Journal articles: 'Boulez'

1

Ronsheim, John, Dominique Jameux, and Susan Bradshaw. "Pierre Boulez." Antioch Review 49, no. 4 (1991): 610. http://dx.doi.org/10.2307/4612471.

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2

Barulich, Frances, Dominique Jameux, Theo Hirsbrunner, William Glock, Pierre Boulez, Jean-Jacques Nattiez, Martin Cooper, Claude Samuel, Jacqueline Muller, and Josef Hausler. "Pierre Boulez." Notes 45, no. 1 (September 1988): 48. http://dx.doi.org/10.2307/941392.

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3

Gibbs, Jason, Dominique Jameux, Susan Bradshaw, and Lev Koblyakov. "Pierre Boulez." Notes 49, no. 2 (December 1992): 583. http://dx.doi.org/10.2307/897924.

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4

de Médicis, François. "Boulez analyste." Circuit 3, no. 1 (February 4, 2010): 77–82. http://dx.doi.org/10.7202/902037ar.

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Dans ce compte rendu des conférences d’analyse présentées à Montréal par Pierre Boulez et portant sur Mémoriale et les deux quatuors à cordes de Webern, l’auteur insiste sur l’évolution de l’attitude analytique de Boulez et l’attention particulière portée au problème de la perception.

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5

Griffiths, Paul, and William Glock. "Views of Boulez." Musical Times 128, no. 1727 (January 1987): 25. http://dx.doi.org/10.2307/964629.

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6

Montebello, Pierre. "DELEUZE ET BOULEZ." Revista Limiar 2, no. 4 (March 24, 2019): 12–22. http://dx.doi.org/10.34024/limiar.2015.v2.9255.

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Quelle est la place de Boulez dans la conception de la musique que se fait Deleuze? Il nous semble que c’est de montrer que le temps et l’espace sont musicaux, l’objet d’une double perception musicale. Ce n’est la musique qui est dans l’espace (partition) et le temps (exécution), mais l’espace et le temps qui relèvent d’une forme de musicalité. La musique est une expérience nostalgique de la spatialisation du temps (coexistence du passé/présent) et une expérience cosmologique de la synchronisation de l’espace (connexion des temps divergents du natal et du cosmos). Ecouter de la musique est un double déracinement de l’ici et maintenant, mais à travers les forces vives qui traversent le corps, voix célestes dans la martèlement des rythmes du corps, fuites cosmiques qui débordent l’enracinement du corps en son lieu natal.

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7

O'Hagan, Peter. "Pierre Boulez - PIERRE BOULEZ: Œuvres complètes. DG 4806828 (13 CDs)." Tempo 68, no. 268 (March 20, 2014): 94–96. http://dx.doi.org/10.1017/s0040298213001812.

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8

Bradshaw, Susan. "Pierre Boulez at 65." Musical Times 131, no. 1765 (March 1990): 127. http://dx.doi.org/10.2307/965995.

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9

Berry, Gérard. "Pierre Boulez (1925-2016)." L’annuaire du Collège de France, no. 116 (June 15, 2018): 705–7. http://dx.doi.org/10.4000/annuaire-cdf.13739.

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10

Green, Tona, and William Glock. "Pierre Boulez: A Symposium." Computer Music Journal 12, no. 1 (1988): 71. http://dx.doi.org/10.2307/3679841.

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11

Jameux, Dominique. "De Mendelssohn à Boulez." Commentaire Numéro125, no. 1 (2009): 179. http://dx.doi.org/10.3917/comm.125.0179.

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12

Loureiro, Eduardo Campolina Viana. "Schoenberg/Boulez: ideia/sistema." Per Musi, no. 33 (April 2016): 25–58. http://dx.doi.org/10.1590/permusi20163302.

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Resumo: Dois textos principais orientam o presente estudo: A música nova, a música demodée, o estilo e a ideia, escrito por Arnold SCHOENBERG (1977b) em 1946, e O sistema e a ideia, escrito por Pierre BOULEZ (1986) em 1986. Inicialmente é trabalhado o conceito de 'ideia musical' em diversos textos de Schoenberg. O conceito é então confrontado com uma análise de seu Prelúdio do Op. 25, elaborada por Jack BOSS (2014). Essa análise levanta a problemática da percepção, conduzindo à discussão do texto de Boulez. Esse último é trabalhado na relação da 'ideia musical' com o 'sistema', inicialmente em conexão com a segunda Escola de Viena e em seguida com sua própria estética. Procura-se compreender como se articulam esses dois conceitos nas reflexões dos dois compositores, que muito influenciaram a transformação da linguagem musical no século XX, e que se situam em uma linha evidente de conexão e continuidade.

