. "Redução para piano: três especificidades." Doctoral thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/12336.
Full textAbstract:
Este projeto de investigação foca a análise das diversas problemáticas no domínio da redução
para piano suscitadas por linguagens e por obras emblemáticas do repertório musical
contemporâneo. O estudo teve como principal objetivo compreender realizar uma redução para
piano, tendo como base os estudos que se debruçam sobre questões de orquestração, transcrição,
acompanhamento, bem como inúmeros exemplos de reduções existentes.
São realizados estudos sobre as diferenças entre redução e transcrição para piano, sobre os
critérios de escolha de material musical, sobre a reorquestração da conteúdo nas reduções, sobre
a problemática de execução das reduções ao piano, sobre questões de leitura à primeira vista e,
finalmente, sobre aspetos de apresentação.
O conteúdo de investigação é dividido de acordo com três especificidades das reduções para
piano. Como exemplo de cada uma delas foram realizadas novas reduções das seguintes obras:
Concerto da Camera col Violoncello Obbligato de Lopes-Graça; Pli selon pli de Boulez e ópera
Lady Sarashina de Eötvös. A génese destas obras e os procedimentos necessários à sua redução
foram também objeto de estudo nesta dissertação. Todas as reduções foram apresentadas
publicamente e preparadas para edição.
O estudo aqui realizado pretende contribuir para a melhoria do conhecimento sobre as reduções
para piano, procurando definir ou ajudar à compreensão das soluções viáveis pianisticamente e
facilmente aplicáveis na prática; ### Abstract
Piano Reduction: Three Specificities
Author: Yan Mikirtumov
This research project focuses on the analysis of various problems in the field of piano reduction
that are caused by languages and emblematic works of contemporary repertoire. This work aims
to understand how to make a piano reduction and is based on studies that address various issues
in orchestration, transcription, accompaniment and numerous examples of existing piano
reductions.
Studies were made on the difference between piano reduction and transcription, on the selection
criteria of musical material, on re-orchestration of content in piano reduction, and on issues
related with performance of reduction at the piano, sight-reading and aspects of score
presentation.
The content of this research is divided into three specifications of piano reductions. For each
section an example was done of each of these works: Lopes-Graça´s Concerto da Camera col
Violoncello Obbligato; Boulez´s Pli selon pli and Eötvös´s opera Lady Sarashina. The genesis of
these works and their related process of reduction was also studied in this dissertation. All
reductions were prepared for edition and presentation to the public. This study aims to contribute
to the knowledge on piano reduction, seeking for viable pianistic solutions which can be easily
applied in practice.
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Rizek, João Gabriel [UNESP]. "Tradição e ruptura: Pierre Boulez e a formação do cânone no pós-guerra (1946-1954)." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/111025.
Full textAbstract:
Made available in DSpace on 2014-12-02T11:16:51Z (GMT). No. of bitstreams: 0
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000799740.pdf: 406073 bytes, checksum: 6aebdb82da008189d1c0c6c5c52629b4 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Dentro do âmbito artístico, os conceitos de cânone e tradição são basilares. São eles os responsáveis por orientar e restringir desde a prática até a concepção daquilo que tomamos por música clássica. Seus mecanismos moldam a prática e transformam a teoria. A partir do exame destes conceitos, tal como entendidos por uma seleção de abordagens advindas da musicologia, da filosofia e da teoria literária, investigaremos nesta dissertação como se formou um determinado cânone. Trata-se daquele pensado pelos compositores surgidos no pós-guerra europeu, sobretudo nos anos de 1946 a 1954. Encabeçados por Pierre Boulez, instituições musicais e compositores, publicações editoriais e programas de orquestra pareciam apontar apenas para um tipo de música: a música serial. Analisaremos aqui como Boulez a defendeu e mobilizou forças para que ela se tornasse a poética mais comentada e praticada nos anos seguintes à Segunda Guerra. Para tanto, analisaremos sobremaneira os textos contidos na sua coletânea de ensaiosApontamentos de Aprendiz. Como veremos, longe de ser uma postura arbitrária, a tentativa de manipulação do cânone levada a cabo por uma série de atores torna-se uma medida política, praticada por aqueles que possuem concepções e determinações do que a música, sua prática e o seu entendimento devem ser.
The concepts of Canon and Tradition are of the most importance inside the artistic debate. Not only they shape our understanding of what music should be but also what we take as being classical music. Their mechanisms help us shape practices and transform what we take as being theories. Through the investigation of the canon’s mechanisms, as exemplified by several notions ranging from musicology, philosophy and literary criticism, we will investigate in this dissertation how one particular canon took shape. It has to do with the music being created and played in the Post-war period, that is, serialism. Far from being the only music composed in those years, Pierre Boulez, among several musical institutions and publications, took every measure to guarantee its power among all the other artistic languages. We will analyze here how Boulez defended that music, being responsible for the dimension it has achieved in those years. In order to do that we will investigate more accurately Boulez’s essays collected in Stocktakings from an Apprenticeship. As we will see, far from being an arbitrary solution, the manipulation of the canon has political implications, responsible for what governs our ways of understanding and practicing music.
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Rizek, João Gabriel 1987. "Tradição e ruptura : Pierre Boulez e a formação do cânone no pós-guerra (1946-1954) /." São Paulo, 2014. http://hdl.handle.net/11449/111025.
