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Visionary, groundbreaking, and unique, French composer Pascale Criton (b. 1954) has forged a unique musical path drawing together innovative currents from spectral music, microtonality, musical acoustics, and philosophy. Her early career was marked by influential studies with composer Jean-Étienne Marie (who introduced her to the 1/16-tone microtonal piano of Julian Carrillo), Russian émigré composer and microtonal theorist Ivan Wyschnegradsky, and pioneer of spectral music Gérard Grisey. Criton’s wide-ranging and interdisciplinary approach to music was also shaped by her engagement with acoustics (Émile Leipp and the Laboratoire d’Acoustique Musicale) and philosophy, including a long-running and mutually influential series of conversations with Gilles Deleuze. As the composer writes, “We frequently returned to these areas of interest featuring the continuum and chromaticism as they relate to expression and forms... I told Deleuze about Ivan Wyschnegradsky’s approach to the continuum sonore... which particularly interested him from the perspective of a ‘plurality of continuums’ coming together on a single plane. I also informed him about Gérard Grisey’s work and explained to him the tenets of the spectral movement” (Criton 2005, 61). Deleuze remains a key landmark for Criton—“Many of his concepts have become invaluable to me, such as multiplicities, becomings, and in particular his concept of differential play” (Criton & Kanach 2019, 23).
Criton’s compositional oeuvre reflects her singular approach to the exploration of acoustical phenomena and their psychoacoustical effects. Fine-grained microtonal sonorities, often achieved through the drastic retuning of acoustic instruments, make audible a variety of complex sonic states at the intersection of pitch and timbre, including beating, interference patterns, combination tones, spectral flux, formants, resonances, fusion/fission of complex aggregates, cluster effects, and the effects of room acoustics. As the composer writes,
For many years—since the beginning of the 1980s—I have been mainly interested in sound variability and dynamical micro-variations of acoustic processes. I often use scordatura, modifying the tuning of instruments such as piano, violin, cello, or guitar, tuning them according to regular, irregular, or variable temperaments. I am particularly interested in micrological aspects that raise questions about our perceptions and brains. In particular, these concern the perception of signs or signals: the features of sound, like those of lights and colours, are an expression of a constant becoming through slight, tenuous, intensive, and temporal differences. These differences can be situated in a single, contiguous field of molecular frequencies or in heterogeneous connected dimensions, as I also develop them in devices and architectural contexts. Among these different environments (milieux), I take into account the possibilities of variation offered by sound tools, whether these involve software, synthesis, microintervallic systems, or “extended” instrumental techniques; all provide an access into the acoustic variability of sound. (Criton 2017, 67)
The product of a residency at IRCAM, Thymes illustrates Criton’s work with microtonality as well as her deep fascination with the complexity of sonic phenomena. A work of mixed music, Thymes combines a retuned piano (in an irregular pattern of quartertones repeating every two octaves) with digitally synthesized sounds on fixed media (tape). The piano tuning (originally proposed to Criton by Jean-Étienne Marie, who commissioned the piece) is shown in Figure 1, with the pitches raised a quartertone from their usual position in the chromatic scale indicated by a rectangle. Over the two octaves of the repeating pattern, all twenty-four possible quartertone pitch classes are included.