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13

Bradshaw, Susan, Jean Jaques Nattiez, and Robert Samuels. "The Boulez-Cage Correspondence." Musical Times 134, no. 1810 (December 1993): 702. http://dx.doi.org/10.2307/1002936.

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14

Boulez, Pierre. "Encontro com Pierre Boulez." Revista Música 7, no. 1-2 (December 12, 1996): 199. http://dx.doi.org/10.11606/rm.v7i1/2.59968.

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Quando do Encontro com Pierre Boulez, realizado no auditório do Departamento de Música da ECA-USP em 23 de outubro de 1996, as respostas do compositor, intérprete e pensador francês às quatro perguntas - formuladas por: Marcos Branda Lacerda, Luís Antônio Giron, Haroldo de Campos e Décio Pignatari - foram traduzidas oralmente por Gilberto Tinetti e José Eduardo Martins. A convite do Departamento de Música, a Rádio Cultura-FM gravou o evento, tendo inclusive apresentado, no mês de dezembro de 1996, em quatro programas, parte das respostas de Pierre Boulez. A partir das gravações, preparou-se a tradução escrita, buscando-se ao máximo desvinculá-la do sentido literário, guardando sim, na medida do possível, a espontaneidade do discurso. Torna-se necessária esta colocação, pois Pierre Boulez é detentor de uma das mais claras, objetivas e elegantes penas do pensar musical. As notas fazem-se presentes a fim de simplesmente trazer subsídio complementar - sobremaneira na especificidade extramusical - ao histórico Encontro. A Revista Música agradece à Sociedade de Cultura Artística, co-realizadora do evento.

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15

Griffiths, Paul. "Pierre Boulez at 90." Tempo 69, no. 272 (April 2015): 51–52. http://dx.doi.org/10.1017/s0040298214001028.

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16

Fox, Christopher. "PIERRE BOULEZ (1925–2016)." Tempo 70, no. 276 (April 2016): 71–72. http://dx.doi.org/10.1017/s0040298215000996.

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17

Nicolas, François. "Pierre Boulez (1925–2016)." Revue de Synthèse 137, no. 1-2 (August 24, 2016): 151–52. http://dx.doi.org/10.1007/s11873-016-0294-6.

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18

Lazarević, Anja. "Boulez's orientation towards understanding the beginnings of contemporary music: 'Mahler - our contemporary?'." New Sound, no. 48-2 (2016): 20–27. http://dx.doi.org/10.5937/newso1648020l.

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The central part of Orientations - the collected writings of Pierre Boulez is based on Boulez's mostly short texts about composers whom he considered relevant for his oeuvre and contemplations of music. In addition to other texts, in the part of the book entitled "Examples", Boulez wrote three chapters on the composer Gustav Mahler. Besides Orientations, Boules often spoke about Mahler in his interviews and at lectures he gave. His idea of Mahler was in fact the idea of the beginnings of contemporary music. Considering Boulez's sharp sentences, we come across a wealthy network of judgments about Mahler and his wide influence on twentieth-century music, and we acquire a better understanding of Mahler, who, according to Boulez's statements, could be understood only from the perspective of contemporary music.

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19

Goldman, Jonathan. "Pierre Boulez, théoricien de l’écoute." Circuit 13, no. 2 (February 22, 2010): 81–92. http://dx.doi.org/10.7202/902274ar.

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Lecture attentive des cours de Boulez au Collège de France, rassemblés dans Jalons (pour une décennie), où l’on peut observer une nouvelle valorisation de l’écoute. Cette valorisation comprend l’invention d’un nouveau vocabulaire capable de rendre compte de la façon dont la musique, et plus spécifiquement, la musique de Boulez, est perçue. Après un survol de quelques-uns des termes les plus importants, l’auteur propose une distinction, capitale dans l’écriture de Boulez, entre une écoute « structurelle » et une écoute des résonances.

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20

MENDELSSOHN, EDMUND. "Ontological Appropriation: Boulez and Artaud." Twentieth-Century Music 18, no. 2 (April 30, 2021): 281–310. http://dx.doi.org/10.1017/s1478572221000049.