Full textAbstract:
Orientador: Lia Vera TomásBanca: Mario Videira
Banca: Maurício Funcia de Bonis
Resumo: Dentro do âmbito artístico, os conceitos de cânone e tradição são basilares. São eles os responsáveis por orientar e restringir desde a prática até a concepção daquilo que tomamos por música clássica. Seus mecanismos moldam a prática e transformam a teoria. A partir do exame destes conceitos, tal como entendidos por uma seleção de abordagens advindas da musicologia, da filosofia e da teoria literária, investigaremos nesta dissertação como se formou um determinado cânone. Trata-se daquele pensado pelos compositores surgidos no pós-guerra europeu, sobretudo nos anos de 1946 a 1954. Encabeçados por Pierre Boulez, instituições musicais e compositores, publicações editoriais e programas de orquestra pareciam apontar apenas para um tipo de música: a música serial. Analisaremos aqui como Boulez a defendeu e mobilizou forças para que ela se tornasse a poética mais comentada e praticada nos anos seguintes à Segunda Guerra. Para tanto, analisaremos sobremaneira os textos contidos na sua coletânea de ensaiosApontamentos de Aprendiz. Como veremos, longe de ser uma postura arbitrária, a tentativa de manipulação do cânone levada a cabo por uma série de atores torna-se uma medida política, praticada por aqueles que possuem concepções e determinações do que a música, sua prática e o seu entendimento devem ser.
Abstract: The concepts of Canon and Tradition are of the most importance inside the artistic debate. Not only they shape our understanding of what music should be but also what we take as being classical music. Their mechanisms help us shape practices and transform what we take as being theories. Through the investigation of the canon's mechanisms, as exemplified by several notions ranging from musicology, philosophy and literary criticism, we will investigate in this dissertation how one particular canon took shape. It has to do with the music being created and played in the Post-war period, that is, serialism. Far from being the only music composed in those years, Pierre Boulez, among several musical institutions and publications, took every measure to guarantee its power among all the other artistic languages. We will analyze here how Boulez defended that music, being responsible for the dimension it has achieved in those years. In order to do that we will investigate more accurately Boulez's essays collected in Stocktakings from an Apprenticeship. As we will see, far from being an arbitrary solution, the manipulation of the canon has political implications, responsible for what governs our ways of understanding and practicing music.
Mestre
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Desvaux, Antony. "Ausculter le temps : états de corps et sensations d'écoute dans l'esthétique de Boulez et Webern." Paris 8, 2013. http://www.theses.fr/2013PA083837.
Full textAbstract:
Il est ici proposé de repenser un pan de l’aventure sérielle, précisément les œuvres de Pierre Boulez et Anton Webern, par une approche sensible, sensuelle, à l’inverse d’une musicologie formaliste ou structuraliste. Une première partie déplie la pensée musicale de Boulez à partir de ses écrits et montre l’invite du compositeur à un déplacement d’accent dans notre manière d’écouter, mouvement prenant dans son élan nombre d’écrivains parmi lesquels Char, Michaux et Artaud, menant à une reconsidération du corps dans l’expérience musicale, à rebours de l’aspect désincarné parant souvent cette musique : il est ainsi montré le sens de certains accents polémiques de la pensée de Boulez. Une deuxième partie précise l’esthétique de Boulez, son théâtre imaginaire, et expose les ramifications de sa musique aux œuvres de Claudel, Rimbaud, Béjart, etc. Une troisième partie montre pourquoi la musique de Webern constitue un « seuil » pour Boulez, cette élection ayant trait à la mutation du temps opérée par le compositeur viennois, saisie ici par une étude des forces en jeu dans cette musique. Une quatrième partie propose un parcours généalogique de certains textes esthétiques en vue de sonder le sol sur lequel nous tenons nos discours sur la musique – les choix opérés par la pensée occidentale ayant mené à un refoulement du corps, barrant notamment l’écoute de la musique sérielle. Une cinquième et dernière partie s’intéresse à la composition du temps dans la musique de Boulez, à partir des sensations de lisse et striéThe present study aims to shed a new light on serial music, specifically the music of Pierre Boulez and Anton Webern. It intends to reconsider this music in a sensible and sensual way, unlike formalist or structuralist perspectives that are well documented in traditional musicology. The first part, based on the writings of the French composer, unfolds the musical thought of Boulez and shows the will of the musician to shift the way we listen to music, an impulse having its roots in the poetics of a variety of writers including Char, Michaux and Artaud and leading to a reconsideration of the body in the musical experience. The second part specifies the aesthetics of Boulez, that is to say his “imaginary theater”, and presents the ramifications of his music to the works of Claudel, Rimbaud, Béjart and others. A third part shows the reasons why the music of Webern is considered a "threshold" according to Boulez, a choice related to the transformation of time performed by the Viennese musician. A fourth part provides a genealogical journey through a selection of aesthetic texts to probe the ground on which we hold our discourses on music - the choices made by western thinking having led to a disqualification of the body, making difficult to grasp the singularity of serial music. A fifth and final part focuses on the composition of time in the music of Boulez, starting off from sensations induced by smooth and striated time
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Lambiet, Maud. "Le critique et l’analyste : réceptions de la forme sonate chez Beethoven, Liszt, Ives et Boulez." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0160.
