\r\nLa première génération qui entre de plein droit dans la base est donc celle constituée par John Cage, Olivier Messiaen ou encore Elliott Carter.\r\n\u003C/p>\r\n\r\n\u003Ch3>Contenus\u003C/h3>\r\n\r\n\u003Cp style=\"text-align: justify;\">\r\nLes données sont progressivement mises à jour depuis juillet 2007, en remplacement de celles de l’ancienne version de la base, développée entre 1996 et 2001 par Marc Texier. L’information peut donc être incomplète pour certains compositeurs non encore traités : dans ce cas l’indication « ! Informations antérieures à 2002 » apparaît en haut de page. Pour tous les autres documents, la date de dernière mise à jour est indiquée en haut de page.\r\n\u003C/p>\r\n\r\n\u003Ch3>Mises à jour et nouvelles entrées\u003C/h3>\r\n\r\n\r\n\u003Cp style=\"text-align: justify;\">Les mises à jour se font compositeur par compositeur. Pour un compositeur donné, sont systématiquement revus ou créés les documents suivants :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>la biographie\u003C/li>\r\n \u003Cli>le catalogue exhaustif de ses œuvres (y compris, si possible, les œuvres disparues, retirées ou posthumes)\u003C/li>\r\n \u003Cli>une liste de ressources bibliographiques, discographiques et internet,\u003C/li>\r\n \u003Cli>des éventuels documents attachés (Parcours de l’œuvre, interviews, analyses, notes de programme etc.)\u003C/li>\r\n\u003C/ul>\r\n\u003Cp style=\"text-align: justify;\">\r\nLa définition des priorités de mises à jour et nouvelles entrées des compositeurs s’opèrent suivant une méthodologie basée sur l’observation de la vie culturelle européenne :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>Avant chaque saison, nous relevons les programmations à venir des principaux festivals, institutions et ensembles musicaux européens investis dans le domaine de la création musicale. Cette observation s’opère par cercles concentriques en partant de l’activité propre de l’Ircam (année n-2), puis de celle des partenaires privilégiés (année n-1) jusqu’aux grandes institutions et festivals européens de création (année n) ;\u003C/li>\r\n \u003Cli>Chaque compositeur est crédité de points en fonction de l’importance et de l’intensité de l’activité musicale le concernant. Ce classement permet de définir les priorités pour chaque trimestre ;\u003C/li>\r\n \u003Cli>Si un compositeur n’a pas obtenu assez de points pour figurer dans les priorités, il cumule ceux-ci sur le trimestre suivant ; et ainsi remonte progressivement dans la liste des priorités.\u003C/li>\r\n \u003Cli>Une fois mis à jour, les documents attachés à un compositeur sont valables trois ans, après lesquels le processus décrit ci-dessus reprend.\u003C/li>\r\n\u003C/ul>\t\r\n\r\n\u003Ch3>Erreurs ou omissions\u003C/h3>\t\r\n\t\t\t\t\r\n\u003Cp style=\"text-align: justify;\">\r\nSi la mise à jour est déjà effectuée (date postérieure à juin 2007) : nous invitons les musicologues, les compositeurs (ou leur éditeur) à nous signaler toute erreur ou omission importante. Elle sera corrigée, dans la mesure du possible, au cours du trimestre suivant. De même, nous les invitons à nous faire connaître leurs œuvres nouvelles, en mentionnant tous les éléments nécessaires à la création d’une fiche œuvre nouvelle.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\t\t\r\nSi la mise à jour n’est pas encore effectuée (indication : « mise à jour à venir ») : Les compositeurs peuvent nous signaler des erreurs ou omissions importantes. Ces indications seront prises en compte au moment de la mise à jour à venir. Un compositeur peut également demander le retrait de sa biographie dans l’attente de la mise à jour.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\r\nPour cela : \u003Ca href=\"mailto:brahms-contenu[at]ircam[dot]fr\">écrire\u003C/a> à l’administrateur de publication\r\n\u003C/p>\r\n",{"id":14,"url":15,"titleFr":16,"titleEn":11,"contentFr":17,"contentEn":11},"a3cd05aa-3447-487a-b4fc-213ba0f77e6b","/copyrights/","Mention Légale","La reproduction de contenus de ce site Web, en tout ou partie, est formellement interdite sans la permission écrite de l'Ircam. Les textes, images, logos, codes sources sont la propriété de l'Ircam, ou de détenteurs avec lesquels l'Ircam a négocié les droits de reproduction à sa seule fin d'utilisation dans le cadre du site Brahms. Tout contrevenant s'expose à des poursuites judiciaires. ",{"id":19,"url":20,"titleFr":21,"titleEn":11,"contentFr":22,"contentEn":11},"9162642e-ea99-48c3-8d3b-2dc2a3f8ba45","/repertoire/about/","Projet Répertoire Ircam","\u003Cp>Le Projet Répertoire Ircam est une collection d’analyses musicales en ligne d’environ 70 œuvres crées à l’Ircam et considérées comme représentatives de la culture de l’institut tant sur le plan artistique que technologique.\u003C/p>\r\n\r\n\u003Cp>Ce projet a débuté en 2006-2008 avec la création d’outils auteurs mises en œuvre par le département Interfaces Recherche/Création en collaboration avec le secteur recherche de l’institut. Les premières analyses ont été mises en ligne fin 2010 et il est prévu que la collection s’élargisse à un rythme de deux ou trois nouvelles analyse par an.\u003C/p>\r\n\r\n\u003Cp>Plusieurs objectifs sont poursuivis par ce projet :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>faire connaître les œuvres produites à l’Ircam à un public plus large,\u003C/li>\r\n\t\u003Cli>montrer la relation entre l’idée musicale et les technologies utilisés,\u003C/li>\r\n\t\u003Cli>identifier les nouveaux éléments du vocabulaire musical qui émergent à travers ces œuvres,\u003C/li>\r\n\t\u003Cli>offrir un support d’information aux interprètes.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>Chaque analyse est structurée en trois parties :\u003C/p>\r\n\r\n\u003Col>\r\n\t\u003Cli>description générale de l’œuvre,\u003C/li>\r\n\t\u003Cli>analyse des extraits de l’œuvre avec mise en relation de l’idée musicale et de l’écriture électronique,\u003C/li>\r\n\t\u003Cli>la liste de ressources spécifiques (type de problème musical abordé, technologies utilisées, œuvres abordant le même type de problématique) et générales (biographique, historique, technique).\u003C/li>\r\n\u003C/ol>\r\n\r\n\u003Cp>Les analyses seront également mises en relation avec :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>Brahms : une base de données encyclopédique en ligne de compositeurs de musique contemporaine de toutes les nationalités dont les œuvres ont été créées après 1945. Cette base contient actuellement environ 600 références. Pour chaque compositeur, il y a une partie biographique accompagnée des sources d’information, et une autre partie qui situe l’orientation esthétique, les phases principales et le contexte historique de l’œuvre.\u003C/li>\r\n\t\u003Cli>Images d’une œuvre : une collection des interviews filmés des compositeurs.\u003C/li>\r\n\t\u003Cli>Sidney : une base de données qui contient les éléments techniques (programmes informatiques, sons etc. ) nécessaires pour l’exécution de l’œuvre.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>A plus long terme, les analyses des nouvelles œuvres créés à l’Ircam viendront se rajouter au corpus donné dans l’annexe citée ci-dessus.