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AbstractThis article examines the lessons that Pierre Boulez learned about sound from Antonin Artaud, suggesting that Boulez's ideas about musical writing (écriture) took shape as the composer imagined and appropriated forms of non-European expression. Boulez sometimes acknowledged the influence of ‘extra-European’ sounds in his music, but also insisted that music should not be a ‘simple ethnographic reconstruction’. Artaud, who explicitly ‘reconstructed’ the ethnographic other in a 1947 radio broadcast, will become my foil to show how Boulez's philosophy of writing hinged on an East–West dualism. I follow Boulez to South America with the Compagnie Renaud-Barrault to suggest that he took cues from Afro-Bahian Candomblé when he wrote Le Marteau sans maître. The conclusion reflects on the lessons that Boulez and Artaud might teach us about sound; namely, that recent musicological claims on behalf of the ontology of sound have modernist origins.

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21

Dobretsberger, Barbara. "Musik als Sprache oder strukturalistisches denken in der Musik am Beispiel Pierre Boulez." Muzikologija, no. 4 (2004): 91–104. http://dx.doi.org/10.2298/muz0404091d.

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(nemacki) Kaum ein anderer Begriff wurde iM Schrifttum ?ber die Musik der f?nfziger und sechziger Jahre derart strapaziert wie der Terminus Struktur. Struktur wurde zum Schl?sselwort iM Schreiben ?ber Musik. In geradezu prek?rem Kontrast zum herrschenden Konsens, dass Boulez? Werke strukturell besonders komplex gestaltet sind, wird der Versuch einer Definition oft schuldig geblieben. Auff?llig ist die Zur?ckhaltung, mit der Boulez? musikalisches Denken trotz eindeutiger Hinweise des Komponisten - mit dem Begriff des Strukturalismus in Zusammenhang gebracht wird. Boulez? eigene Ann?herung an den Begriff Struktur, die sich in mannigfaltigen Belichtungen durch sein gesamtes Schrifttum zieht, soll hier umrissen werden. Desgleichen wird das Thema Musik als Sprache, das Boulez gleichfalls vom Anbeginn seines Komponierens besch?ftigt, kurz angesprochen werden. Der Einfluss, den der aus der Linguistik kommende Strukturalismus auf Boulez? Werk und auf sein Denken hat, soll mittels genauerer Analyse der Schriften Boulez? nachvollziehbar werden.

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22

Tual, François-Gildas. "Boulez-Bartók: Références et contradictions." Studia Musicologica 47, no. 3-4 (September 1, 2006): 361–70. http://dx.doi.org/10.1556/smus.47.2006.3-4.11.

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23

McCallum, Peter, and Pierre Boulez. "An Interview with Pierre Boulez." Musical Times 130, no. 1751 (January 1989): 8. http://dx.doi.org/10.2307/966095.

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24

Strauss, Walter A., and Peter F. Stacey. "Boulez and the Modern Concept." SubStance 18, no. 2 (1989): 131. http://dx.doi.org/10.2307/3685321.

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25

Fischer, Michel, and Peter F. Stacey. "Boulez and the Modern Concept." Revue de musicologie 75, no. 1 (1989): 121. http://dx.doi.org/10.2307/928984.

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26

Joos, Maxime. "Variations esthétiques (Schloezer, Boulez, Schaeffner)." Revue de Musicologie 91, no. 2 (January 1, 2005): 401. http://dx.doi.org/10.2307/20141618.

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27

Zenck, Martin. "Pierre Boulez: Polyphonie X (1951)." Archiv für Musikwissenschaft 72, no. 4 (2015): 277–301. http://dx.doi.org/10.25162/afmw-2015-0015.

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28

Adlington, Robert. "Boulez: Anthemes for Solo Violin." Musical Times 135, no. 1822 (December 1994): 764. http://dx.doi.org/10.2307/1003355.

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29

Mawhinney, Simon. "Composer in Interview: Pierre Boulez." Tempo, no. 216 (April 2001): 2–5. http://dx.doi.org/10.1017/s0040298200008433.

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30

Maconie, Robin. "BOULEZ, INFORMATION SCIENCE AND IRCAM." Tempo 71, no. 279 (December 20, 2016): 38–50. http://dx.doi.org/10.1017/s0040298216000309.

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AbstractThe rise of information science and its effect on contemporary arts is a topic raised in Stravinsky and Craft's Memories and Commentaries in 1959. It makes sense to inquire how the fundamental priorities and exact discriminations of communications science might have altered the ground rules of musical invention and contemporary listening habits. Answers lie thin on the ground, the few composers most deeply implicated in the information revolution – Babbitt, Boulez, Stockhausen and Cage in particular – having chosen to remain silent on issues relating to the hidden side of the avant-garde. ‘No gossip!’ said Stockhausen to me, in a blunt email in 1998.

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31

Bonnet, Antoine. "Ecritureand perception: onMessagesquisseby Pierre Boulez." Contemporary Music Review 2, no. 1 (January 1987): 173–209. http://dx.doi.org/10.1080/07494468708567058.