Full textAbstract:
La critique et l’analyse musicales sont les premières intervenantes à débattre de l’œuvre, de son expression et de sa signification. Liées à des pratiques précises, elles décrivent et interprètent la musique en mobilisant des catégories différentes d’analyse et de compréhension. En participant à transformer les valeurs et les normes auxquelles se conforme la musique et à définir de nouveaux rapports, elles enrichissent chacune à leur façon l’expérience musicale. Partir de quatre sonates pour piano, l’Appassionata de Beethoven, la Sonate en si mineur de Liszt, la Concord Sonata d’Ives et la Deuxième sonate de Boulez, balise un espace temporel de 150 ans et circonscrit un espace herméneutique. Il s’agit de quatre points d’ancrage à partir desquels il est possible d’observer et d’analyser les rapports que les acteurs entretiennent avec les œuvres, les représentations qu’ils projettent et la façon dont ils donnent sens à leurs représentations et à leurs actions. Circuler entre la critique et l’analyse met en évidence qu’un dialogue s’instaure entre les deux et ébranle ce que le sens commun retient, à savoir que l’analyse en tant que pratique savante modère les évaluations subjectives énoncées spontanément et arbitrairement par les critiquesMusic criticism and musical analysis are first to present and discuss the musical meaning and significance of the artworks. They are bound to methods of reasoning and they describe and interpret music by mobilizing different categories of analysis and understanding. In their own ways they improve the musical experience by transforming values and norms and defining new relationships. Four piano sonatas demarcate a period of 150 years and delimit a hermeneutical space : Beethoven’s Appassionata, op. 57, Liszt’s B minor Sonata, Ives’ Concord Sonata and Boulez’s Deuxième Sonate. They are the four beacons from which the relationships between the players and the artworks could be observed and analysed. Critics’ statements and analyses of these sonatas highlight the representations reflected by the players on the artworks and how they give sense to their representations and actions. The flow of ideas between music criticism and musical analysis emphasises that a dialogue is established between them. That undermines what the popular mind retains, i. E. That musical analysis holds the epistemological authority in musical thought
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Higashikawa, Ai. "Conception musicale et enjeux esthétiques dans les relations entre les écritures instrumentale et électroacoustique chez Pierre Boulez." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL003.
Full textAbstract:
Cette recherche de thèse vise à reconstruire des éléments de genèse de la composition électroacoustique de Pierre Boulez dans les années cinquante à travers l’étude d’esquisses et de manuscrits conservés au Paul Sacher Stiftung. Notre thèse s’est fondée sur deux approches complémentaires : la reconstitution du contexte musical, esthétique et historique et l’étude des esquisses. Dans la Partie I, nous avons tout d’abord examiné les Fonds Pierre Schaeffer afin de retracer le déroulement du premier stage de musique concrète au GRMC. La réorganisation des esquisses et la reconstitution du processus de montage sonore nous ont permis de souligner que la composition des deux études de musique concrète (1951-52) était une étape indispensable pour le développement de la pensée sérielle de Boulez dans le sérialisme intégral. Dans la Partie II, nous avons mis en relation la composition de Symphonie mécanique (1955) et Poésie pour pouvoir (1958) avec le concept de « sons organisés » dans Déserts (1954) d’Edgard Varèse en traçant la transition de la musique concrète à la musique mixte. Boulez y a développé la notion de « blocs sonores » originairement exploitée dans l’écriture instrumentale et orchestrale. Notre étude a éclairé que Boulez avait procédé par tâtonnements de façon cohérente et développée afin de réaliser l’intégration des mondes instrumentaux et électroacoustiques. En ce sens, il est raisonnable que Poésie pour pouvoir soit considérée comme l’origine de la « musique mixte » chez Pierre Boulez. Par ailleurs, cette tentative de confrontation était inévitable pour Boulez afin de réaliser la transmutation musicale de l’exorcisme corporel du poème de Henri MichauxThis research aims to reconstruct the compositional process of Pierre Boulez’s electroacoustic compositions of the fifties through the study of sketches and manuscripts preserved at the Paul Sacher Stiftung. Our thesis was based on two complementary approaches: the reconstruction of the musical, aesthetic and historical context and study of the sketches. In Part I, we first examined the Pierre Schaeffer archives in order to explore the program of the first musique concrète workshop at the GRMC. The eorganization of the sketches and the reconstruction of the process of sound synthesis allowed us to emphasize that Boulez’s composition of the two musique concrète studies (1951-52) was an indispensable stage for the development of his concept of serialism. In Part II, we related the composition of Symphonie mécanique (1955) and Poésie pour pouvoir (1958) to Edgard Varèse's concept of "Organized sound" in Déserts (1954) by tracing the transition of musique concrète to electroacoustic music. Boulez developed in his electroacoustic pieces the notion of "sound blocks" originally used in instrumental and orchestral pieces. Our study reveals that Boulez proceeded by trial and error in a coherent and developed way in order to realize the integration of the instrumental and electroacoustic sounds. In this sense, it is reasonable for Poésie pour pouvoir to be considered as the origin of mixed music in Pierre Boulez’s oeuvre. This confrontation of the instrumental and electroacoustic sounds was essential for Boulez’s realization of a musical translation of Henri Michaux's poem
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Martins, Djalma Farias. "Hierarquização de camadas estruturais na música pós-tonal: a ornamentação na música de Boulez, Berio e Bochmann." Doctoral thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/21230.
