Journal articles: '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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6

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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7

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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8

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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9

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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10

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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11

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

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12

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

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

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13

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

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

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14

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

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

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15

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

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16

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

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17

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

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18

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

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19

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

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

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20

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

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

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21

Campbell, Edward. "Stravinsky and the post-war generation in France: Aspects of influence." Muzikologija, no. 34 (2023): 69–83. http://dx.doi.org/10.2298/muz2334069c.

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This article explores aspects of Stravinsky?s influence on some key composers of the Francophone post-war avant-garde, namely Pierre Boulez, Jean Barraqu?, Hen?ri Pousseur and Michel Philippot. While Messiaen, Boulez and Barraqu? build on Stravinsky?s rhythmic innovations, Pousseur focuses on the sonic complexity of the Russian composer?s scores. Boulez and Philippot praise Stravinsky?s unique instrumental groupings and later Boulez finds in certain of Stravinsky?s scores a renewed source of musical form, as well as the structural coherence afforded by Stravinsky?s use of pitch polarity.

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22

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

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23

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

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24

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

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25

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

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26

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

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27

Bonafe, Isabela Martins. "Processos de indeterminação em Acronon de H. J. Koellreutter." ouvirOUver 15, no. 1 (June 17, 2019): 206–18. http://dx.doi.org/10.14393/ouv24-v15n1a2019-14.

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O presente trabalho propõe a análise da peça Acronon, do maestro e compositor Hans Joachim Koellreutter, com base nas estéticas da indeterminação dos compositores John Cage e Pierre Boulez. Ambas as estéticas do século XX divergem a terminologia em significado, porém ainda sim é possível encontrá-las no processo de criação da peça para piano solo, Acronon. Buscar-se-á demonstrar como tais estéticas, por vezes divergentes, convergem na obra de Koellreutter, Acronon, por meio da análise e estudos a cerca do indeterminismo e serialismo de John Cage e Pierre Boulez.

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28

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

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

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29

Dick, André. "A poesia escrita/cantada: um diálogo entre Augusto de Campos, Caetano Veloso e música de vanguarda// The written/sung poetry: a dialogue between Augusto de Campos, Caetano Veloso and vanguard music." O Eixo e a Roda: Revista de Literatura Brasileira 31, no. 4 (August 14, 2023): 38. http://dx.doi.org/10.17851/2358-9787.31.4.38-65.

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Resumo: Este artigo pretende abordar o diálogo entre Augusto de Campos e Caetano Veloso, por meio de alguns poemas e determinadas canções, estendendo laços entre os campos da música e da literatura, também sob a influência do acaso de Stéphane Mallarmé, John Cage e Pierre Boulez. Com isso, é possível perceber a importância de estabelecer um elo entre poema e canção para a discussão de como diferentes meios podem se completar, atingindo os objetivos propostos não apenas pela poesia concreta, como também pela poesia contemporânea.Palavras-chave: Augusto de Campos; Caetano Veloso; poesia concreta; música popular brasileira; acaso de John Cage; Stéphane Mallarmé e Pierre Boulez.Abstract: This essay aims to aproach the dialogue between Augusto de Campos and Caetano Veloso, through some poems and certain songs, strengthening connections between the fields of music and literature, also under the influence of the chance of Stéphane Mallarmé, John Cage and Pierre Boulez. Therewith, it is possible to notice the importance of establishing a bond between poem and song to discuss how different areas might complete each other, reaching the intended purpose not only through concrete poetry, but also through contemporary poetry. Keywords: Augusto de Campos; Caetano Veloso; concrete poetry; brazilian popular music; chance of John Cage; Stéphane Mallarmé and Pierre Boulez.

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30

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

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

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31

Guldbrandsen, Erling E. "PIERRE BOULEZ IN INTERVIEW, 1996 (I) MODERNISM, HISTORY AND TRADITION." Tempo 65, no. 255 (January 2011): 9–16. http://dx.doi.org/10.1017/s0040298211000027.