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32

Harbinson, William G. "Performer Indeterminacy and Boulez's Third Sonata." Tempo, no. 169 (June 1989): 16–20. http://dx.doi.org/10.1017/s0040298200025110.

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With these words, Pierre Boulez opened the article entitled ‘Sonate, que me veux-tu?’ in 1963. Referring to his Third Piano Sonata – portions of which first appeared in 1955 – Boulez presented his arguments supporting compositions that contain ‘open’ or ‘mobile’ forms. ‘Fluidity of form must integrate fluidity of vocabulary’, Boulez stated.

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33

Tissier, Brice. "Pierre Boulez et le Théâtre de la Cruauté d’Antonin Artaud : De Pelléas à Rituel, in memoriam Bruno Maderna." Articles 28, no. 2 (May 15, 2009): 31–50. http://dx.doi.org/10.7202/029954ar.

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Résumé Dans un texte de 1948, Pierre Boulez exprime son aspiration à investir sa musique d’un souffle rituel comparable à celui de la poétique d’Antonin Artaud. Ces propos soulèvent de nombreuses questions quant à l’influence artaldienne, touchant à la fois les activités de chef d’orchestre de Boulez et la conception de ses oeuvres. Cet article s’attarde d’abord aux considérations de Boulez sur Pelléas et Mélisande dans ses écrits publics, et aux liens qu’il établit entre Debussy et Artaud dans ses écrits privés. Une seconde partie se concentre sur les liens sous-jacents qui relient l’oeuvre d’Artaud et celle de Boulez, plus particulièrement dans Rituel, in memoriam Bruno Maderna.

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34

Borstlap, John. "Platform: Pelleas, Melisande and Boulez. The Boulez Approach to This Opera Is Here under Attack." Musical Times 133, no. 1793 (July 1992): 345. http://dx.doi.org/10.2307/1002561.

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35

Boulez, Pierre, and Dominique Jameux. "Pierre Boulez – Écriture musicale et accident." Genesis, no. 30 (June 20, 2010): 219–28. http://dx.doi.org/10.4000/genesis.85.

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36

Berry, Gérard. "Hommage à Pierre Boulez (1925 - 2016)." La lettre du Collège de France, no. 42-43 (July 1, 2018): 57–58. http://dx.doi.org/10.4000/lettre-cdf.4067.

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37

Decroupet, Pascal, and Lev Koblyakov. "Pierre Boulez. A World of Harmony." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 48 (1994): 205. http://dx.doi.org/10.2307/3687141.

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38

Grison, Laurent. "Espace et musique : Répons de Boulez." Espace géographique 29, no. 1 (2000): 87–89. http://dx.doi.org/10.3406/spgeo.2000.1971.

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39

Salem, J. "The Musical Language of Pierre Boulez." Journal of Music Theory 57, no. 2 (September 1, 2013): 433–49. http://dx.doi.org/10.1215/00222909-2323533.

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40

Hoek, D. J. "To Boulez and Beyondby Joan Peyser." Music Reference Services Quarterly 12, no. 3-4 (November 30, 2009): 134–35. http://dx.doi.org/10.1080/10588160903540624.

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41

Silsbury, Elizabeth. "Pierre Boulez, IRCAM and Ensemble Intercontemporain." International Journal of Music Education os-10, no. 1 (November 1987): 25–28. http://dx.doi.org/10.1177/025576148701000105.

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42

Petruseva, Nadezhda Andreevna. "Pierre Boulez and Heinz Holliger: on the problem of transformation of a musical language." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 27–37. http://dx.doi.org/10.7256/2453-613x.2020.4.32872.

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The article focuses on the problem of transformation of a musical language, the correlation between an esthetic guideline, an invention, a composition technique and a language. The author describes the two strategies of life and work of Pierre Boulez which allowed him to gain significant cultural authority, and enumerates the persons who had influenced Boulez’s esthetics. In a broad esthetic and philosophical context, the author shows the turn from the technique to the language in esthetical and theoretical texts of Pierre Boulez; describes the three concepts of the language, the period of synthesis following the period of rejection, and Boulez’s concerns about the problems of music perception. In the context of Boulez’s thesis about the unity of an invention, a technique and a language, the author considers the piece for viola “Trema” (1981) by Heinz Holliger, Boulez’s adherent. The author uses a comprehensive approach as a combination of elements of comparative analysis, musical phenomenology (focusing of mind on music structures), and hermeneutics (the process of understanding, interpreting). The research material is of a methodical importance for modern educational courses of theory and history of music. The author arrives at the conclusion that Boulez, as well as Kant, directs the concept of art towards Aristotle's category of “poiesis” as “craft and creation”; focuses on the overcoming of the esthetics of rejection (preceding the classic-romantic tradition) in Boulez’s turn to the period of “synthesis” which includes not only the turn from a technique to a language, but also electroacoustic “sound manufacturing”.  The following aspects of Hollinger’s “Trema” are considered for the first time: the idea, the principles of new solo music, the new technique. The author arrives at the conclusion about “Trema” belonging to the “multilayered music epoch” and that radical rethinking of a musical language sharpens communication.   