Full textAbstract:
A partir do pressuposto de que o dodecafonismo culminou na eliminação de camadas hierárquicas, uma vez que todas as notas utilizadas na composição musical se tornam essenciais, este estudo trata da reintrodução de hierarquias no pós-tonalismo. Assim, nosso objeto de estudo é a estrutura hierárquica na música pós-tonal, seu reconhecimento, seus níveis hierárquicos, suas dependências e ordem de predominância de camadas, com ênfase na camada ornamental. Por meio de um conjunto de princípios, critérios e propostas que foram sendo compilados ao longo deste estudo tanto a partir do trabalho de vários autores quanto da nossa observação do objeto de estudo que nos levou a formalizar princípios e critérios originais, realizamos a análise de excertos musicais dos compositores Berio, Boulez e Bochmann, bem como de nossas composições, o que revelou a formação de camadas estruturais e ornamentais, evidenciando o acontecimento do restabelecimento de estrutura hierárquica na música pós-tonal; Abstract:
Hierarchisation of Structural Layers in Post-Tonal Music.
The Ornamentation in the Music of Boulez, Berio and Bochmann.
Based on the assumption that twelve-note music eradicated hierarchical musical relationships, since all the notes used in a musical composition are essentials, this study (thesis) concerns the reintroduction of hierarchies in post-tonal music. Thus, the object of our study is hierarchical structures in post-tonal music, its recognition, its hierarchical levels, its dependencies, and layer preponderance order, with emphasis on the existence of an ornamental layer. By means of a set of principles, criteria and propositions that were compiled throughout this research from the work of several authors and from our own observation, we have analyzed musical excerpts from works by Berio, Boulez and Bochmann, as well as our own compositions, which reveal the formation of structural and ornamental layers, showing the reintroduction of hierarchical structure in post-tonal music.
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Antoniadis, Pavlos. "Labyrinths." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1470292.
Full textAbstract:
Thesis (M.A.)--University of California, San Diego, 2009.Title from 1st page of PDF file (viewed Dec. 16, 2009). Available via ProQuest Digital Dissertations. Includes sound files of the thesis recital in 44K stereo. and 96K formats.
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Kovács, Inge. "Wege zum musikalischen Strukturalismus : René Leibowitz, Pierrre Boulez, John Cage und die Webern-Rezeption in Paris um 1950 /." Schliengen : Edition Argus, 2004. http://catalogue.bnf.fr/ark:/12148/cb401933420.
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MIKIRTUMOV, YAN. "Redução para piano: três especificidades." Doctoral thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/12413.
Full textAbstract:
Este projeto de investigação foca a análise das diversas problemáticas no domínio da redução para piano suscitadas por linguagens e por obras emblemáticas do repertório musical contemporâneo. O estudo teve como principal objetivo compreender realizar uma redução para piano, tendo como base os estudos que se debruçam sobre questões de orquestração, transcrição, acompanhamento, bem como inúmeros exemplos de reduções existentes. São realizados estudos sobre as diferenças entre redução e transcrição para piano, sobre os critérios de escolha de material musical, sobre a reorquestração da conteúdo nas reduções, sobre a problemática de execução das reduções ao piano, sobre questões de leitura à primeira vista e, finalmente, sobre aspetos de apresentação. O conteúdo de investigação é dividido de acordo com três especificidades das reduções para piano. Como exemplo de cada uma delas foram realizadas novas reduções das seguintes obras: Concerto da Camera col Violoncello Obbligato de Lopes-Graça; Pli selon pli de Boulez e ópera Lady Sarashina de Eötvös. A génese destas obras e os procedimentos necessários à sua redução foram também objeto de estudo nesta dissertação. Todas as reduções foram apresentadas publicamente e preparadas para edição. O estudo aqui realizado pretende contribuir para a melhoria do conhecimento sobre as reduções para piano, procurando definir ou ajudar à compreensão das soluções viáveis pianisticamente e facilmente aplicáveis na prática. This research project focuses on the analysis of various problems in the field of piano reduction that are caused by languages and emblematic works of contemporary repertoire. This work aims to understand how to make a piano reduction and is based on studies that address various issues in orchestration, transcription, accompaniment and numerous examples of existing piano reductions. Studies were made on the difference between piano reduction and transcription, on the selection criteria of musical material, on re-orchestration of content in piano reduction, and on issues related with performance of reduction at the piano, sight-reading and aspects of score presentation. The content of this research is divided into three specifications of piano reductions. For each section an example was done of each of these works: Lopes-Graça´s Concerto da Camera col Violoncello Obbligato; Boulez´s Pli selon pli and Eötvös´s opera Lady Sarashina. The genesis of these works and their related process of reduction was also studied in this dissertation. All reductions were prepared for edition and presentation to the public. This study aims to contribute to the knowledge on piano reduction, seeking for viable pianistic solutions which can be easily applied in practice.
40
Vlitakis, Emmanouil. "Funktion und Farbe : Klang und Instrumentation in ausgewählten Kompositionen der zweiten Hälfte des 20. Jahrhunderts: Lachenmann - Boulez - Ligeti - Grisey /." Hofheim : Wolke, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783936000719.