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The following interview with Pierre Boulez contains arresting statements from the composer, casting new light on his musical and historical thinking. New insights emerge in an elaborate discussion of his compositional techniques in Pli selon pli and other main works. Surprising to some readers, Boulez the modernist here admits his constant dependence on personal choices and musical taste. He gives his views on modernism's intriguing relation to the classical musical tradition. He describes the cultural situation immediately following the Second World War and he discusses the complex relation between ‘life’ and ‘work’. Boulez takes up his experience as a conductor and points to the influence of Wagner, Debussy, and Mahler on his later conception of musical form. He finally airs his opinions on some lighter issues like Parisian culture, early music, rock, and opera.

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32

Ponsonby, Robert. "THE ART OF THE CONDUCTOR: PIERRE BOULEZ IN CONVERSATION." Tempo 62, no. 243 (January 2008): 2–15. http://dx.doi.org/10.1017/s0040298208000016.

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In 1986 I made six programmes about The Mysterious Art of the Conductor for the BBC's World Service. These derived from Interviews with nine conductors, among them Pierre Boulez, Colin Davis, Bernard Haitink and Charles Mackerras. Each programme lasted half-an-hour and included music examples. The interviews were much longer, but each was filleted and spliced so as to juxtapose – and sometimes contrast – the views of different conductors on particular aspects of their art. The interview with Pierre Boulez, reproduced here in full, was recorded in Broadcasting House on 25 October 1986. It gave me special pleasure and is, I believe, of special interest.

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33

Salem, Joseph. "Teasing the Ever-Expanding Sonnet from Pierre Boulez’s Musical Poetics." Music Theory Spectrum 41, no. 2 (2019): 244–70. http://dx.doi.org/10.1093/mts/mtz011.

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Abstract Pierre Boulez composed several related pieces during the latter half of the 1950s. These pieces all share both serial structures and wholesale notational borrowings. Importantly, when Boulez reused notated material, his focus shifted from executing organizational processes to nuancing the contour, dynamics, and instrumental character of his musical figures, a concern I equate with “revision” in the broadest sense. His habit of revising works in this way altered his stylistic priorities in future works.

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34

Leão Maia, Igor, Felipe Mendes Vasconcelos, and Samuel Araújo Alves. "De Sementes a Jardins: Transcrição e Orquestração em “Notations VII” de Pierre Boulez." Revista Vórtex 12 (March 28, 2024): 1–30. http://dx.doi.org/10.33871/vortex.2024.12.8731.

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Este artigo analisa a transcrição realizada por Pierre Boulez do sétimo movimento das Douze Notations para piano, resultando na peça Notations VII para orquestra. Nosso objetivo é compreender as técnicas composicionais utilizadas, abordando aspectos estruturais, temporais, harmônicos e timbrísticos. Dividido em cinco partes, o texto inicia com uma introdução às Douze Notations e as transcrições feitas por Boulez, embasada em seus próprios escritos. Em seguida, apresentamos uma análise da miniatura para piano, seguida de uma contextualização do termo “proliferação” e de uma análise da versão orquestral. A reflexão final destaca os tipos de proliferação realizados por Boulez, as quais denominamos como proliferação temporal-estrutural, proliferação temporal-heterofônica e proliferação harmônico-tímbrica.

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35

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

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

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36

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

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37

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

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38

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

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Gable, David. "Ramifying Connections: An Interview with Pierre Boulez." Journal of Musicology 4, no. 1 (December 1985): 105–13. http://dx.doi.org/10.1525/jm.1985.4.1.03a00060.

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40

O'Hagan, Peter. "PIERRE BOULEZ AND THE PROJECT OF ‘L'ORESTIE’." Tempo 61, no. 241 (July 2007): 34–52. http://dx.doi.org/10.1017/s0040298207000198.

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Among the passengers on the ocean liner Provence, as it disembarked from the Argentine capital Buenos Aires on 30 July 1954 at the outset of its 18-day voyage to Marseilles, were members of the theatre company Renaud-Barrault, returning home after a lengthy tour during the course of which it had performed in Brazil, Argentina, Chile, and Uruguay. If there was general fatigue at the end of such a gruelling schedule, during which the Company had given over 80 performances, there must have been an accompanying sense of exhilaration, and for perhaps the first time since leaving France on 24 April, an opportunity to relax. (Even the outward journey on Bretagne, the sister ship of Provence, had been taken up with a full schedule of rehearsals for the coming tour.) The joint directors, Jean-Louis Barrault and his wife Madeleine Renaud, as well as the young musical director, Pierre Boulez, joined their colleagues on board Provence a few days later at the Brazilian port of Salvador de Bahia, having opted to return to Brazil for a few days, during which there was an opportunity to witness a candomblé ceremony. For Jean-Louis Barrault, it was evidently a joyous return to the country which was the scene of the Company's first and perhaps greatest triumphs on a tour which had been as successful in every respect as the Company's first visit to South America in 1950.