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43

Nikolić, Sanela. "A biography of Boulez as a music writer." New Sound, no. 48-2 (2016): 9–19. http://dx.doi.org/10.5937/newso1648009n.

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In the period from 1948, the writings of Pierre Boulez were published in several languages and in over forty magazines of art and contemporary music. They were also published in the programmes for concerts Domaine musical, for the performances of Wagner's pieces in Bayreuth, in over sixteen booklets for the editions of the records on "new music", in the forewords for different studies, in five collections printed in several volume-amounting to over a hundred and thirty texts. The number of publications of Boulez articles is, however, almost four times as many as the number of titles, since a lot of texts were published several times and translated into other languages in different magazines or collections. This text follows the chronology and history of the shaping and multiplication of Boulez writings in detail. The sheer size of theoretical work and its diverse trajectories point to the importance of Boulez work as a music writer not only for understanding his work as a composer and a conductor, but also for the whole theoretical climate in the postwar modernist world of art he experienced.

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44

Olds, David. "Un atelier de Boulez : visite guidée de Mémoriale." Circuit 3, no. 1 (February 4, 2010): 83–92. http://dx.doi.org/10.7202/902038ar.

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Lors de son passage à Toronto, Pierre Boulez a consacré un atelier de deux heures à Mémoriale, avec les musiciens de New Music Concerts. Dans ce document particulièrement attentif aux moindres détails, l’auteur fait revivre la manière dont Boulez entreprend une répétition, amenant en particulier les musiciens à prendre conscience de la structure de la pièce.

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45

Medic, Ivana, and Jelena Jankovic-Begus. "What does quantum music sound like and what would Pierre Boulez think of it? Super position (many worlds) by Kim Helweg (2017)." Muzikologija, no. 24 (2018): 79–93. http://dx.doi.org/10.2298/muz1824079m.

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Pierre Boulez (1925-2016) devoted a great deal of time and consideration to the relationship between the composer?s invention and performance media, in particular those related to the application of the latest technological breakthroughs and new instruments. Boulez?s famous essay ?Technology and the Composer? (1977/1986) proclaims his desire to widen the range of expressive means of art music by conquering new media. Boulez?s ?vintage? insights are here juxtaposed with a contemporary Quantum Music project (2015-2018), and with one particular piece written within this project: Super Position (Many Worlds) by Kim Helweg (2017), commissioned by the Institute of Musicology SASA and supported by the Danish Arts Foundation (Statens Kunstfond). At least two lines of thinking relevant for the present discussion can be drawn from Boulez?s text: the first dealing with the possible development of new musical instruments, and the other inviting a merger between music composition and science.

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46

Pereira, Rosângela, Jean-Jacques Nattiez, Françoise Davoine, Hans Oesch, Robert Piencikowski, John Cage, Pierre Boulez, Rosangela Pereira, and Francoise Davoine. "Pierre Boulez/John Cage: correspondance et documents." Revue de musicologie 77, no. 2 (1991): 359. http://dx.doi.org/10.2307/947440.

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47

Dousson, Lambert. "Formalisme et ritualité chez Boulez et Stockhausen." Nouvelle revue d’esthétique 4, no. 2 (2009): 85. http://dx.doi.org/10.3917/nre.004.0085.

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48

Lee, Jonathan Scott. "Mimesis and Beyond: Mallarme, Boulez, and Cage." boundary 2 15, no. 1/2 (1986): 263. http://dx.doi.org/10.2307/303438.

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49

Gérault, Yvon. "Pierre Boulez (1926-2016). Je me souviens…" La chaîne d'union N° 76, no. 2 (January 2, 2016): 20–27. http://dx.doi.org/10.3917/cdu.076.0020.

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50

Gable, David. "Ramifying Connections: An Interview with Pierre Boulez." Journal of Musicology 4, no. 1 (December 1985): 105–13. http://dx.doi.org/10.2307/763725.

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Journal articles on the topic 'Boulez'

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