\u003C/p>",{"data":24},{"medias":25},{"id":26,"slug":27,"title":28,"titleEn":28,"category":29,"tags":30,"type":34,"set":11,"setSlug":11,"place":11,"timestamp":35,"download":11,"summary":36,"summaryEn":11,"collectionSummary":36,"collectionSummaryEn":36,"collectionName":37,"collectionNameEn":37,"duration":38,"collectivities":39,"work":11,"participants":40,"event":55,"img":11,"files":58,"thumbnail":62,"relatedContent":64,"programnote":176,"confidentiality":180},"bec70240-a62f-42c0-8ce2-f79f3a656a49","x3eca57","Creativity and Sound Design: A Case Study","Other",[31],{"label":32,"slug":33},"Analyse d'œuvre","analyse-d-oeuvre","video","2015-10-08","","TCPM 2015 : Analyser les processus de création musicale / Tracking the Creative Process in Music","29 min",[],[41,47,51],{"firstName":42,"lastName":43,"slug":44,"role":45,"roleEn":46},"Andrea","Cera","andrea-cera","conférencier","lecturer",{"firstName":48,"lastName":49,"slug":50,"role":45,"roleEn":46},"Sébastien","Gaxie","sebastien-gaxie",{"firstName":52,"lastName":53,"slug":54,"role":45,"roleEn":46},"Nicolas","Misdariis","nicolas-misdariis",{"title":37,"start":11,"end":11,"type":56,"slug":57,"location":11},"Séminaire / Conférence","tcpm-2015-analyser-les-processus-de-creation-musicale-tracking-the-creative-process-in-music-2015",[59],{"getUrl":60,"getUrlSource":11,"originalFileName":61},"https://storage.ressources.ircam.fr/ressources/media/3a3d6555-93cd-4291-81fa-816295fd66ed.mp4?response-cache-control=public%2C%20max-age%3D31536000%2C%20immutable&response-content-disposition=attachment%3Bfilename%3D%22complete.mp4%22&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ressources%2F20250923%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250923T144957Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=fd77b67a5b3759e6709ed813ba5fe34ae041496540c5ea154a9b51d8515431b3","complete.mp4",{"getUrl":63},"https://storage.ressources.ircam.fr/ressources/media/e2b3e9b2-5278-41b5-aa9d-7a1143302097.png?response-cache-control=public%2C%20max-age%3D31536000%2C%20immutable&response-content-disposition=attachment%3Bfilename%3D%22MisdariisCeraGaxieENG.mov-00_00_20.png%22&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ressources%2F20250923%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250923T144957Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=aa3839d52eaceda0ad502e4af452cfecde14fbd51b6cf3ce10b38ef8c6d683af",[65,71,76,82,88,94,100,105,110,115,120,125,130,134,139,145,150,155,160,166,171],{"id":66,"slug":67,"title":68,"description":69,"duration":70,"type":34,"timestamp":35},"6c9875f8-ffbf-4bec-a3b8-5ad91d025be8","x31210e","Metaphors of Creative Practice: Navigating Roots and Foliage in Southern Vietnamese Traditional Music - Alexander Cannon","Traditional music in southern Vietnam does not sit idly on the sidelines of cosmopolitanism, globalization, and modernity. Musicians travel from Long Xuyên to Hồ Chí Minh City and then fly to Bangkok, Dubai, and Seattle, interacting with a greater number of musical types, media, and ideas than in previous decades. As musicians navigate sources of global cultural power, they adopt new performance techniques and acquire new audiences in Europe, Asia, and the Vietnamese diaspora. These engagements activate disparate ideas concerning musical creativity, and the emergence of competing creativities in Vietnam forces delicate negotiations of so-called “authentic” and appropriately “developed” performance practices. Oftentimes adept or “charismatic” individuals lead the negotiation process; ultimately, however, communities of musicians sprout to make sense and maintain these practices. Traditional music, therefore, is profoundly creative and does not simply index the past but actively constructs the present and tackles the uncertainty of the future.\r\nDrawing on models of music practice typical in research on Western art music, ethnomusicological studies of Vietnamese music often focus on individual prowess where scholars measure creativity as the individual’s ability generate the new and garner a following (Phạm 1972; Lê 1998). Recent research in ethnomusicology and other fields posits instead that creativity is a social endeavor actively negotiated by groups of individuals (Csikszentmihalyi 1996; Hill 2012; Pang 2012). To understand creativity, therefore, one must investigate both the authority and power that establish boundaries of appropriate practice (Lam 1998; Ramnarine 2003) and the reactions to this power. Individuals do not necessarily engage in overt strategies to overthrow authority but instead adjust to their surroundings in more subtle ways. New modes of practice enter the bounds of the authorized, and other modes are omitted or disappear; in this sense, creativity both builds and destroys as communities of musicians re-craft their social worlds.\r\nMy research expands this work and specifies multiple levels of creative practice within southern Vietnam. I first examine how creativity emerges in spheres of traditional music performance from the interaction of authority, cultural policy initiatives, the labor of musicians, metaphors drawn from literature to direct preservation, and musical techniques from outside of Vietnam introduced by new participants. I then investigate the interaction between different scenes of performance and indicate how conflict between them sustains interest in traditional music. The juxtaposition of competing creativities forces debates concerning the Vietnamese identity in an increasingly cosmopolitan and globalized Vietnam and encourages Vietnamese practitioners to make sense of new societal conditions.\r\nVietnamese musicians impart their understandings of creativity [sự sáng tạo] using specific experiences with others in community settings. Ethnomusicologist Trần Văn Khê (2013) argues that he “best internalizes creativity” with the phrase “học chân phương mà đờn hoa lá,” meaning that one must understand the truth or roots [chân phương] of music practice but improvise as foliage [hoa lá] grows on a tree. Musicians negotiate “truth” and “foliage” while operating in multiple social worlds. Musicians affiliated with conservatories and other institutions implement cultural policies written by the Ministry of Culture, Sport and Tourism to direct practice and cultivate international recognition; master musicians seasoned by experience intersect and redirect these policies; newspapers provide suggestions for improvements; young people organize online forums to discuss and debate the authority of musicians and suggest sources for studying best practice; and musicians returning from abroad enter the mix to suggest new sounds and ways to preserve practice. Out of the interactions of these various actors, communities form in strategic urban, rural, and virtual spaces, lending authority to new viewpoints.\r\n\r\nTo focus my conclusions, I draw on my fieldwork research conducted with musicians of traditional music in southern Vietnam and their students in Vietnam and abroad. In this paper, I specifically examine the creativity of one musician, Nhạc sĩ [artist] Huỳnh Khải, who plays a genre of southern Vietnamese traditional music called đờn ca tài tử [“music for diversion”]. Huỳnh Khải is an emerging leader of đờn ca tài tử and, currently, heads the Department of Traditional Music at the National Conservatory of Music in Hồ Chí Minh City.\r\nHe attempts to expand the audience of consumers of traditional music by composing new pieces, organizing festivals and producing đờn ca tài tử shows for television and radio. He performs in both the Mekong Delta and Hồ Chí Minh City and advocates the constant exchange of musical details between the two areas. Recently, he has undertaken new kinds of exchange by performing at festivals abroad--including in Shanghai and Dubai--and by posting photos and videos frequently on YouTube and Facebook. Such methods of exchange bring new possible foliage into the structures of music practice and expand consumable traditional music to new audiences in Vietnam and abroad. The meetings of individuals and practices enabled by Huỳnh Khải generate knowledge and serve, oftentimes, to make knowledge more versatile in ever-changing supra-local contexts.","27 min",{"id":72,"slug":73,"title":74,"description":36,"duration":75,"type":34,"timestamp":35},"d516d5ec-67b3-4664-87c4-e48faa44c797","x5d5f98","Jesper Nordin’s \u003Ci>Sculpting the Air\u003C/i> (2014-5): An Experiment in Technologically-Augmented Orchestra Conducting - Baptiste Bacot, François-Xavier Féron","33 min",{"id":77,"slug":78,"title":79,"description":80,"duration":81,"type":34,"timestamp":35},"f30d8785-640e-4640-8f69-2971a308a210","xcfdaa0","Investigating performative approaches through the analysis of ‘Performing Scores’: Cathy Berberian sings \u003Ci>Circles\u003C/i> - Giovanni Cestino","In the rich landscape of studies about performance as a creative process, the investigation of such preliminary phases that go before the performance itself (i.e. the study process or the rehearsal practice) presented themselves like a more or less closed type of fieldwork. By establishing direct relationships with performers and sometimes integrating the researcher into the performative process, it has been possible to go deep into the peculiar procedure and dynamics at the roots of the act of performance. The new methodological