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41

Albrecht, Florent. "Pierre Boulez (1925-2016), ombres et lumières." Études Mai, no. 5 (April 27, 2017): 77–86. http://dx.doi.org/10.3917/etu.4238.0077.

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Il y a déjà plus d’un an, Pierre Boulez s’en est allé aussi discrètement que son règne indiscuté sur la création musicale française et internationale fut long, tyrannique pour certains, enthousiasmant et toujours novateur pour d’autres. Du compositeur au théoricien en passant par le chef d’orchestre, il apparaît comme une figure de la musique contemporaine aux multiples casquettes.

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42

Zenck, Martin. "Paul Sacher und Pierre Boulez – eine musikalisch interaktive Freundschaft." Archiv für Musikwissenschaft 79, no. 3 (2022): 174–88. http://dx.doi.org/10.25162/afmw-2022-0009.

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43

Gärtner, Susanne. "Pierre Boulez' "Sonatine für Flöte und Klavier" und ihre neu aufgetauchte Frühfassung." Die Musikforschung 55, no. 1 (September 22, 2021): 51–59. http://dx.doi.org/10.52412/mf.2002.h1.745.

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Die Sonatine für Flöte und Klavier (1946) gehört zu den frühesten veröffentlichten Kompositionen von Pierre Boulez. Sie dokumentiert das Bestreben des Zwanzigjährigen, verschiedene Kompositionsverfahren zu einer neuartigen Musiksprache zu verbinden. Beschreibungen des Werks bestaunen den zukunftsweisenden, an Anton Webern orientierten Umgang mit der Zwölftontechnik. Nun sind Dokumente aufgetaucht, die belegen, dass vor der Druckfassung 1949 eine deutliche Überarbeitung stattfand. Wie die Frühfassung zeigt, hielt die Prägung des jungen Boulez durch seinen Lehrer Olivier Messiaen länger an und war stärker wirksam, als man es bisher annahm.

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44

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

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

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45

Burton, Anthony. "Lucerne Festival 2004: Harrison Birtwistle." Tempo 59, no. 231 (January 2005): 37–39. http://dx.doi.org/10.1017/s0040298205220053.

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Among major European festivals, the Lucerne Festival is outstanding in the attention it pays to contemporary music. The latest manifestation of this is the founding of an annual Lucerne Festival Academy for young professional players, specializing in the music of the 20th and 21st centuries, under the leadership of Ensemble Intercontemporain and the indefatigable Pierre Boulez. Nor is this is on the modest scale of a ‘young Sinfonietta’: its final concert, conducted by Boulez, began with Harrison Birtwistle's massive Earth Dances.

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

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

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

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

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Piencikowski. "FILIATION ET CLASSIFICATION DANS L'OEUVRE DE PIERRE BOULEZ." Revista de Musicología 16, no. 2 (1993): 1050. http://dx.doi.org/10.2307/20795954.

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Whittall, Arnold. "Review: Pierre Boulez–John Cage: correspondance et document." Music and Letters 84, no. 4 (November 1, 2003): 677–79. http://dx.doi.org/10.1093/ml/84.4.677-a.

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Guldbrandsen, Erling E. "PIERRE BOULEZ IN INTERVIEW, 1996 (II) SERIALISM REVISITED." Tempo 65, no. 256 (March 29, 2011): 18–24. http://dx.doi.org/10.1017/s0040298211000131.

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EG: Analyzing Pli selon pli, I went to the Paul Sacher Foundation in Basle and studied your sketches. There were some astonishing findings. As an example, let us look at the vocal line in Improvisation I sur Mallarmé. I wanted to take a restricted material and investigate it, and I wanted to find out how this vocal line was generated. If we look at these music examples: First, here are the pitches of the vocal line, ‘Le vierge, le vivace et le bel aujourd'hu,’, etc. [Example 1, my notation, EG.]

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Journal articles on the topic 'Pierre Boulez'

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