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Figure 1: Piano tuning in Thymes (1987–88) ©2000 Editions Jobert, Paris. All rights reserved. With the generous authorization of the publisher: https://www.henry-lemoine.com/en/partitions-piano/13113-thymes.html
Figure 2 presents a page from the second half of the piece. Due to the retuning, the piano notation must thus be understood as a kind of tablature, indicating which keys are to be played but not the resulting pitches. The tape part (bande) is notated in the score with considerably more precision, indicating pitch nuances as small as a 1/16-tone. The score includes timbral indications (cloches, clochettes) for both the tape and piano that illustrate the metallic, bell-like sound world of the piece—extending at times to other struck timbres such as marimba, glockenspiel, and cymbalom (Criton 1994, 8)—and the complex intermingling of piano and electronics. As the composer writes:
In Thymes … formant synthesis allowed me to play with the ambiguity of pitch and timbre. The sounds of bells and struck metals, distributed in 1/4, 1/8 and 1/16-tone temperaments, infiltrate into the piano’s resonances, prolonging them while imperceptibly deflecting them. I sought to construct a fluctuating space in which the figures drift. Intervals oscillate between contraction and dilation (a notion coming from Wyschnegradsky) and move in a spiral so that the ear does not perceive any “detuning” effect because it retains a relative reference, which is further aided by dense, multidirectional clusters. (Kanach & Criton 2019, 24–25)
The “ritournelle, claire et souple” at the bottom of the page is a striking contrast to the complex flourishes that precede it. Not only is the rhythm considerably simpler, but the pitches all fall within a single chromatic twelve-tone scale, effectively cancelling out the preceding quartertones. The pitches in question (F♯, C, E, C♯, F, B, E, A, D, F♯) are all raised by a quartertone in comparison to “normal” piano tuning, thus creating an effect which is chromatic rather than microtonal.
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Figure 2: Thymes, page 10. Audio (SoundCloud): Jean-Pierre Collot, piano, Assai 222482, 5:24–5:58 ©2000 Editions Jobert, Paris. All rights reserved. With the generous authorization of the publisher: https://www.henry-lemoine.com/en/partitions-piano/13113-thymes.html
Ritournelles are an important theme in Deleuze and Guattari’s Mille Plateaux, and are a recurring preoccupation in Criton’s compositions as well. A ritournelle (typically translated in English as “refrain”) is conceived as an ordering of materials with a stabilizing, “territorializing” function—for Guattari, Deleuze comments in a 1984 seminar, “the ritournelle is the sound crystal of time par excellence” (Deleuze 1984). Criton elaborates on the concept in a 1998 essay:
In its territorializing function, the ritournelle effects a selection, a serial differentiation: it is the spatial distribution of an organization, the passage to territoriality with the generation of expressive materials. For the musician, it is the sequential choice of scales, such as Olivier Messiaen’s selection of modes, Iannis Xenakis’s choice of sieves, or Scriabin’s or Debussy’s choice of harmonic milieu, from which the motives and sequences of rhythms and melodies are developed, the harmonic fiber. The territorializing factor is an expressive becoming… (Criton, 1998, 518)
For Deleuze, the static, territorializing ritournelle must be opposed by a more dynamic, vectorial force: “There needs to be something to turn the crystal, to make it move.” He proposes the galop (the gallop): “a linear vector that precipitates, that increases its speed.” Deleuze considers these as the essential contrasting modalities of musical time, “The gallop is the cavalcade of the present passing by, accelerated speed… the refrain is the round of the pasts that are preserved” (Deleuze 1984).
Written several years from Thymes, the 1996 guitar piece La ritournelle et le galop thematizes these concepts. The tuning of the guitar is altered in a radical scordatura, a technique used in many of Criton’s compositions from the 1990s to the present. The guitar (in this case a specialized instrument with quartertone frets) is restrung with six identical low E strings, allowing a tuning of the lower four strings in ascending 1/16-tones with the remaining two strings tuned in unison with the middle two. The use of 1/16-tone tuning here, as in much of Criton’s music, is not intended for the production of just intervals or abstract pitch geometries: rather, it is a way to cultivate and explore new and complex acoustic states:
Microtunings take their whole meaning from stirring up sound sensibility, modifying the relationships between timbre and pitch, re-inventing ways of producing sound and instrumental techniques, generating unheard differences. […] I consider microtunings and extended techniques as a means of accessing the acoustic variability of sound. Microintervallic systems bring out new possibilities to modify sound, to organize it under the identity of the note. It allows modulations, tiny differences in frequencies that favour transitiveness, and emergent micro-acoustic properties, from all of which arise new forms of expression. (Criton 2017, 70)