elements introduced in this speech share the aim of that research field, but mean to enlarge its boundaries by including also historical case studies, with whom no more direct contact can be established. To do so, this approach chose to include a new type of documentary source: the score belonging to the performers (from here on defined as performing scores). This kind of materials represents a unique point of view to explore the relationship between performer and their text, contemplated here in two complementary meanings: on one hand as intellectual contents – sometimes enriched by performers themselves –, on the other as material objects playing an important role before (and very often during) the performance. The meticulous analysis of that source constitutes the first step of this innovative approach, followed by the contextualization of the inferred data not only with all the other documentary traces of the related performances (audio and video recordings), but also with other archival materials. Using a performing score like a litmus paper makes it possible to light up the ‘written repercussions’ of interpretative and performative choices made by musicians in the delicate process of the performance preparation. Moreover, it consists in a precious occasion to reflect writing as an auxiliary tool to fix a kind of thinking very different from the authorial one. Finally, it also provides elements to study the musical reading process and the strategies that enable to establish during the performance, thus stressing the relevant role that textual objects maintain during the act of performance.\r\nThe specific case study thanks to which the first outcomes of this approach are presented is exemplary, both because of its consistency and its exceptional nature, which set it at the crossroads of various problems. It discusses Circles (1960) by Luciano Berio, a composition among the milestones in the repertoire sung by Cathy Berberian, one of the most relevant vocal personalities of her times. Thanks to the extended resources of her voice and to her incredible musical intelligence, Berberian paved the way to a new conception of vocality, singing, stage presence and to the whole figure of the singer. Among many others, her human and artistic partnership with Luciano Berio – they got married in 1950 – was the most important in her career, and represents the deepest feature of her artistic path. She followed the creation and premiered many of the masterpieces of his production – e. g. Thema (Omaggio a Joyce), Epifanie, Folk Songs, Sequenza III and Circles itself – but she also accompanied the composer in crucial experiences like the one in the electronic studio of Italian radio television (the Studio di Fonologia Musicale, founded in 1955) in Milan.\r\nCircles, for voice, harp and two percussionists, marked not only Berberian’s American debut, but was also the first piece – among the many written on her vocal peculiarities – that singled out her theatrical and scenic talent. The various archival materials kept until not long\r\nago in Radicondoli (Italy) and in Los Angeles (and now acquired by Paul Sacher Foundation) do not allow complete documentary evidences about all the phases of her performative approach. Nonetheless, the substantial part of it and the other elements inferable 'ex negativo' can reveal such a level of involvement of the singer in some moments of the creative process of Circles; moreover, they certify her role in editing the score too (Wien: Universal Edition, © 1961). The only performing score survived to this day is an incredible source to gather a lot of information both about the study of the text and about the use that Berberian made out of it. But unfortunately it cannot reveal all of the complex dynamics occurred previously, deeply inside of the creation of the work. However, such an examination allows us to launch a critical investigation of the authorial dynamics (and their declinations) of the duo Berio- Berberian, aside from common trivializations. In the creative process of the realization of Circles no trespassing and no significant alterations to the traditional roles of composer and performer can be identified thanks to those methods and resources. On the contrary, we can affirm that Berberian’s contribution always remained in the performative and interpretative range. Also when she introduced new elements around the musical work, they were regularly approved by Berio, but they never escaped her boundaries. In addition, it was that very experience of work that inspired, in the time passing, new authorial decisions made by the composer.\r\nThe documentary evidence of this new typology of materials gives us a chance to examine deeply this chapter of their cooperation, making new observations possible and coherent. Merging the richness of those performing scores with other registrations (both audio and video) realized in various moments of her career, it becomes easier to stress some of the most relevant aspects of Cathy Berberian’s performative approach, and to link them to the role of her scores inside and outside of her performances.","30 min",{"id":83,"slug":84,"title":85,"description":86,"duration":87,"type":34,"timestamp":35},"e5a53fc5-d6e9-4087-899b-233ed4852bfe","xc1449e","Versions, Variants, and the performatives of the score: Traces of performances in the texts of Anton Webern’s Music - Thomas Ahrend","Most research on the creative process of Anton Webern’s music has focused on the sketches, thus emphasizing the compositional process in the narrower sense. Less attention has been paid to the fact that especially for most of the works composed between 1908 and 1915 (esp. opp. 3–12) there exists a number of versions (appearing as fair copies rather than sketches) that may show traces of a feedback coming from rehearsals or performances which have occurred before the first printing of the compositions. (A remarkable exception is of course Felix Meyer / Anne Shreffler: “Performance and Revision: the Early History of Webern’s Four Pieces for Violin and Piano, Op. 7”, in: Webern Studies, ed. Kathryn Bailey, Cambridge: Cambridge University Press, 1996, pp. 135–69.) But even in the case of later works (esp. opp. 27, 28, 30) annotations may be found in the sketches or other sources that hint at a relation to possible (future) performances.\r\nThese noticeable revisions in the sources raise several questions concerning both the edition of these versions (as presently undertaken by the Anton Webern Complete Edition in Basel, Switzerland) and the conceptual approach to the relation between musical texts and performances. Some of these questions are:\r\n– How do we distinguish the (various) layers of ‘pure’ compositional revisions from the inscriptions that were undertaken during rehearsals? And if we can: How do we evaluate the two sorts of revisions within the context of textual criticism?\r\n– How do we (on the basis of possible answers to the first question) distinguish between different versions? In other words, which inscriptions are merely variants inherent to a particular version and which constitute different versions?\r\n– To what extent can the thus defined (different) versions (and/or variants) be edited and/or performed differently, i. e. without mixing the different versions (and/or variants) which might result in a new yet possibly never intended, at least from the composer perspective, text and/or performance?\r\n– To what extent is it possible to reconstruct particular performances of the music with the help of these traces of past rehearsals present in the sources?\r\n– Do performances ‘create’ new texts of a work if they differ from the written texts they refer to?\r\nThe aim of this paper is to suggest possible answers to these and similar questions relying on the concept of a ‘virtual text’, a concept which refers to the notion of ‘virtuality’ as discussed by Gilles Deleuze [see esp. his Différence et répétition, Presses Universitaires de France, Paris, 1968] and other philosophers. This notion of a ‘virtual text’ will be developed in the paper and should be open to discussion. Moreover, a critical discussion of the concept of ‘the performative’ (as proposed by Erika Fischer-Lichte [see her Ästhetik des Performativen, Frankfurt am Main: Suhrkamp, 2004] and others) might contribute to a better understanding of the possible and complex relationships between musical texts and performances: aspects of performatives can be observed in both, texts and performances.