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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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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
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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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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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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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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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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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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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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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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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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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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.
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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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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.
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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.
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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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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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Antoniadis, Pavlos. "Labyrinths." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1470292.
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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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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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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.
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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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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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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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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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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.
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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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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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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.
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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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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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Furniss, Peter David. "Present performer : a humanised augmented practice of the clarinet." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31433.
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This practice-based research articulates a performer's perspective from within the rapidly expanding field of mixed music, wherein traditional acoustic instruments are augmented by means of live electronics. Contemporary technology presents a panoply of sonic and interactive affordances and diverse avenues of potential for a contemporary practice of the clarinet. Pursuing a move from a technically passive approach towards self-efficient onstage operation, the author articulates a journey in which a hybridity of instrumental expertise and technical naivety develops into an embedded practice. A framework of humanising is proposed to establish codes of practice based on the embodied skill and priorities of the onstage performer. A pragmatic and personal approach emerges to managing issues of sound, control, and engagement, with an emphasis on viable rehearsal and performance practices that ultimately privilege an ongoing attention to liveness. The portfolio of sound recordings and the observances contained in this thesis contribute to a growing body of performer-led accounts in a rich environment for the development of new creative work and collaboration, and to facilitating access to interactive music for performers wishing to explore the field. A set of case studies trace three broad roles across a spectrum of creative agency within an interdisciplinary practice of the clarinet, situated at a nexus of diverse approaches - from performing composed works (executant interpreter) to non-idiomatic free improvisation (enactive composer), via hybrid works that blur these authorial distinctions (enabled interpreter). Negotiating multiple, interdependent influences within these respective performance ecologies, and moving over time from a status of technical novice towards one of proficiency and expertise (Dreyfus & Dreyfus 1980), a growing sense of embodied instrumentality is encountered (Nijs et al. 2009). The additional technology becomes less an extension of the instrument, rather the performer becomes present in a new holistic entity (Riva 2009; Rebelo 2006), with an attendant, ongoing re-evaluation of personal sound concept. Instrumental musicianship is reframed as inhabiting an assemblage of tools that filter and resonate physical energy, identity, and culture, and is directed towards an optimal performing presence.
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Aguila, Jésus. "Histoire du Domaine musical (1953-1973) : la pensée boulézienne et son institutionnalisation." Paris 4, 1991. http://www.theses.fr/1990PA040136.
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Étude historique sur le "Domaine musical", association française spécialisée dans la diffusion des compositions contemporaines de provenance internationale, créée par P. Boulez en 1953 et reprise par G. Amy jusqu'en 1973. Permet d'observer l'intégration de l'innovation musicale dans la société française : réactions du public, attitude des critiques et des média, soutien financier du mécénat privé, hostilité puis aide de l'état. Mise en relation de la pensée compositionnelle de Boulez avec ses activités de chef d'orchestre et d'organisateur de concerts. L'étude de l'esthétique de Boulez à travers ses choix de programmes permet de situer sa pensée par rapport aux principaux compositeurs joués : Schönberg, Gerg, Webern, Stravinsky, Varese, Bartók, Messiaen, Stockhausen, Pousseur, Berio, Kagel, Boucourechliev, Nono, Maderna, Henze, Barraqué, Xenakis, Cage, Amy, Eloy, Bussotti, etc. Evaluation de la fidélité de G. Amy à la pensée de son prédécesseur tout en acceptant des orientations esthétiques divergentes. Parenté entre le domaine musical et l'IRCAM-EIC. En annexes : programmes, textes inédits de Pierre Boulez et références d'articles de presse classes par concertA historical study of the "Domaine musical", a French association specialized in the performing of contemporary compositions from international origin, created by Pierre Boulez in 1953 and pursued by Gilbert Amy between 1967 and 1973. Allows to observe the integration of musical innovation into French society: reactions of the public, attitude of the critics and the media, financial support of private patronage, hostility of the state, followed by national assistance. Relationship between Boulez' compositional thought and his activity as a conductor and a promoter of concerts. Study of Boulez' aesthetics through the choice of programs which allows to define his thought as regards the main performed composers : Schonberg, Berg, Webern, Stravinsky, Varese, Bartok, Messiaen, Stockhausen, Pousseur, Berio, Kagel, Boucourechliev, Nono, Maderna, Henze, Barraqué, Xenakis, Cage, Amy, Eloy, Bussotti, etc. Appraisal of G. Amy' s faithfulness to his predecessor's ideas while accepting divergent aesthetic orientations. Connection between the Domaine musical and the IRCAM-EIC. In appendix, unpublished writings by Pierre Boulez and references of articles in the press classified according to concert
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Amaral, Pedro. "Momente de Karlheinz Stockhausen ou le paradigme de la forme." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0107.