Figure 3 shows the fourth page of the score. It begins with a microtonal chord made up of microtonal shading of A and A♯ (the notes on the upper staff represent fingerings in reference to standard guitar tuning, not sounding pitch). Continuous change of sonic quality is central to this work (reflecting the directional nature of the galop), and the guitarist moves gradually towards a rasgueado finger picking technique and an increasingly muted sound. A barre chord at fret V transforms to a light touch (harmonic finger pressure), bringing out varieties of the E as a natural harmonic two octaves above the open strings. A slow descent of the barre down the fretboard leads to the emergence of the fifth, sixth, and even seventh harmonics—in a characteristic complexification, Criton combines this with a shift from ponticello to tasto and a change from rasgueado to tremolando. The tremolando (end of line 18) again shows the effect of microintervals, with a simple chord shape (barred at the minor third across the microtonally nuanced E strings) that yields a tight microtonal cluster in 1/16-tones, soon joined by a high harmonic G♯ played on the topmost string. This alternates with a nearly—but not quite—identical harmonic played on the fifth string, tuned an 1/8-tone flatter than the top one. The mesmerizing texture draws attention to these small differences. The end of line 19 is the first appearance of the ritournelle, played entirely with natural harmonics—the melody of the ritournelle is based on the overtone series of the open E strings, blurred somewhat by the 1/16-tone scordatura. As in Thymes, the ritournelle is simpler in rhythm as well as pitch. Rehearsal J marks a return to the gradually shifting tremolando textures which exemplify the galop.
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Figure 3: La ritournelle et le galop (1996), page 5. Video (SoundCloud): Didier Aschour, guitar, Assai 222482, 4:51–6:10 ©2003 Editions Jobert, Paris. All rights reserved. With the generous authorization of the publisher: https://www.henry-lemoine.com/en/partitions-guitare/13122-la-ritournelle-et-le-galop.html
Given the intense specialization of the guitar writing here, including the drastic retuning and the custom quartertone fretboard, collaboration with performer Didier Aschour was an important part of the compositional process. Similar creative collaborations in Criton’s oeuvre include the works discussed below for performers Deborah Walker, Silvia Tarozzi, Duo XAMP (Fanny Vicens and Jean-Étienne Sotty), and Juliet Fraser.
The microtonal guitar continues to play an important role in many of Criton’s works from the 1990s onward. Artefact (2001) multiplies the solo guitar into a trio of guitars set within a larger mixed ensemble. The three guitars no longer require customized quartertone frets, and Criton slightly widens the 1/16-tones of La ritournelle et le galop to 1/12-tones. Each of the three guitars again uses six strings of the same thickness and tunes a narrow, irregular microtonal cluster around its central pitch (with a 1/12-tone and 1/6-tone above, and a 1/4-tone, 7/12-tone, and 2/3-tone below). The central pitches, each separated from the next by a minor seventh, are (from high to low) C4, D3, and E2. In combination with the familiar tempered semitones of the fretboard, each guitar is capable of producing a continuum of pitch gradations in 1/12-tones (72 steps per octave).
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Figure 4: Artefact (2001), page 8. Audio (SoundCloud): Ensemble 2e2m, conducted by Paul Méfano, Assai 222482, 1:30–1:44 ©2001 Editions Jobert, Paris. All rights reserved. With the generous authorization of the publisher: https://www.henry-lemoine.com/en/partitions-pour-ensemble/13198-artefact.html
An excerpt from the score of Artefact (Figure 4) shows the deployment of the guitars alongside the other instruments of the ensemble. The unusual score order reflects Criton’s grouping of the ensemble into three spatialized subgroups: the flute, violin, and guitar 1 form a trio stage left, the clarinet, viola, and guitar 2 another trio in the centre, and the horn, cello, guitar 3, timpani, and double bass a quintet stage right. One can observe a general downward shift of instrumental tessitura from left to right on the stage, each group built roughly around the register of its own retuned guitar (notated in the full score, unlike the parts, in sounding pitch rather than scordatura). The guitars play with bottleneck slides (“b.n.” in the score), often rubbing the strings with fingers or thumb or setting the string into motion with the motion of the bottleneck itself (“frotté b.n.”). A result is the activation of the complementary modes of the string, audible only through amplification: the complementary mode of the string is the vibration of the section of string behind the bottleneck (towards the fretboard rather than towards the bridge): “the shadow of the sound,” as Criton describes it. Characteristic of this work is the development of a malleable, constantly shifting sonic environment: “As the image of a mobile world, made up of speed and distances, Artefact echoes an interlacing of divergent, coexisting dynamisms: a site without edges or stability in which variable objects evolve, brushing against each other and disappearing” (Criton 2015).