\r\nThe suggested methodology is both philological and analytical, thereby implying that the objects of research are ‘texts’ (both written and audio) that have to be constituted from a critical comparison of the differences they have to other texts. The goal is to demonstrate some kind of coherent connection of the observed differences (that is to say: ‘sense’, or significance). The written texts to be investigated contain all the known Webern sources (manuscripts and prints) – collected as digital copies at the Anton Webern Complete Edition in Basel, with further examination of some originals (of which the major part is held at the Paul Sacher Foundation in Basel). The audio texts to be explored are selected recordings both commercially available and especially produced for the present research project (in cooperation with musicians from Basel Academy of Music / School of Music).","31 min",{"id":89,"slug":90,"title":91,"description":92,"duration":93,"type":34,"timestamp":35},"00cc6cb5-41f1-4ac6-bb33-2d345e63c4c2","xf1f243","Modes of collision: Alberto Favara in the process of transcribing Sicilian folk songs - Francesco Del Bravo","The analysis of creative process in music through written sources intertwines often with hermeneutics [Kinderman 2009], in a way not dissimilar from philological studies, whose basic purpose ―although many attempts to delimit or to unbind it― remains ‘making sense of texts’ [Pollock 2009: 934]. An interesting field for music philology in order to investigate the ways a musical text took form seems to be the study of musical texts transcribing unwritten music, since they, facing music notation with music conceived out of a notation system, allow to explore the rationale underpinning the choices made by the transcriber, whose act encloses undoubtedly a creative activity [Arom 2002; Nettl 2005; Scaldaferri 2005].\r\nA significant case study for this kind of enquiry in “music transcription philology” could be that of Alberto Favara (18631923), who is considered the first scholar approaching the Sicilian folk music not only through the transcription of the melodies and/or their texts but also through the study of the multiverse whereof they were part and expression [Leydi 1996: 26]. Born in Salemi, near Trapani (Sicily), and trained as composer, Favara had a multifaceted personality: composer, teacher for composition and sing, speech therapist, musicologist, music critic, concert manager, and proto-ethnomusicologist. He became interested in Sicilian folk music after being appointed as professor for composition at Palermo Conservatory, having already composed two operas, cantatas, and symphonic works. Between 1898 and 1905 he collected more than one thousand folk songs, travelling at his own expenses through Sicily and coming in contact with cultural fields far away from his milieu, both in urban and in non-urban contexts.\r\nAlthough he was not able to raise funds for publishing the song collection, he presented part of his work, both as musicological essasys, appeared between 1898 and 1905 [Favara 1959]], and as compositions for voice and piano based on the transcription of the collected material [Favara 1907, 1921]. It is interesting to note that he was perfectly aware of his creative approach to Sicilian folk music, as in his essays he declares that this ‘natural’ music could allow a basic regeneration of Italian national music. Clearly influenced from Nietzschean philosophy ―as the references to Friedrich Nietzsche’s The Birth of Tragedy in his essays testifies―, he was interested in the search for ancient Greek roots as statement of and means for a music founded on interaction of gesture, voice and melos as expression of natural forces effecting on the singing body embedded in the world.\r\nThe songs were first transcribed in modern Western musical notation but without segmentation through bars and without accompaniment (in this form were edited only posthumously by Ottavio Tiby [Favara 1957]). On the basis of this transcriptions Favara achieved the artistic transcriptions for voice and piano, in which he realised the desired rekindling of Italian music.\r\nThe published sources display a broad range of creative acts that can be systematized in three main groups:\r\n1) Analytical transcription. The monodic transcription is both descriptive and prescriptive, as it sets some paramters for pitch and rhythm in order to make the songs analyzable and mental performable by people trained in Western music notation but without any knowledge of Sicilian folk songs. The degree of accuracy in transcriptions oscillates between emic and etic: while the rhythm is not fixed in isochronic metrical structures, thus reproducing the performance state of the transcribed songs, the pitch is put in a sort of preset modal system, being the songs transcribed not in their absolute pitch but in abstract scalar systems mostly rooted on D, E, and F, thus reflecting the (asserted) idea of their connection with “Greek modes” (respectively the Dorian, the Phryigian, and the Lydian) as categorized during 19th-Century [Powers 1992].\r\n2) Thick evocations. In his essays, Favara not only explains his purposes, his conceptual sources, and the results of his analysis, but he also describes in highly evocative terms the conditions of performances and his role in transcribing the songs, recognizing his being-in-the-performance as source of artistic inspiration.\r\n3) Artistic transcription. In spite of their “modalized” analytical transcription the folk songs in the version for voice and piano are less harmonized through the modal harmony, typical of the the coeval harmonization of plain chant and folk music [Gonnard 2000: 91 150; Gelbart 2011: 111151], than through the irrelation of the syntax of tonal harmony, with some effects of pitched percussions. The rhythmic fluidity of the songs, despite the use of isochronism and bars, is mantained by means of meter changes.\r\nThe aim of my paper is to examine on the basis of the conceptual interacting written sources how a Western trained composer of late 19th-Century reacted to Sicilian folk songs. Both kinds of transcriptions reveal how the creative process through which Favara intended to renew the Italian music was centred on a tension between different ways to conceive and organize melody. On the one hand there is a melody structured on pitches embedded in a harmonic system ordered through leading tones and a simple double modal organization, on the other hand there is a melos structured around voiced tones generating melodic types and a multi-modal system. The collision between this two structuring principles caused a sort of “scalar normalization” in the analytical transcription and enabled the emancipation of syntax of tonal harmony from its teleological organization in the song collection for piano and voice, allowing a free motion of tonal harmony-chords on the basis of a complex modal melos.","28 min",{"id":95,"slug":96,"title":97,"description":98,"duration":99,"type":34,"timestamp":35},"e01bd092-9532-4c92-9992-c783c9d6f552","x65f761","Ligeti and Romanian folklore: Citation, palimpsest and pastiche as creative tools - Bianca Temes","The paper aims to gain fresh perspectives and to challenge standard thinking on Ligeti’s appropriation of Romanian folk music, drawing on very recent findings at the Sacher archives. By absorbing Romanian folk music in various ways during the different stages of his creative activity, Ligeti achieved a wide range of acoustic results which encompass citation, allusion, palimpsest, parody, and pastiche.\r\nTherefore the topic requires an extended methodological tool kit, enabling the researcher to navigate their way through the multidimensional rhetoric of this composer. Only by calling upon a set of overlay techniques could one simultaneously explore the different layers of meaning, combining sketch studies, analysis, history and ethnomusicology.