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Breatnach, Mary. "Pierre Boulez et Stéphane Mallarmé : deux notions d'abstraction : la relation entre musicien et poete a travers Pli selon pli." Thesis, University of Edinburgh, 1990. http://hdl.handle.net/1842/23745.
Full textAbstract:
Entre 1957 et 1962 Pierre Boulez a composéPli selon pli, une oeuvre 'a laquelle il donna le sous-titre Portrait de Mallarmé/ et qui s'inspire d'un cycle de po'emes choisis parmi l'oeuvre du po'ete symboliste mort en 1898. Le but de cette th'ese est d'éudier le rapport entre musicien et po'ete tel qu'il se ré'ele 'a travers cette oeuvre musicale. En musique l'éroulement du language tonal fut suivi d'une péiode de déordre en mati'ere de composition. Dan les annés cinquante, le jeune Pierre Boulez - persuadéque le déordre tenait d'un manque essentiel de cohéion entre le langage musical et la sensibilitécontemporaine - se sentait contraint 'a rechercher et 'a éablir un nouveau langage 'a la hauteur de cette sensibilité Dans les annés soixante du dernier si'ecle Stéhane Mallarméa véu une expéience analogue en mati'ere d'ériture poéique. Motivépar l'idé que le devoir du po'ete éait d'expliquer orphiquement la terre, il se sentait poussé'a rechercher un langage capable d'accomplir ce but. A partir de 1885 Mallarméa pris un certain inté^et 'a la musique mais son attitude envers cet art est toujours resté ambivalente et tr'es complexe. Il le mérisait mais en m^eme temps croyait 'a la possibilitéd'intérer 'a la poéie certaines de ses qualité. A contre courant de la pensé dominant son éoque, Mallarméopposait 'a la conception wagnéienne du Gesamtkunstwerk un art total purement littéaire. La pensé du Mallarmésur la musique a éésouvent méonnue, surtout par les critiques déireux d'expliquer son influence sur Boulez. Ce dernier signale spéifiquement la préccupation du po'ete avec le langage et avec la technique du langage comme source de cette influence. C'est une préccupation qui entra^ine une conception double de la crétivitéqui réond, selon le compositeur, aux besoins de l'éoque moderne. La conception bouléienne de la mise en musique d'un po'eme fait ého 'a cette dualité Boulez vise 'a faire du po'eme dans tous ses aspects la source d'une proliféation musicale. Au moyen d'une analyse déaillé du texte, il vise 'a éablir entre celui-ci et la musique un rapport indestructible qui laisse intouché l'autonomie originale du poe'me et permet en m^eme temps une grande libertéen ce qui concerne la composition musicale. Le rapport envisagépar Boulez entre le po'eme et la musique se ré'ele en fin de compte comme une méaphore du rapport envisagépar Mallarméentre le monde et l'érit.
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Gohon, Kevin. "Critique du discours musical et émergence d’une pensée « mixte » dans les œuvres électroacoustiques de Pierre Boulez et Luigi Nono." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20056.
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Alors qu’il est interrogé sur la nature fragmentaire de l’écriture se faisant jour dans ses dernières œuvres, Luigi Nono affirme : « la logique du discours est pour moi quelque chose de terrifiant. » En signifiant ainsi son opposition au discours musical, le compositeur italien ne revendique pas seulement le refus du principe de déduction et l’univocité du développement : c’est le fondement même de l’expression musicale occidentale qu’il considère comme caduc. Car la musique écrite appartient aux disciplines du logos, domaine de la pensée et de sa loi d’intelligibilité auquel elle a longtemps été inféodée, même lorsque ses théoriciens ont revendiqué son autonomie. Aussi, la notion de discours musical se rapporte à un modèle de raisonnement hérité de la pensée syllogistique issue de la rhétorique aristotélicienne. Décliné au cours de son Histoire sous les méthodes du contrepoint, du développement ou encore de la variation, le principe d’engendrement causal de la forme révèle néanmoins son aporie à partir de la première moitié du XXe siècle. La génération de compositeurs se retrouvant à Darmstadt au lendemain de la Seconde Guerre Mondiale se confronte alors à une double difficulté. D’une part, le renouvellement des structures logiques de la musique apparaît comme une véritable urgence afin de libérer l’écriture musicale de la rigidité des systèmes qui l’ont dirigée depuis la fin de la Renaissance. D’autre part, l’avènement des nouvelles technologies dévoile la richesse du phénomène sonore et intime à repenser l’expression musicale au contact de ce matériau inédit qui ne peut se réduire aux procédés compositionnels instrumentaux. Dès lors, l’acte d’écriture s’enrichit d’une responsabilité critique, en ce qu’il doit se satisfaire à l’exigence d’une articulation logique tout en rompant avec la rigidité d’un discours univoque imposé à l’écoute. C’est dans ce