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La constitution du langage sériel, au cours des années cinquante, ne s'est entièrement accomplie qu'à travers l'instauration de formes émanées de sa propre démarche théorique et cohérentes avec elle; paradoxalement l'achèvement de cette conquête de nouvelles formes finit par éclater définitivement le langage qui est à leur origine. Analyse démonstrative à partir de Momente, de Karlheinz StockhausenThe establishment of the serial language, during the fifties, was only fully accomplished after the introduction of forms issued from and coherent with its own theoritical appraoch; paradoxically, the achievement of such a conquest of new forms ended up bursting the language that had been at their origin. Demonstrative analysis through Momente, from Karlheinz Stockausen
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Heimerdinger, Julia [Verfasser], Wolfgang [Akademischer Betreuer] Auhagen, and Wolfgang [Akademischer Betreuer] Hirschmann. "Sprechen über Neue Musik : eine Analyse der Sekundärliteratur und Komponistenkommentare zu Pierre Boulez’ Le Marteau sans maître (1954), Karlheinz Stockhausens Gesang der Jünglinge (1956) und György Ligetis Atmosphères (1961) / Julia Heimerdinger. Betreuer: Wolfgang Auhagen ; Wolfgang Hirschmann." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2013. http://d-nb.info/1046832360/34.
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De, Paiva Santana Charles. "The Musical Piece as an Instance : essays in Computer-Aided Musical Analysis." Thesis, Paris 6, 2016. http://www.theses.fr/2016PA066672.
Full textAbstract:
A partir d'une interprétation musicologique de la notion scientifique de "modélisation et simulation'', cette thèse présente une approche d'analyse assistée par ordinateur où les partitions musicales sont reconstruites à partir de processus algorithmiques et simulées avec différents paramètres à partir desquels des variantes, appelés instances, sont générés. L'étude d'une pièce musicale par modélisation et simulation signifie comprendre l'oeuvre en la (re) composant de nouveau, en brouillant les limites entre le travail analytique et créatif. Cette approche est appliquée à trois études de cas: 1. une technique isolée, la "multiplication d'accords'', utilisé par Pierre Boulez (1925- 2016), qui a été explorée à travers le prisme formé par les théories de H. Hanson, S. Heinemann et L. Koblyakov; 2. La pièce "Spectral Canon pour Conlon Nancarrow" (1974) du compositeur américain James Tenney (1934-2006) à laquelle la simulation computationnelle à partir de différents paramètres a été prise à ses conséquences ultimes quand un "espace d'instances" est explorée a partir de stratégies de visualisation graphique; 3. Et enfin "Désordre" (1985), le première étude pour piano de l'austro-hongrois György Ligeti (1923-2006) dans laquelle les concepts de "tonalité combinatoire" et "décomposition en nombres premiers'', appliqué aux durées, ont été utilisés pour maximiser le potentiel de production d'instancesFrom a musicological interpretation of the scientific notion of “modeling and simulation”, this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighbouring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez Chord Multiplication, which is explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov; the piece Spectral Canon for Conlon Nancarrow (1974) by the american James Tenney (1934-2006) to which the computational simulation from different sets of parameters was taken to its ultimate consequences when a “space of instances” is created and strategies of visualisation and exploration are devised; and finally “Disorder”, the first piano study written by austro-hungarian György Ligeti in which the concepts of “combinatorial tonality” and “decomposition prime numbers”, applied to durations, are used to maximize the potential that a model has to produce different variations of the original piece
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Harenda, Timothy. "Interactive Networks in Forgotten Lyres: Critical Analysis and Original Composition." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011829/.