\r\nA study of the documents at the Sacher archives reveals in detail the constancy of Ligeti’s relationship with Romanian folk music, from the early years of his youth in his native Transylvania to the end of his creative life. A clear temporal and stylistic trend emerges, in which the cities of Cluj and Bucharest are landmarks.\r\nThe analysis will chart how Ligeti’s pieces moved throughout the decades from folk music towards modern compositional disciplines, a journey from the villages of rural Romania to the concert hall, as shown by many of the composer’s manuscripts at the Sacher archives. Therefore the purpose of this research is mainly to emphasize an aspect that has hitherto attracted insufficient attention, as well as to retrace the stages in this process of transformation.\r\nThe music Ligeti heard on historic wax cylinders at the Folklore Institute in Bucharest during the years 1949-50, together with real-life performances in the Romanian countryside, had a long term effect on his writing. He began with some simple arrangements (Baladă şi joc, Romanian Concerto), where citation was the main artistic tool, and only later, once he had left the Eastern European bloc, placed it within a more global context.\r\nThe language of these pieces derives directly from Ligeti's engagement with folk instruments through evocations of timbre (bucium signals evoked in the symphony orchestra), rhythmic patterns, extemporized figuration and ornamentation of local folk dances, and in some cases micro-intervallic intonation in imitation of the original aural sources. Distilled in the score, these elements provide an additional dimension in terms of an awareness of the techniques and sound world to which Ligeti is referring.\r\nBaladă şi joc, Romanian Concerto, fragments from the String Quartet no. 1 and Musica ricercata all show Ligeti’s attempt to mimic the traditional manner of a Romanian folk song accompaniment or to reproduce asymmetrical rhythmic patterns typical of the folklore of this country.\r\nA turning point in Ligeti’s use of ethnic music is represented by his only opera Le Grand Macabre, which is strongly influenced by two Romanian writers of the absurd: Ioan L. Caragiale and Eugen Ionescu. The opera marks the dividing line between Ligeti’s reliance on borrowed folk music (abandoned once he left the Eastern European bloc, in 1956) and invented or ‘synthetic’ folk music, as defined by the musicologist Simon Gallot. The utterly grotesque collage from the third scene of his opera is emblematic (here Ligeti superimposes on Scott Joplin’s ragtime the melodic line of Podoleanu’s version of the Orthodox Paschal Troparion Christ Has Risen from the Dead). Both themes are rendered grotesque by distorted intervals while still being easily recognizable, proving a parodic, if not sarcastic way of handling the sources.\r\nThe end of the 70s was a time when the stylistic reconfiguration of Ligeti’s work was in full swing, when the composer expanded the sources of his inspiration, staking everything on a novel ars combinatoria of completely non-homogeneous elements. Ligeti resizes his creative lens to a larger geographical radius, overlapping disparate layers of material. From now on his compositional technique employs a wide array of folk reminiscences from different continents, cleverly disguised and hidden behind a kaleidoscopic mask of sources. Resulting in a rich cultural counterpoint of interlocking dialects, pieces of this period still retain Romanian folk elements in the background, as an imperfectly erased canvas, setting in his scores a palimpsest of memory, time and space.\r\nUsing an enriched lexicography during the last two decades of his creative life, traces of Romanian music linger and recur like blurred autobiographical echoes, in tandem with Hungarian folk music. This reminiscence, which we may call an anamnesis of his hybrid cultural roots, marks the revisiting of this Eastern European region, as well as of other world folk musics, used in a thoroughly novel combination. The original elements become unrecognisable, and are fused into a “new universal grammar”, as observed by Romanian composer Ştefan Niculescu (in a letter kept at the Sacher archives). As Ligeti himself emphasized, he recreated a global imaginary folklore, through the melding and deconstruction of many musical idioms. In his music the influences are filtered and reconfigured, affording strange, often cryptic, yet always fascinating reflections of his imaginary “Brueghellandia”, as a kind of musical tower of Babel.\r\nBy means of his Trio for Horn, Violin, and Piano, Ligeti built a bridge over time back to his Romanian research period, recalling in its manuscript sketches the folk dance melodies from Covăsinţ village. Moreover, in describing the piece, he speaks of the layers of cultural connotations, a synthetic folklore of the Latin America and the Balkans – we could call it a striking “Balkanamera”, considering the aksak limping rhythm the common denominator of both musical cultures. The sketches of the Piano Studies kept at the Sacher archives reveal unexpected evocation of aksak rhythmic patterns from different dances of Dobrogea region; the Violin Concerto recalls the Romanian Căluşari dance, while the Viola Sonata proves, according to Ligeti’s manuscript notes, overt and covert connections with the folklore of Maramureş region, in the north part of this country. Pastiche, allusion, and even citation are the adopted means by which Ligeti reimagines the Romanian heritage, showing how folk tradition permeated the very fabric of the music, emerging in the last two decades in an original way.\r\nAll these, together with echoes of Romanian laments, carols, ballads, doinas, and hora lungă, show how the folk tradition, in its sublimated form, permeated the very fabric of the music within the notated framework of Ligeti's works.\r\nBy toying with tradition and playing with acoustic geographies in his compositions, Ligeti found an original way of permanently blurring the line between the modern and post- modern. Grasping this ethnic angle in its diachronic unfolding, the researcher discovers a new facet of Ligeti’s chameleonic profile; one which relies on citation, palimpsest, parody, and pastiche as ideal tools for encoding a fundamental yet lesser-known root of his complex language: Romanian folk music.","24 min",{"id":101,"slug":102,"title":103,"description":104,"duration":81,"type":34,"timestamp":35},"a5464bfe-1be4-4437-8ab5-8bc7bac66d77","xa2579e","The genesis of Beethoven’s \u003Ci>Piano Sonata\u003C/i> Op. 101: ‘Lost sketches’ and ‘Working autograph’ - Federica Rovelli","The researcher who desires to reconstruct the genesis of a particular work of Beethoven often bumps into the problem of the lack of correspondent sketches or drafts. Several examples – such as the op. 27, no. 2 piano sonata (first and second movement) and the Introduction of the op. 53 piano sonata – are mentioned in the scientific literature with regard to this question and lead to the conclusion that a significant quantity of Beethoven’s preliminary materials is unfortunately lost. This unexceptional and unsurprising situation is observable also in the case of the Piano Sonata in A major op. 101, published in February 1817. The composer couldn’t work uninterruptedly on this sonata, probably due to other important musical projects – for instance the Cello Sonatas op. 102 and the arrangement of several airs for George Thomson – and because of the events in his private life related to the death of his brother and the resulting custody of the nephew Karl. In any case, op. 101 represents a turning point toward Beethoven’s so-called “late style,” and therefore such a long gestation could also be related to new and important compositional problems, faced probably for the first time.