contexte que Pierre Boulez et Luigi Nono propose une esthétique musicale mixte fondée sur la virtualité, l’espace et la résonance au cours des années 1980, instaurant un régime discursif unifiant l’hétérogène sans le contraindre ni l’abolirWhen he is questioned about the fragmentary nature of the writing appearing in his last works, Luigi Nono asserts: “the logic of the discourse is something terrifying for me.” By standing against the musical discourse, the Italian composer does not just claim his refusal of the principle of deduction and the univocity of the development: he also considers the foundation of the western musical expression as obsolete. Indeed, written music belongs to the disciplines of the logos, the domain of the thought and its law of comprehensibility in which it was enfeoffed for centuries, even when the theorists claimed its autonomy. So, the notion of musical discourse relates to a model of reasoning inherited from the syllogistic thought of the Aristotelian rhetoric. Declined during its History under the methods of the counterpoint, the development or the variation, the principle of causal establishment of the form reveals its aporia since the first half of the 20th century.Then, the composers who went to Darmstadt after the World War II confront themselves with a double difficulty. On one hand, the renewal of the logical structures of the music appears as an urgency to release the musical writing of the rigidity of the systems which managed it since the end of the Renaissance. On the other hand, the advent of the new technologies reveals the richness of the sound phenomenon and suggest to reconsider the musical expression in order to integrate this material, which cannot be reduced to the writing processes of instrumental music. Therefore, the act of composing is enhanced by a critical responsibility because the composer has to fulfill the requirement of a logical articulation while he abolished the rigidity of an unambiguous discourse imposed on the listening. It is in this context that Pierre Boulez and Luigi Nono propose an electroacoustic aesthetics based on virtuality, space and resonance during the 1980s, establishing a discursive regime which unifies the heterogeneous without forcing it nor abolishing it
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Benabdeljalil, Nabil. "L'hétérophonie dans la musique du 20ème siècle : autour de Stravinsky, Boulez et Berio : approche théorique générale et étude systématique." Université Marc Bloch (Strasbourg) (1971-2008), 2007. https://publication-theses.unistra.fr/restreint/theses_doctorat/2007/BENABDELJALIL_Nabil_2007.pdf.
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Cette étude de « L’hétérophonie dans la musique du 20ème siècle » contient trois livres. Le livre 1er est théorique : il a pour but la définition et la typologie de l’hétérophonie, puis l’élaboration d’un système analytique précis valable pour l’analyse dans les livres 2ème et 3ème. Sont spécialement considérés l’ouvrage Penser la musique aujourd’hui de Pierre Boulez (né en 1925) et l’étude des « polyphonies populaires russes » du colloque de Royaumont de 1991. Le livre 2ème s’intéresse à l’hétérophonie dans la musique de Stravinsky (1882/1971) : Petrouchka, le Sacre du printemps, Renard et les Noces. Le livre 3ème étudie l’hétérophonie dans Coro de Luciano Berio (1925/2003) puis dans l’Improvisation III selon Mallarmé de Boulez. Enfin, la conclusion compare l’écriture des trois compositeurs, en donnant un aperçu général sur l’hétérophonie durant le 20ème siècleThis study of « Heterophony in the 20th century music » is composed by three books. The first book is theoretical: his aim is to give a definition and a typology of heterophony, then to elaborate an exact and valid analytic system in order to make analysis in the parts 2 and 3. A special attention is given to the book Penser la musique aujourd’hui of Pierre Boulez (born in 1925) and to the study “Russian popular polyphonies” from the colloquium of Royaumont in 1991. The second book is focused on the heterephony in Stravinsky’s music (1882-1971): Petrouchka, le Sacre du printemps, Renard and les Noces. The third book studies the heterophony in Coro of Luciano Berio (1925-2003), and in Improvisation III selon Mallarmé of Boulez. At last, the conclusion compares the writing of the three compositors, giving a general survey of heterophony in the 20th century
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Vlitakis, Emmanouil. "Funktion und Farbe Klang und Instrumentation in ausgewählten Kompositionen der 2. Hälfte des 20. Jahrhunderts: Lachenmann - Boulez - Ligeti - Grisey." Hofheim Wolke, 2007. http://d-nb.info/990412334/04.
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Socha, Eduardo. "Tempo musical em Theodor W. Adorno." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-12012016-125616/.