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Figure 5: Plis pour guitare (2003), page 1. Audio (SoundCloud): Didier Aschour, guitar, 0:00–1:12. ©2004 Editions Jobert, Paris. All rights reserved. With the generous authorization of the publisher: https://www.henry-lemoine.com/en/partitions-guitare/13556-plis-pour-guitare.html
Within the mobile soundworld of Artefact, gestures, trajectories and the changeable acoustic conditions they engender are the central elements of musical discourse: “We leave behind the domain of the note in favor of the creation of states of transforming variables” (Criton & Kanach 2019, 25). An even more gestural, “choreographic” approach to notation, already suggested in the guitar glissandi of Artefact, is implemented in subsequent works like Plis pour guitare, premiered by Didier Aschour in 2003. Figure 5 demonstrates this more gestural approach to notation. The complementary modes of the string already explored in Artefact are richly audible here, as glissandi that sound in contrary motion to the notated pitch slides. The guitar—here tuned in 1/12-tones with six identical A strings—is often activated “without attack” (sans attaque, SA) by the sliding of the bottleneck alone. Specific locations along the string in relation to the fretboard, soundhole, and bridge are indicated by symbols, allowing a highly controlled exploration of the guitar’s timbral and acoustical possibilities.
The gestural notation of Plis becomes still more abstracted in a cluster of works written a decade later, emerging from a particularly rich collaboration between Criton and two performers, violinist Silvia Tarozzi and cellist Deborah Walker: Circle process (2010) for solo violin, Chaoscaccia (2012) for solo cello (co-signed with Walker as a collaborating composer), and the multi-part Bothsways (2014) for violin and cello (playing both in alternation and together). To clearly illustrate Criton’s compositional approach in this family of works, we can consider some detailed examples from Shift, the first piece of Bothsways. As the composer writes:
In each of these solo pieces, a collaborative process of technical and expressive elaboration was carried out to stabilize the styles of playing. Each style is precisely established, characterized by a region, a set of variables, modes of playing, and types of progression. The styles are ways of playing but also ways of feeling (regimes of velocities, decelerations, and accelerations), invested with an idea that is both sonic and emotional (tension, rupture, construction, deconstruction). Each style corresponds to a state (ethos) simultaneously sonic, dynamic, and even psychic. (Criton & Kanach, 28)
Figure 6 shows the four “styles” of Shift as defined in the work’s score, a relatively limited palette for this short, two-minute piece. Like all of the pieces in Bothsways, Shift uses a 1/16-tone scordatura, in this case based around the cello’s low C string. Each style is defined by an ensemble of parameters defining the actions of both hands on the strings, an approximate pitch region, the features open to variation, types of movement, dynamics, and resultant sonorities. In the realization of the work, several styles appear in more than one form: both Tenues/battements (held notes, beating) and Multiphonie harmonique include options for both ascending and descending movements. It should be noted that in addition to the written definitions of each style here, a considerable amount of information about each style is transmitted orally through the collaborative creation and rehearsal process, an approach comparable to the strategies used by composers such as Éliane Radigue and Cassandra Miller (Nickel 2020, 59–61).