\r\nA reconstruction of the genesis of this Piano Sonata op. 101 is offered by Sieghard Brandenburg in his commentary of the Facsimile-Edition of the working autograph preserved in Beethoven-Haus. According to Brandenburg’s reconstruction, the earliest surviving sketches for this work date from the summer of 1815. These sketches are located on two separate leaves and a small fragment today in private collection. All of these leaves originally formed part of the Scheide sketchbook and concern the first and the last movement of the sonata. The last section of the first movement Allegretto, ma non troppo is here in a particularly good state of completion, but the work for the main theme – probably quoted from the “Rondeau pastoral” of the Sonata op. 3, no. 2 of Henry Jean Rigel – is not traceable. A leaf preserved in Paris reveals that Beethoven wrote out at another time the entire recapitulation of the first movement. This leaf doesn’t come from the working autograph, as several characteristics of the paper and the type of draft seem to suggest; for this reason Brandenburg supposed that it reflects a stage of the composition between the sketches in Scheide sketchbook and the writing of the working autograph. The leaf should be to date from the summer of the 1815 and would be used immediately after the other sketches documented for the sonata in the same Scheide sketchbook. Beethoven would return to the Sonata again in April or May 1816, shortly after completing the song cycle op. 98, An die ferne Geliebte, and would concentrate this time on the second movement, “Vivace alla Marcia”. In this case there is no trace of continuity drafts for any part of the movement, and although Brandenburg supposed that something similar should be present in working copies outside the sketchbook itself, no material with such characteristics are preserved today. A similar situation is also recognizable for the slow introduction leading into the Allegro finale, through the Tempo del primo pezzo, and for the finale itself. Several sketches for these sections are contained in two different sketchbooks: the so-called Autograph 11/1 and a pocket sketchbook partially preserved in Cracow and in Paris. According to Brandenburg’s reconstruction, these other materials were used in autumn 1816 and precede the final phase of composition.\r\nTo sum up: in the case of the first movement of op. 101, the preliminary materials reflect a late stage of the composition, whereas the sketches for the other movements are related to the first and intermediate stages. Can we really suppose that other materials related to the missing phases were lost, or do we instead have to imagine that the strategies used by the composer permitted him to sketch only a part of his composition and to elaborate the other one directly in his working autograph? Do we have enough information about the different phases of Beethoven’s creative process to suppose that he regularly drafted the whole composition before writing the correspondent “fair copy”? Several characteristics of the sketches for op. 101 and their comparison with the work-autograph in Beethoven-Haus permit us to develop some hypothesis. Some drafts show, for instance, that Beethoven sometimes used the same materials in different stages of his work: a first time to define the melodic- horizontal profile of a particular section and a second time to define its inner vertical structure. This praxis was also used in writing the working autograph, however is still not understood how many sections were composed in this way. Other materials seem otherwise to indicate that during the composition, some bars were better defined than others and that the correspondent connections were conceived in a second moment. Also in this case, some traces of this praxis can be found in the working autograph today in Bonn. This paper explores these questions as to the precise relationship between working autograph, sketches, and other drafts in Beethoven’s composition of op. 101, in order to give a clearer understanding of the variety of working methods he could use in fashioning a completed work.",{"id":106,"slug":107,"title":108,"description":109,"duration":38,"type":34,"timestamp":35},"a9252b60-7e2d-4093-a2d2-322e28494c9b","xc4736f","Créativité et design sonore : étude de cas - Andrea Cera, Sébastien Gaxie, Nicolas Misdariis","Le design sonore est un champ du design relativement récent qui consiste principalement à prendre en compte la dimension sonore d’un objet au cours de son processus de conception – le terme objet pouvant être pris au sens d’objet tangible (produit manufacturé), d’objet numérique (interface homme-machine) ou d’objet spatial (environnement). Le design sonore concerne donc la création sonore appliquée à des domaines où penser le son, l’imaginer, le fabriquer et l’intégrer s’avère nécessaire, comme notamment : l’industrie, l’architecture, l’urbanisme, le cinéma, les arts numériques, et même le marketing lorsqu’il s’agit d’associer le son à une identité de marque ou de produit.\r\n\r\nSur la base de différentes études de référence et en relation avec sa discipline parente (le design), le design sonore peut être vu comme le fruit d’une pratique collective [Ozcan et al., 2009], répondant à des exigences de plusieurs natures (cahier des charges), le cas échéant assujettie à des règles de composition (transcription du cahier des charges), et finalement tendue vers un objectif relevant de critères esthétiques et/ou fonctionnels (la recherche du beau son ou du meilleur son). En d’autres termes, une création interdisciplinaire, contrainte, informée et ciblée ; ces propriétés faisant du design sonore, une pratique objectivement « différente » d’une démarche purement artistique – selon les propres termes de Vial [Vial, 2011].\r\nDans ce contexte, une démarche de recherche en design sonore peut se formaliser sur la base d’un processus standard en trois phases : Analyse, Création et Validation. La phase d’Analyse recueille les contraintes et spécifications du problème issues de différentes origines (ergonomie, technique, usages, etc.) et les étudie d’un point de vue scientifique – le plus souvent expérimental – pour les transposer en termes de propriétés sonores. La phase de Création intègre ces spécifications dans le processus de composition ; elle est idéalement assumée par un ‘homme de l’art’ du son, à savoir compositeur ou designer sonore. La phase de Validation examine la pertinence de la production résultante au regard des spécifications initiales.\r\nEn reprenant les termes cités par Schafer (en référence a O. Laske [Schafer, 1977]), cette approche articule donc un « savoir » (celui du scientifique) et un « savoir-faire » (celui du compositeur). Plus globalement, cette approche considère le design sonore comme une activité à la fois scientifique, technique et artistique qui s’intéresse au son en tant que vecteur de sens (fonction) et de forme (esthétique), ou bien encore qui relève d’une « démarche visant à penser la composante sonore dès la phase de définition d’un objet afin de faire entendre une intention » soit au niveau de la forme (le son participe à une qualité globale de l’objet), soit au niveau de la fonction (le son communique une information nécessaire à l’usage de l’objet) [Susini et al., 2014]. Cette formalisation fait donc apparaître une définition a priori du processus de conception ainsi qu’une séparation chronologique entre l’identification des contraintes de création et l’exercice même de la créativité artistique. Ce sont les propriétés de ce processus créateur, et leurs implications musicales et sonores, qui seront mis en évidence à partir de deux études de cas.\r\n\r\nEn effet, au travers de projets appliqués, la mise en œuvre de cette recherche a permis d’étendre cette articulation art / science à un triptyque art / science / industrie et d’éprouver ainsi les concepts généraux de la démarche au contact d’une réalité de terrain possédant ses propres contraintes de production et ses exigences de résultat, notamment en termes de faisabilité, de réalisme et d’acceptabilité. Parmi d’autres, deux projets emblématiques constituent donc deux études de cas idéales pour instruire la problématique des relations entre créativité et design sonore afin, par exemple, de répondre à des questions du type : comment les processus de création en design sonore s’affranchissent-ils des nombreuses contraintes inhérentes a cette pratique ? Dans un cadre potentiellement restrictif et borné, la création sonore peut-elle dépasser le stade de l’imitation / l’extension de l’existant et produire des formes réellement nouvelles ? L’inouï est-il possible en design sonore ?