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A partir da constatação dos diversos modos de formalização da experiência temporal na música do século 20, pretende-se analisar a consolidação do conceito de tempo musical no pensamento de Theodor W. Adorno. O escopo adotado será sua crítica ao serialismo pós- Webern, vinculada ao debate com os compositores da Escola de Darmstadt nas décadas de 1950 e 60, e sobre a qual operam seus conceitos de material e música informal. Um duplo propósito orienta a tese. Primeiramente, trata-se de esclarecer os referenciais do conceito de tempo que Adorno mobiliza em seus escritos musicais, tomando por base a reciprocidade entre categorias filosóficas e musicais que o filósofo sempre sustentou em seu percurso intelectual. História da filosofia e história da música constituem, para Adorno, campos para uma crítica convergente à progressiva espacialização e destemporalização do tempo. Nesse sentido, os Beethoven-Fragmente contribuem para uma primeira elucidação do conceito materialista. Já os ensaios sobre Stravinsky e sobre as relações entre música e pintura demonstram o potencial crítico e especulativo do conceito. Em um segundo momento, a tese procura descrever, em contraponto ao pensamento adorniano, as abordagens teóricas propostas por Pierre Boulez e Karlheinz Stockhausen sobre o problemática do tempo musical, com as quais Adorno teve contato. Identificamos, então, no encaminhamento programático de uma música informal o ponto culminante da crítica de Adorno às orientações teóricas e práticas da vanguarda serialista no pós-guerra. Notamos que sua intensa participação nos cursos de Darmstadt entre 1952 e 1966 (onde atuou como professor, crítico, conferencista e organizador de debates) esteve fortemente alinhada à sua produção ensaística e monográfica voltada à música no mesmo período. Nesse sentido, acreditamos que a confrontação com os compositores de Darmstadt viabilizou uma ocasião decisiva para que o filósofo expusesse criticamente e colocasse à prova os critérios de seu conceito de tempo musical.This dissertation concerns the concept of musical time in Adornos philosophy and emphasizes his critique of post-Webern serialism, noticeable in his frequent interventions in the context of the Kranichstein-Darmstadt Summer Courses and the radio debates during the 1950s and 60s. These include controversial essays like Das Altern der neuen Musik, Die Funktion des Kontrapunkts in der neuen Musik, Kriterien der neuen Musik as well as his later related programmatic notion of informal music presented in the Darmstadt lecture Vers une musique informelle (1961). In these interventions, Adorno insists whether explicitly or not on the conservancy of a specific way of structuring inner temporal relationships between musical events. This type of formalization and perception of time became eluded with the advance of avant-garde compositional procedures. The dissertation has two parts and a dual purpose. First, it examines the references to the specific notion of time that Adorno develops in his musical thought, contemplating the reciprocity between philosophical and musical categories held by his historical-materialist approach. This philosophical framework ascribes a progressive rationalization or detemporalization of time in Western culture through the advance of Enlightenment, which would also be recognizable in the history of musical forms. Hence, for Adorno, detemporalization of time (title of an important sub-chapter of Negative Dialektik) in philosophy resulted from a symmetrical thrust that imposed a progressive spatialization of musical time (a central claim from Philosophie der neuen Musik). The late published Beethoven-Fragmente offers a great deal of elucidation about his concept of musical time; whereas his Stravinsky critique and the essays on the relationship between music and painting clearly shape the critical singularity of the concept. Secondly, this dissertation describes, as a counterpoint to Adornos concept, the theoretical approaches proposed by Pierre Boulez and Karlheinz Stockhausen on musical time. It is shown why the notion of informal music can be considered the epitome of Adornos musical reflection after Philosophie der neuen Musik (1949), considering his ambivalent criticism of these post-war avant-garde orientations. In short, one observes that Adornos regular attendance of the Darmstadt Summer Courses, from 1950 until 1966, is closely linked to his publications and thoughts on music aesthetics of the same period. We argue that these reflections on the directions of the avant-garde provided him the opportunity to better present and confront the elements of his concept of musical time.
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Dousson, Lambert. "L’écran sonore : politiques de l’écriture et de l’écoute musicale, 1950-2001." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100170.
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Que la réflexion du compositeur sur la technique et l’histoire des règles de l’écriture musicale constitue une pratique de soi, l’exercice d’une subjectivation qui suspend normes et pouvoirs du dehors, les déplace, les informe autrement, crève l’écran de l’écriture, et institue, dans la pratique compositionnelle, un sujet de l’écriture, une subjectivité autonome, c'est-à-dire musicale — voilà ce qu’il faut entendre par politique de l’écriture musicale. Que la musique génère des puissances capables d’anéantir tous les écrans qui s’interposent entre l’œuvre et l’auditeur, qu’un sujet de l’écoute soit fabriqué dans un faire corps rituel avec la musique, voire qu’un homme nouveau, une humanité régénérée surgissent d’un laboratoire sacré de l’écoute — voilà ce qu’il faut entendre par politique de l’écoute musicale. Deux compositeurs que cette question travaille ; deux dates pour la circonscrire et la problématiser. Pierre Boulez en 1950, ou comment un degré zéro de l’écriture met en crise une subjectivité cherchant dans la structure le chiffre d’une expérience radicale, fondamentale, fondatrice — homme structural devenu la variable humaine d’une prolifération qui le dépasse. Karlheinz Stockhausen ou comment ce qu’il s’est passé à New York le 11 septembre 2001 fut la plus grande œuvre d’art pour le cosmos tout entier — rêve d’une œuvre d’art totale, réveil de l’obsession de Richard Wagner, et révélation d’une expérience musicale et d’une expérience politique que seules la technologie et la marchandise mettent en œuvre. Des structures et des hymnes, des hélicoptères et des éclats, et, à la fin du parcours, un carnaval symphoniqueThat reflection of the composer on the technique and the history of the rules of musical writing constitutes a practice of the self and the exercise of a subjectivation which suspends norms and powers from the outside, moves them, informs them in another way, passes through the screen of writing, and institutes, in the practice of composition, a subject of the writing, an autonomous, that is musical subjectivity — that is how one has to understand politics of musical writing. That music gathers powers capable of annihilating any screen which intervene between the work and the listener, that a subject of listening is ritually made by an identification between bodies and music, even that a new man, a regenerated humanity appear from a sacred laboratory of the listening — that is what it is necessary to listen by politics of musical listening. Two composers whom this question works; two dates to define and problematize it. Pierre Boulez in 1950, or how a writing degree zero puts into crisis a subjectivity looking in the structure for the figure of a radical, fundamental, founding experience — a structural man which becomes the human variable of a proliferation which exceeds him. Karlheinz Stockhausen, or how what it happened in New York September 11th, 2001 was the greatest work of art for the whole cosmos — dream of a total work of art, awakening of Richard Wagner's obsession, and revelation of a musical experience and a political experience which only the technology and the commodity operate.Structures and hymns, helicopters and fragments, and, at the end of the route, a symphonic carnival
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Decroupet, Pascal. "Développements et ramifications de la pensée sérielle : recherches et oeuvres musicales de Pierre Boulez, Henri Pousseur, Karlheinz Stockhausen de 1951à1958." Tours, 1994. http://www.theses.fr/1994TOUR2006.