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Forgotten Lyres is a musical response to Percy Bysshe Shelley's poem Mutability, which depicts the fragility and unpredictable nature of human life. Four independent chamber ensembles make up the performing forces of Forgotten Lyres; the musicians evoke the topics of Shelley's text as they interact and coordinate with one another according to a variety of paradigms and without the use of a conductor. This essay focuses on the approaches to coordination within and between ensembles, and the ways in which the musicians' interactions can evoke and convey Shelley's texts. The essay also examines works by Mel Powell, Toru Takemitsu, Witold Lutoslawski, and Pierre Boulez as examples and precursors for the coordination strategies employed in Forgotten Lyres.
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Hirel, Pierre. "Etude par simulations à l' échelle atomique de la formation de boucles de dislocation à partir d' irrégularités de surface d' un métal contraint." Poitiers, 2008. http://theses.edel.univ-poitiers.fr/theses/2008/Hirel-Pierre/2008-Hirel-Pierre-These.pdf.
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Dans ce travail de thèse, nous avons étudié la nucléation de dislocations depuis la surface d'un métal cfc sous contrainte, par le biais de simulations à l'échelles atomiques et de modèles basés sur la théorie élastique des dislocations. La nucléation depuis les surfaces, qui initie la plasticité dans les matériaux à l'échelle nanométrique, implique le franchissement d'une barrière d'énergie ; celui-ci se fait par activation thermique. Nous avons pu déterminer le rôle de différents facteurs, comme la température ou l'état de surface, sur l'évènement de nucléation. Plusieurs méthodes atomistiques ont été employées de concert pour déterminer les paramètres d'activation associés à la barrière d'énergie : le rayon critique que la dislocation doit atteindre pour devenir stable et se propager, l'énergie et le volume d'activation. Enfin, des éléments sur la cinétique des dislocations et sur les évènements plastiques subséquents à la nucléation ont pu être obtenusIn this PhD thesis, we studied the nucleation of dislocations from a surface in a fcc metal under stress, using atomic-scale simulations as well as models based on elastic theory of dislocations. Nucleation from surfaces, which initiate plasticity in nanometer-scale materials, requires the crossing of an energy barrier; this is possible through thermal activation. We were able to determine the role of different factors, such as temperature or the surface condition, on the nucleation event. Several atomistic methods were used to determine the activation parameters associated with the energy barrier: the critical radius the dislocations has to overcome in order to become stable and propagate, and the activation energy and volume. Finally, some information concerning dislocations dynamics and plastic phenomena subsequent to the nucleation process were obtained
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Fernandez, Ibarz Erik. "Peter Schat's Tone Clock: The Steering Function and Pitch-Class Set Transformation in Genen." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32397.
Full textAbstract:
Dutch composer Peter Schat’s (1935-2003) pursuit of a compositional system that could generate and preserve intervallic relationships, while allowing the composer as much flexibility as possible to manipulate musical material, led him to develop the tone-clock system. Fundamentally comprised of the twelve possible trichords, the tone clock permits each to generate a complete twelve-tone series through the “steering” principle, a concept traced to Boulez’s technique of pitch-class set multiplication. This study serves as an overview of Schat’s tone-clock system and focuses primarily on the effects of the steering function in “Genen” (2000). Furthermore, I expand on the tone-clock system by combining transformational theory with Julian Hook’s uniform triadic transformations and my proposed STEER and STEERS functions, which express the procedures of the steering principle as a mathematical formula. Using a series of transformational networks, I illustrate the unifying effect steering has on different structural levels in “Genen,” a post-tonal composition.
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Vickery, Lindsay Ross. "Exploring new and emerging models for nonlinear performative works." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/63499/1/Lindsay_Vickery_Thesis.pdf.
Full textAbstract:
This dissertation seeks to define and classify potential forms of Nonlinear structure and explore the possibilities they afford for the creation of new musical works. It provides the first comprehensive framework for the discussion of Nonlinear structure in musical works and provides a detailed overview of the rise of nonlinearity in music during the 20th century.
Nonlinear events are shown to emerge through significant parametrical discontinuity at the boundaries between regions of relatively strong internal cohesion. The dissertation situates Nonlinear structures in relation to linear structures and unstructured sonic phenomena and provides a means of evaluating Nonlinearity in a musical structure through the consideration of the degree to which the structure is integrated, contingent, compressible and determinate as a whole.