\r\n\r\nChacun de ces deux projets porte sur un objet d’étude et une approche de création relativement différents : d’une part, la conception d’une signature sonore d’un véhicule électrique pour l’industrie automobile, et d’autre part, une création en design sonore pour l’industrie horlogère, intégrée à la mécanique d’une montre.\r\nLe projet concernant la signature sonore du véhicule électrique relève initialement de la problématique suivante : un objet silencieux évoluant dans un environnement sonore à priori bruyant et auquel il est nécessaire de donner une présence, à la fois pour des raisons de sécurité – à l’encontre des piétons et autres personnes évoluant dans son voisinage proche –, mais aussi pour des raisons ergonomiques – le silence influant sur le comportement du conducteur et notamment sa perception de la vitesse. Les contraintes sont nombreuses et variées, intégrant des spécifications acoustiques, techniques mais aussi de l’ordre de l’image de marque. De plus, dans ce cas précis, les références sont quasiment inexistantes puisque le sujet est nouveau et que peu de réalisations existent par ailleurs. La phase de création donne lieu à des étapes successives de prototypages qui, à l’issue de plusieurs compromis et ajustements, convergent finalement vers une solution moyenne mais implémentée à l’échelle d’une production en série.\r\nLe projet concernant le design sonore pour l’horlogerie répond à une demande relevant d’une fonctionnalité spécifique : la « répétition-minute » qui permet de lire l’heure en aveugle sur un boitier de montre ; il comporte également une dimension relative à l’image de marque : le son doit retranscrire une identité industrielle forte. Les contraintes sont également importantes notamment par rapport aux mécanismes de production du son, assimilables aux instruments mis à disposition du compositeur pour réaliser son œuvre. La phase de création permet de formaliser et de représenter avec des moyens scientifiques la quête taxonomique du compositeur qui, avant d’être créateur, est d’abord collectionneur de matériaux sonores. Le processus de création – puis de validation – permet finalement de sélectionner deux sons parmi plusieurs centaines de spécimens initialement réalisés ; ce processus en entonnoir étant construit sur des principes scientifiques de modélisation acoustique des sons.\r\n\r\nCes deux projets seront présentés conjointement par le chercheur et par les compositeurs respectivement impliqués dans leur réalisation.",{"id":111,"slug":112,"title":113,"description":36,"duration":114,"type":34,"timestamp":35},"a3078e6a-1890-4af7-b7ee-053351c96602","x6303b3","Introduction (FR) - Nicolas Donin, Hyacinthe Ravet, Jean-François Trubert","14 min",{"id":116,"slug":117,"title":118,"description":119,"duration":93,"type":34,"timestamp":35},"59b4d988-25ae-48f7-aec5-688dbae43bdd","x4ad6ef","Performer’s Gesture and Compositional Process in Xenakis’ Solo Pieces - Anne-Sylvie Barthel-Calvet","Simultaneous translation: Marie-Louise Diomède",{"id":121,"slug":122,"title":123,"description":124,"duration":93,"type":34,"timestamp":35},"db105656-25be-4292-a201-1f0e01818b61","x5327f3","La place du geste de l’interprète dans le processus compositionnel : le cas des œuvres solistiques de Xenakis - Anne-Sylvie Barthel-Calvet","Dans cette communication, je me propose de croiser deux problématiques, celle des relations compositeur-interprète dans le processus compositionnel, relations dans lesquelles le positionnement de Xenakis s’avère assez particulier par rapport à ses contemporains, et celle de l’articulation entre geste compositionnel et gestualité propre aux différentes idiomatiques instrumentales. Comment Xenakis prend-elle ces dernières en compte lors de l’élaboration de l’œuvre ? Comment modifie-t-il, le cas échéant, cette gestualité instrumentale ? et comment les musiciens innovent-ils – ou non - dans leur pratique et leur stratégie interprétatives pour s’adapter aux difficultés imposées ? Outre les témoignages a posteriori des créateurs de différentes œuvres, les « dossiers d’œuvres » contenus dans les archives de Xenakis recèlent un certain nombre de documents (lettres, mémos de modes de jeux annotés et corrigés, avanttextes divers) qui montrent que de tels questionnements traversent les échanges de Xenakis avec ses différents interprètes et permettent de dépasser le constat avancé par certains selon lequel le compositeur ne se souciait en aucune manière de la « faisabilité » technique de ses partitions, nées de pures spéculations abstraites.\r\n\r\nLe cas des partitions solistiques a été retenu parce qu’il induit un face-à-face mieux adapté à l’analyse. De plus, les « dossiers d’œuvres » de ces productions se trouvent particulièrement riches en éléments de documentation concernant ces échanges. La particularité et le fonctionnement du binôme « Xenakis/interprète ». Avec Xenakis, on se trouve dans la situation assez particulière d’une autonomie radicale des fonctions d’interprète et de compositeur : par rapport à ses homologues tels que Messiaen, Boulez, Berio, etc., il n’est en effet « absolument pas interprète », ce qui a pu, dans une certaine mesure, libérer son invention, n’étant pas dépendant d’acquis de lexique instrumental ou de réflexes de jeu.\r\n\r\nCependant, ou bien par les hasards de la production de l’œuvre issue d’une commande, ou bien par relations personnelles, il s’est souvent trouvé en rapport avec un musicien qui s’est avéré devenir, pour une ou plusieurs œuvres, un véritable « interprète-référent ». Le plus souvent créateur de l’œuvre (voire d’une série), celui-ci va être consulté, en général à plusieurs reprises lors du processus compositionnel, comme l’attestent les avant-textes. Ces échanges reflètent tout d’abord la volonté de Xenakis de prendre pleinement connaissance des ressources idiomatiques « de base » d’instruments avec lesquels, à l’instar de beaucoup de ses homologues, il n’était pas forcément familier (orgue pour Gmeeorh, hautbois pour Dmaathen, par exemple). Celles-ci s’orientent selon deux axes principaux de préoccupations : Xenakis s’intéresse non seulement aux ressources sonores, mais aussi aux techniques gestuelles et instrumentales qui les produisent.\r\n\r\nGestualité et résultat sonore sont d’ailleurs encore plus étroitement connectés dans la deuxième étape de son enquête auprès des interprètes, qui porte sur la recherche de nouvelles sonorités. Xenakis note ainsi, lors de son travail préparatoire sur Theraps pour contrebasse: « IIIe corde sur Ire crissement en poussant (archet crin) suivant tension IIIe corde. » Au creuset de la confrontation entre geste compositionnel et geste instrumental. Au-delà de ces enquêtes somme tout assez documentaires, le point nodal de ces interactions au sein du binôme « Xenakis/interprète » tient surtout dans la confrontation entre la particularité du geste compositionnel xenakien et celui de l’interprète. Xenakis n’est plus un compositeur à la table avec papier musique, ni au piano comme Stravinsky ou Messiaen. Il compose à la table d’architecte et, au-delà du recours à la formalisation mathématique, réalise des partitions graphiques sur le repère orthonormé d’une feuille de papier millimétré, souvent de très grand format. Son écriture apparaît donc fortement liée à la fois à une représentation spatiale graduée par 10 et à un geste de balayage de gauche à droite. L’organisation des sons est directement issue d’un geste matérialisé par une inscription au crayon : ce sont des points, des traits droits ou courbes qui se répartissent selon des structures en convergence, divergence, nuage, etc. L’évolution de ces structures fréquemment en déploiement puis refermement reflète le geste de balayage de la main, ses contraintes et celles du support graphique. Se pose alors la question de la compatibilité d’une telle gestualité avec les contraintes sonores et gestuelles induites par les particularités organologiques et idiomatiques de certains instruments. Le cas du clavecin pour lequel Xenakis a écrit plusieurs œuvres est, à cet égard, emblématique, et le témoignage de son « interprète-référente », Elisabeth Chojnacka, mis en dialogue avec les avant-textes de Khoaï, Naama, Oophaa ou A l’île de Gorée permet d’en évaluer les enjeux. Par exemple, l’emploi du glissando est au cœur des discussions du compositeur avec la claveciniste : élément emblématique de l’écriture xenakienne, il apparaît en effet difficilement compatible avec la discontinuité du clavecin. Xenakis résout alors cette difficulté en tirant parti des possibilités de changement extrêmement rapide des registres par les pédales. Comme l’explique Elisabeth Chojnacka : « le glissando est obtenu par le changement constant de registres ; le résultat sonore est l’illusion d’un glissando qui balaie tout le clavier. » Une nouvelle gestualité et une nouvelle écriture instrumentales sont alors inventées, qui permettent de contourner les contraintes organologiques et rompent avec les réflexes de jeu induits par le lexique instrumental acquis.