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Dans cette thèse sont étudiées parallèlement les productions de trois compositeurs pour la période qui s'étend de 1951 a 1958. Dans la première partie sont précisées, à partir des sources verbales (écrits et correspondances), les perspectives initiales de leur recherche respective ainsi que les premiers développements plus ou moins communs jusqu'en 1955. La deuxième partie présente des analyses musicales de deux œuvres de chaque compositeur (Pousseur "Quintette à la memoire d'Anton Webern", "Impromptu"; Boulez "Troisième sonate", "Doubles"; Stockhausen "Zeitmasze", "Gruppen"), précédées d'une introduction aux problèmes esthétiques tels qu'ils se posent vers 1955 pour chacun d'eux et aboutissant à des conclusions plus générales qui dépassent les partitions étudiées ici. La troisième partie aborde les productions de musique sur bande de ces compositeurs entre 1951 et 1957. La conclusion éclaire quelles incidences la confrontation avec les moyens de production électroniques a eues sur la pensée sérielle en général et comment en a été touchée aussi la composition instrumentaleIn this thesis, the productions of three composers concerning the period from 1951 to 1958 are studied in parallel. In the first part, the initial perspective of their respective research and the first more or less common developments until 1955 are given on the basis of their verbal output (writings and correspondences). The second part presents musical analyses of two works of each composer (pousseur "quintette a la memoire d'anton webern", "impromptu", "gruppen" ); these are preceded by introductions to the aesthetical problems as they were actual to each of them around 1955 and r esult in more general conclusions going beyond the scores studied in the present context. The third part deals with the productions of tape music of these composers from to 1957. The conclusion shows the decisive incidences of the confronta tion with the electronic medium on serial thought in general and how it has also touched the composition for conventiona l instruments
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O'Hagan, Peter. "Pierre Boulez : "Sonate, Que Me Veux-Tu?" : an investigation of the manuscript sources in relation to the Third Sonata. Volume one." Thesis, University of Surrey, 1997. http://epubs.surrey.ac.uk/2331/.
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Tugny, Rosângela Pereira de. "Le piano et les dés : étude sur "Music of changes", "Constellation-Miroir", "Klavierstück XI"." Tours, 1996. http://www.theses.fr/1996TOUR2047.
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Les trois œuvres citées dans le titre représentent, après le tournant de la première moitié du siècle, des expériences pivots, ayant autant porté sur des questions de technique et d'esthétique musicale que sur le destin de l'instrument, et inaugurant la pratique de ce qui sera nommé ultérieurement la "forme ouverte". Cette recherche, fondée sur la consultation d'une importante documentation inédite conservée à la Fondation Paul Sacher (Bâle) et appuyée sur un important cahier d'exemples, vérifie attentivement les aspects de la technique musicale liés à ces œuvres et passe en revue nombre d'éléments ayant été intégrés au discours musical d'après-guerreThe three works refered to in the title represent, during the second half of the century, a key point in musical experience, adressing, as they do, not only questions of technique and musical aesthetic but also the destiny of the instrument, and beginning the practice of what would later be known as the open form. This research, founded on the consultation of an important body of inedited documentation conserved at the Fondation Paul Sacher (Basel) and supported by considerable examples, checks meticulously the aspects of musical technique related to these works and examines numerous elements comprising musical theory in the post war period
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Song, Sun-Ju. "Music Analysis and the Avant-Garde Compositions of Post-World War II: Four Case Studies." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367570.
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This thesis examines four iconic piano works composed from 1949 to 1952 in relation to the discipline of music analysis: Olivier Messiaen’s Mode de valeurs et d’intensités (1949), Pierre Boulez’s Structures Ia for two pianos (1952), Karlheinz Stockhausen’s Klavierstück III (1952) and John Cage’s Music of Changes (1951). The primary aim is to investigate how music analysis has engaged with these four works over the last fifty years. Investigating the nature and content of earlier analyses reveals various aspects of the discipline: its aims and functions, its governing ideologies and, most importantly, its achievements. This investigation also allows for recent criticism of the discipline of music analysis to be reconsidered.
In total, 29 analyses of the four works are closely evaluated. Building on these observations, the author contributes a further perspective on each work by offering her own analytical insights, at times challenging some of the common analytical approaches to them. Rather than applying an analytical system based on a particular theory, concepts from each composer’s own writings and theories are used to provide an appropriate analytical angle. This approach recognises that analysis should be a meaningful dialectic between the conceptual understanding of compositional theory and the perceptual experience of surface musical phenomena.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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