It is proposed that Nonlinearity can be classified as a three dimensional space described by three continuums: the temporal continuum, encompassing sequential and multilinear forms of organization, the narrative continuum encompassing processual, game structure and developmental narrative forms and the referential continuum encompassing stylistic allusion, adaptation and quotation.
The use of spectrograms of recorded musical works is proposed as a means of evaluating Nonlinearity in a musical work through the visual representation of parametrical divergence in pitch, duration, timbre and dynamic over time. Spectral and structural analysis of repertoire works is undertaken as part of an exploration of musical nonlinearity and the compositional and performative features that characterize it.
The contribution of cultural, ideological, scientific and technological shifts to the emergence of Nonlinearity in music is discussed and a range of compositional factors that contributed to the emergence of musical Nonlinearity is examined. The evolution of notational innovations from the mobile score to the screen score is plotted and a novel framework for the discussion of these forms of musical transmission is proposed.
A computer coordinated performative model is discussed, in which a computer synchronises screening of notational information, provides temporal coordination of the performers through click-tracks or similar methods and synchronises the audio processing and synthesized elements of the work. It is proposed that such a model constitutes a highly effective means of realizing complex Nonlinear structures.
A creative folio comprising 29 original works that explore nonlinearity is presented, discussed and categorised utilising the proposed classifications. Spectrograms of these works are employed where appropriate to illustrate the instantiation of parametrically divergent substructures and examples of structural openness through multiple versioning.
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De, Paiva Santana Charles. "The Musical Piece as an Instance : essays in Computer-Aided Musical Analysis." Electronic Thesis or Diss., Paris 6, 2016. http://www.theses.fr/2016PA066672.
Full textAbstract:
A partir d'une interprétation musicologique de la notion scientifique de "modélisation et simulation'', cette thèse présente une approche d'analyse assistée par ordinateur où les partitions musicales sont reconstruites à partir de processus algorithmiques et simulées avec différents paramètres à partir desquels des variantes, appelés instances, sont générés. L'étude d'une pièce musicale par modélisation et simulation signifie comprendre l'oeuvre en la (re) composant de nouveau, en brouillant les limites entre le travail analytique et créatif. Cette approche est appliquée à trois études de cas: 1. une technique isolée, la "multiplication d'accords'', utilisé par Pierre Boulez (1925- 2016), qui a été explorée à travers le prisme formé par les théories de H. Hanson, S. Heinemann et L. Koblyakov; 2. La pièce "Spectral Canon pour Conlon Nancarrow" (1974) du compositeur américain James Tenney (1934-2006) à laquelle la simulation computationnelle à partir de différents paramètres a été prise à ses conséquences ultimes quand un "espace d'instances" est explorée a partir de stratégies de visualisation graphique; 3. Et enfin "Désordre" (1985), le première étude pour piano de l'austro-hongrois György Ligeti (1923-2006) dans laquelle les concepts de "tonalité combinatoire" et "décomposition en nombres premiers'', appliqué aux durées, ont été utilisés pour maximiser le potentiel de production d'instancesFrom a musicological interpretation of the scientific notion of “modeling and simulation”, this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighbouring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez Chord Multiplication, which is explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov; the piece Spectral Canon for Conlon Nancarrow (1974) by the american James Tenney (1934-2006) to which the computational simulation from different sets of parameters was taken to its ultimate consequences when a “space of instances” is created and strategies of visualisation and exploration are devised; and finally “Disorder”, the first piano study written by austro-hungarian György Ligeti in which the concepts of “combinatorial tonality” and “decomposition prime numbers”, applied to durations, are used to maximize the potential that a model has to produce different variations of the original piece
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Iwai, Mizué. "L'Oeuvre de Pierre Woeiriot (1532-1599) /." Paris : Mizué Iwai, 1985. http://catalogue.bnf.fr/ark:/12148/cb40380809z.
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Hamedi, Karine. "Scandale et suicide politiques : destins croisés de Pierre Bérégovoy et Robert Boulin /." Paris ; Montréal (Québec) : l'Harmattan, 1999. http://catalogue.bnf.fr/ark:/12148/cb370442340.
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