The definition of the styles is conceived essentially “out of time” (to borrow a concept from Xenakis); the temporal deployment of the styles is the next step, approached with different strategies in the various pieces of this family. In Circle Process, for example, twelve different styles are arranged diagrammatically around the edges of a circle: the violinist can start and end anywhere on the circle, emphasizing the gradual transformation of one style to the next: “The idea is to move progressively from one state to another, “unfolding” the transformations with maximum transitivity” (Criton & Kanach, 29). In contrast, Shift is a study in discontinuity and instability, based (like the longer Chaoscaccia) on a “shift process,” a rapid oscillation between contrasting styles: as the score preface indicates, the basic idea is “the sudden and energetic passage (shift) between different states.” There is no written score that specifies notes or gestures in detail, but rather a diagram showing the succession of styles, to be interpreted with considerable freedom by the interpreter. Figure 7 is Criton’s “diachronic schema” for Shift, showing the rapid transitions between different styles: the zig-zag line begins with alternations between Shift caisse (rapid rubbing of the bow on the wooden body of the cello) and Parlando in the first section, moving on to include in quick succession Point vibrant (variable vibrato), held notes, multiphonics, tapping, and left-hand trills.
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Figure 6: Shift (2014), definition of styles ©2016 Art&Fact. All rights reserved. With the generous authorization of the publisher.
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Figure 7: Shift, “diachronic schema” from Criton 2016. Audio (SoundCloud): Deborah Walker, cello, 8 October 2016 ©2016 Art&Fact. All rights reserved. With the generous authorization of the publisher.
The increasingly abstract notation of Shift and related pieces reflects Criton’s fascination with the unnotatable and unpredictable, with the microvariations of sound that emerge, often only partially controlled, from a particular acoustic scenario or situation. This fascination is pursued in works of the following years, including Wander Steps (2018) for two quartertone accordions, composed for the unique Duo XAMP (Fanny Vicens and Jean-Étienne Sotty). While more traditionally notated than the immediately preceding works, it nonetheless offers new discoveries and insights into sonic variability.
The piece is broken into five “trajectories” (trajectoires), which might be thought of as akin to the styles or states of Shift. Figure 8 shows the score for Trajectoire IV, titled En inversant (“Inverting”). In her score preface, Criton draws attention to the microvariability of pitch and the crossfading dynamics between the two players, which favour the emergence of beats in the low register. The score is written with two staves for each accordionist, with “normally tuned” notes on the lower staff and the quartertones between them on the top one, reflecting the physical design of the microtonal accordions. The section follows immediately from the end of Trajectoire III, with a microtonal cluster above A4 played by both accordions. Trajectoire IV begins with Accordion 1 fading away and reemerging from niente a perfect twelfth below, with a similar cluster above D3. The upper cluster of Accordion 2 fades away in its turn, replaced by an overlapping low register cluster built above C♯3, just a semitone below the cluster of Accordion 1. On the next system, it is Accordion 1’s turn to take on the high register, asserting a D¾♯5, two octaves above the top note of its just-abandoned cluster. This high note sounds briefly then fades away, leaving Accordion 1 to rejoin the low cluster in unison. The last significant notated event of the section is a high quartertone dyad between C6 and C¼♯6, a dyad that will sustain throughout the following Trajectoire V. Throughout the excerpt, single asterisks indicate a gradual crescendo from niente by slowly activating a button valve, double asterisks a comparable decrescendo back to silence. The symbol “b” followed by a wavy line is a “bend modulant,” fluctuating at the performer’s discretion to precisely control the resultant acoustic beating.
This kind of minute fluctuation is essential to all five trajectories of Wander Steps. An unusually intimate and interactive duet, it demands intense listening and constant microadjustments to shape the acoustical interferences (beating, combination tones, “phantom frequencies,” etc.) that emerge between the instrumental sounds, with the room acoustics becoming in effect a third member of the ensemble. As Criton writes, “These combinations create sonic constellations that change imperceptibly, stimulating the resonant mode of the concert hall’s architecture” (Criton & Kanach, 31). She calls this approach “jeu éco-sensible” (“eco-sensitive playing”): “listening to the acoustic response of the hall and the unstable balance of the dynamics” (score preface). The two systems of the score excerpted in Figure 8 represent almost two full minutes of music. However, the resulting sounds and sonic interactions are much more complex than the deceptively simple score. Figure 9 is a spectrogram corresponding to Trajectoire IV, including parts of the previous and subsequent sections as well. One can observe here the important role of overlapping harmonic partials: the initial A4, for example, becomes the third harmonic of D3, which later generates the high C/C¼♯6 as its seventh harmonic. The acoustical complexity of the clusters creates many unpredictable interference phenomena: certain partials often stand out prominently to the ear through their reinforcement in the composite spectrum. These prominent partials and the slow acoustic beats that emerge from the overlapping clusters are indicated in the annotations of Figure 9.
