Relevant bibliographies by topics / Pierre Boulez

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Pierre Boulez'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Pierre 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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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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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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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Pierre Boulez"

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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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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 Filho
Tese (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
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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 Mallarmé
Enlightened 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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Books on the topic "Pierre Boulez"

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Fondation Francis et Mica Salabert, ed. Pierre Boulez. Paris: Fayard, 2019.

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Jameux, Dominique. Pierre Boulez. Cambridge, Mass: Harvard University Press, 1990.

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Guerra, Jorge Fernández. Pierre Boulez. Madrid: Círculo de Bellas Artes, 1985.

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Jameux, Dominique. Pierre Boulez. Cambridge, Mass: Harvard University Press, 1991.

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Campbell, Edward, and Peter OHagan, eds. Pierre Boulez Studies. Cambridge: Cambridge University Press, 2016. http://dx.doi.org/10.1017/cbo9781107477216.

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Häusler, Josef. Profil Pierre Boulez. Salzburg: Ritter Klagenfurt, 1995.

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Piencikowski, Robert. Pierre Boulez: Musikmanuskripte. Winterthur, Schweiz: Amadeus, 1988.

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Gontier, Philippe. Incidences: Pierre Boulez. Paris: Editions MF, 2005.

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William, Glock, ed. Pierre Boulez: A symposium. London: Eulenburg Books, 1986.

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1925-, Boulez Pierre, Lista Marcella, Loyrette Henri, Scheffer Frank, Sommer Andy, Jarry Hélène, and Musée du Louvre, eds. Pierre Boulez: Oeuvre : fragment. [Paris]: Gallimard, 2008.

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Book chapters on the topic "Pierre Boulez"

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Schweizer, Klaus. "Boulez, Pierre." In Metzler Komponisten Lexikon, 85–90. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_31.

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Struck-Schloen, Michael. "Pierre Boulez." In Kammermusikführer, 90–94. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_14.

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Schweizer, Klaus. "Boulez, Pierre." In Komponisten Lexikon, 69–73. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_32.

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Böhm, Elisabeth. "Boulez, Pierre." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11226-1.

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Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Pierre Boulez Saal." In Concert Halls by Nagata Acoustics, 231–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42450-3_27.

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Liu, Gerald C. "Theological Stocktaking with Pierre Boulez." In Music and the Generosity of God, 37–52. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-69493-1_3.

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Böhm, Elisabeth. "Boulez, Pierre: Penser la musique aujourd'hui." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11227-1.

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Røsnes, Irine. "The Violining Body in AnthÈmes II by Pierre Boulez." In The Body in Sound, Music and Performance, 214–27. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003008217-20.

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Kovács, Inge. "Warum Schönberg sterben mußte… Pierre Boulez’ musikhistorische Selbstverortung um 1950." In Autorschaft als historische Konstruktion, 323–50. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02771-9_11.

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Kovács, Inge. "Warum Schönberg sterben mußte … Pierre Boulez’ musikhistorische Selbstverortung um 1950." In Autorschaft als historische Konstruktion, 323–50. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-99143-0_11.

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Conference papers on the topic "Pierre Boulez"

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COMMINS, DE. "GENESIS OF THE SALLE DES CONCERTS AT PARIS LA VILLETTE A TRIBUTE TO PIERRE BOULEZ." In Auditorium Acoustics 2015. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16136.

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