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Figure 8: Wander Steps (2018), Trajectoire IV ©2018 Art&Fact. All rights reserved. With the generous authorization of the publisher.
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Figure 9: Wander Steps, Trajectoire IV, annotated spectrogram. Audio (SoundCloud): Fanny Vicens and Jean-Etienne Sotty, microtonal accordions, recorded by Alice Ragon, CNSMDP, 25 April 2018, 7:00–9:10
Alter is one of Pascale Criton’s most recent works at the time of writing. A commission of BBC Radio 3 and the BBC Scottish Symphony Orchestra, it was premiered at Tectonics Glasgow 2022 with Ilan Volkov conducting and Juliet Fraser as soprano soloist. A rare vocal work in Criton’s largely instrumental catalog, it was begun during the first COVID-19 lockdown in France in spring 2020. In her program note, Criton writes: “A state of stupor suddenly submerged our lives, projecting us into a different world. Alter plays on the idea of otherness, as well as alteration and transformation. The reference points are unstable, driven by minute reciprocal influences, bordering on acoustic phenomena such as beats and resulting sounds. Listening to these fragile relationships invites one to let go, to an attitude less focused on individual will.”
Though the work is written for a large orchestra (with the concomitant limitations on extended techniques and rehearsal time), Criton nonetheless integrates a simplified version of her preferred microtonal scordatura. The second violins are divided into seven desks, each retuning their instruments differently to produce a tightly packed cluster spanning a semitone around each open string, with the “normally tuned” note at the centre. This strategy is far less radical than the tunings in Circle Process or Bothsways that require a complete restringing of the instrument: here the maximum retuning for any given violin is a quartertone up or down from their standard tuning. The retuned violins are most frequently used in written unison (creating a seven-part 1/12-tone cluster), often with techniques that mix stopped notes with half-pressed and natural harmonics, artificial harmonics, bariolage across barred harmonics, etc.
The vocalist is often integrated into the orchestral mass, fitting long notes into the dense microtonal harmonies to draw out interferences, beats, and combination tones. The text written by Criton cycles through variations of a few words—“world,” “this one,” “their world,” “is changing”—in French, English, and Arabic. Criton also draws on a text by Fraser, “Inside Out,” reflecting on the disruptions, isolation, and unease of the pandemic and musicians’ deep need for “the glory and the mischief of collective music-making” (Fraser 2022). Near the end of the piece, Fraser delivers the text in a speaking voice over a dramatically reduced orchestral texture before returning to a more abstract and phonetic approach to the text in the final section.
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Figure 10: Alter, page 24. Video (YouTube): BBC Scottish Symphony Orchestra conducted by Ilan Volkov, Juliet Fraser, soprano, Tectonics Glasgow, 30 April 2022, 0:00–0:15 ©2022 Éditions Musicales Rubin, Le Breuil. All rights reserved. With the generous authorization of the publisher.
An interest in the perception of physical sound in all of its complexity underlies all of Criton’s composition and research. She describes approvingly the experimental approach to research on instrumental acoustics carried out by Leipp’s Laboratoire d’Acoustique Musicale: “The question of sound—analyzing the conditions of its production, its behavior in context, taking into account the subjectivity of the musician’s listening as well as that of the listener—made palpable the complex interrelationship between the instrument, the gesture, the musician’s subjectivity and the acoustic space of the concert venue, and was addressed to all musicians” (quoted in Bazin 2020, 189). An ongoing research-creation project, Ecouter autrement, explores “experiences of hearing through touch” through specially created devices such as tables sonores and stations d’écoute solidienne, designed for hearing and deaf participants alike (Criton 2014).
Microintervallic scales and scordatura in Criton’s music are similarly a tool for the renewal of our perception, leading towards an appreciation of sound as a phenomenon rather than sound as an abstraction in the measurable domains of pitch or duration. Microintervals allow the creation of complex and delicate acoustic states which cannot be produced within the familiar tempered scale. As the composer comments, “I'm interested in the possibility of a fine-grained distribution of all the components of sound (harmonic and inharmonic), within the identity of the note. Microintervallic temperaments and tunings are tools that have no function of their own. However, they do generate qualities that can be analyzed from the point of view of harmonic relationships or the acoustic behaviors they produce (resonances, degrees of roughness, beating). Dense scales such as 1/12- or 1/16-tones have both an acoustic and psychoacoustic signature: they effect a slowing down, a temporal dilation that focuses listening on the scale of microvariations” (Criton & Kanach 2019, 24).
BAZIN, Paul. 2020. “La pansonorité d’Ivan Wyschnegradsky et son heritage.” PhD dissertation, McGill University. https://escholarship.mcgill.ca/concern/theses/8910jz928
CRITON, Pascale. 1994. “Continuum, ultrachromatisme et multiplicités.” Dissonance/Dissonanz 42, 4–10. https://dissonance.musinfo.ch/fr/archives/articles_de_fond/539
CRITON, Pascale. 1998. “À propos d’un cours du 20 mars 1984 : la ritournelle et le galop.” In Gilles Deleuze : une vie philosophique, edited by Eric Alliez, 513–23. Le Plessis-Robinson: Institut Synthélabo pour le progrès de la connaissance.
CRITON, Pascale. 2005. “L’invitation.” In Deleuze épars – approches et portraits, edited by André Bernhold and Richard Pinhas, 55–68. Paris: Hermann.
CRITON, Pascale. 2014. “Listening Otherwise: Playing with Sound Vibration.” In Proceedings ICMC-SMC-2014, 14–20 September 2014, Athens, Greece, edited by Anastasia Georgaki and Georgios Kouroupetroglou, 1817–20. https://speech.di.uoa.gr/ICMC-SMC-2014/images/VOL_2/1817.pdf
CRITON, Pascale. 2015. “Sound and micro-variability.” Lecture at McGill University, 7 April 2015.
CRITON, Pascale. 2016. “Variables, differences, process.” Lecture at Sorbonne Université, 22 June 2016.
CRITON, Pascale. 2017. “Variables, Diagrams, Process.” In The Dark Precursor: Deleuze and Artistic Research, Vol. 1, edited by Paulo de Assis and Paolo Giudici, 67–75. Leuven University Press.
CRITON, Pascale & Sharon KANACH. 2019. “L’art des (petites) différences.” Circuit : musiques contemporaines 29/2, 19–32. https://www.erudit.org/fr/revues/circuit/2019-v29-n2-circuit04806/1062565ar/
DELEUZE, Gilles. 1984. “Sur Cinéma, vérité et temps : le faussaire.” Seminar at Université de Paris VIII, 20 March 1984. English translation, “On Cinema, Truth, and Time: The Falsifier,” by Graeme Thomson & Silvia Maglioni. https://deleuze.cla.purdue.edu/lecture/lecture-14-3/
FRASER, Juliet. 2022. “Inside Out.” Tempo 76/300, 74–82. https://doi.org/10.1017/S0040298221000942. See also Fraser’s video essay “Inside Out” made in collaboration with filmmaker Jessie Rodger: https://www.youtube.com/watch?v=m96xf41-_PA
NICKEL, Luke. 2020. “Scores in Bloom: Some Recent Orally Transmitted Experimental Music.” Tempo 74/293, 54–69. https://doi.org/10.1017/S0040298220000261
Traduit de l'anglais par Emanuelle-Majeau Bettez.
Do you notice a mistake?