\r\n\r\nPour les œuvres écrites pour des instruments dont Xenakis était plus familier (le piano, par exemple), ce dernier n’a pas jugé utile de consulter son interprète. Ce dernier se trouve alors parfois désemparé face à une abondance scripturale dont il ne perçoit pas l’organisation. Ce fut le cas, par exemple, de Claude Helffer lorsqu’il travaillait Erikhthon. Cédant à ses instances, Xenakis finit par lui communiquer la partition graphique et là, Helffer comprit le geste compositionnel sous-tendant les grappes de notes qu’il devait exécuter : « c’est le jour où j’ai vu cette première version sous forme de dessins sur papier millimétré, que j’ai compris exactement comment il fallait jouer. » Il put alors hiérarchiser les différentes arborescences et choisir à bon escient ce qu’il renonçait à jouer quand l’exécution devenait impossible. La connaissance du geste compositionnel s’avère ainsi indispensable à l’invention et l’organisation du geste de l’interprète qui s’y greffe. À travers l’étude de différentes « conjonctions » entre Xenakis et ses interprètes, je vise ainsi à dégager, dans ma communication, différents types de stratégies de collaboration et leur insertion dans les étapes\r\ndu processus compositionnel qu’il adopte pour cette catégorie d’œuvres",{"id":126,"slug":127,"title":128,"description":129,"duration":75,"type":34,"timestamp":35},"110a0c9f-3dd9-477d-9f70-f9bf9e4c8da0","xa704cf","\u003Ci>Sculpting the Air\u003C/i> (2014-15) de Jesper Nordin : l’expérimentation d’une direction d’orchestre techno-augmentée - Baptiste Bacot, François-Xavier Féron","Exformation Trilogy est un cycle de trois pièces mixtes que le compositeur suédois Jesper Nordin projette de composer entre 2014 et 2017 en utilisant Gestrument, une interface de contrôle gestuel qu’il a lui-même développée. Sculpting the Air (sous titrée « Gestural exformation »), est la première pièce de ce triptyque (les suivantes, destinées au Quatuor Diotima et à l’Ensemble Recherche, seront composées en 2016 et 2017). Commandée par l’Ircam-Centre Pompidou et le Statens musikverk, Sculpting the Air a été créée le 22 juin 2015 à Nanterre dans le cadre du festival Manifeste par l’ensemble TM + dirigé à l’occasion par Marc Desmons. L’œuvre, dont nous avons eu le privilège de pouvoir suivre les étapes de production, a été imaginée comme un concerto pour chef d’orchestre, ce dernier devant contrôler gestuellement l’électronique, via l’application Gestrument.\r\n\r\nLe dispositif technologique, destiné à enrichir la direction d’orchestre, se compose de deux caméras Kinect reliées à l’application Gestrument hébergée sur deux tablettes tactiles. Initialement conçues pour être couplées à la console de jeu Xbox 360 et disponibles depuis novembre 2010, ces caméras reconnaissent la profondeur de champ des gestes ainsi que les couleurs et ne nécessitent pas la pose de marqueurs sur les vêtements ou le corps. Elles sont fournies avec un Software Development Kit, permettant aux utilisateurs d’en faire un usage détourné et adapté à leurs besoins, hors du domaine vidéoludique. Les musiciens se sont très vite appropriés les caméras Kinect pour en faire des contrôleurs gestuels [5] comme en témoignent certaines applications et projets musicaux récents ou en cours (Synapse, Synekine, The V-Motion Project, Kin Hackt) et les communautés qui se construisent autour de ce produit, à l’instar de « Kinect Hacks ».\r\n\r\nGestrument a été développé par Jesper Nordin en 2007 sous la forme d’un patch Max. Avec le concours de Jonatan Liljedahl, il réalise ensuite une application pour iOS qui remporte le Prix de l’Innovation de la ville de Stockholm. Vendue à plus de 25 000 exemplaires, cette application consiste à « plonger dans l’ADN de la musique – un son unique, défini par les instruments, les rythmes, les échelles et les gestes musicaux employés ». En pratique, il s’agit de balayer du doigt la zone tactile de la tablette pour « jouer » des événements sonores modulables en densité, durée et hauteur. Le travail du compositeur part du constat selon lequel il existe une certaine déconnection entre les musiciens et les traitements électroniques appliqués sur leurs instruments. \r\nDans Sculpting the Air, les Kinect sont disposées dans l’espace scénographique de telle sorte que les mains du chef d’orchestre puissent entrer dans la zone de captation sans pour autant interférer avec la direction traditionnelle. Elles transmettent les coordonnées de la captation à l’application Gestrument (la tablette tactile n’est jamais manipulée directement par le chef d’orchestre mais lui sert de retour visuel). Si le compositeur a une idée précise de la forme de l’œuvre et de la manière dont il va explorer certaines caractéristiques du dispositif à travers la gestique du chef, il doit faire face à certains compromis en fonction des contraintes technologiques et humaines. Le chef ne connaissait pas l’application du compositeur et n’avait jamais utilisé les caméras Kinect dans sa pratique de musicien. L’intégration de la technologie dans l’écriture instrumentale doit tenir compte des limites humaines, le chef devant diriger simultanément un ensemble de musiciens et contrôler l’électronique. Le compositeur proposa différents systèmes de notation pour décrire, à des degrés variés, les gestes à accomplir. Ils ont alors dû trouver un consensus pour les décrire et les représenter graphiquement sur la version finale du conducteur.\r\n\r\nAu cours de cette communication, nous reviendrons d’une part sur l’évolution de la composition de l’œuvre en analysant les changements de stratégies opérés par le compositeur au fil des séances de travail. Nous nous concentrerons d’autre part sur la manière dont le chef d’orchestre s’est approprié le dispositif et sur l’impact de ce dernier quant à sa manière de diriger. Sa pratique ne peut être dissociée du processus de création de l’œuvre. Le suivi d’un tel projet artistique s’avère extrêmement intéressant puisqu’il propose un cas unique de\r\ncontrôle de l’électronique par le chef d’orchestre. Cette recherche porte non seulement sur le processus créateur mais concerne aussi les performance studies. Au-delà des textes autoanalytiques des chefs eux-mêmes sur leur pratique [3], elle s’inscrit dans la lignée de quelques études empiriques éclairant cette activité [1] et plus généralement dans le champ des investigations concernant les liens entre geste, technologie et musique [2, 4] .\r\n\r\nLes deux premières phases de production avec le chef ont eu lieu à l’IRCAM en novembre 2014 puis en février-mars 2015. Cela a été l’occasion pour le chef d’orchestre de se familiariser avec les aspects technologiques de l’œuvre et de faire les premiers essais de contrôle gestuel du son. Le concert a été précédé d’une semaine de répétition avec les musiciens à Nanterre. Une captation vidéo et audio des séances de travail a été réalisée, ainsi que des entretiens avec le compositeur, le RIM et le chef d’orchestre. Nous sommes aussi en possession des différentes versions de la partition. C’est à partir de ces données que nous analyserons l’évolution du processus créateur de la pièce et la pratique du chef d’orchestre.",{"id":131,"slug":132,"title":133,"description":119,"duration":114,"type":34,"timestamp":35},"29fb668f-2b63-4809-8413-c73353f48653","xeabaaa","Opening address (EN) - Nicolas Donin, Hyacinthe Ravet, Jean-François Trubert",{"id":135,"slug":136,"title":137,"description":138,"duration":93,"type":34,"timestamp":35},"ecd0693d-5ebf-410b-bc10-67ed411264e5","x513af7","Sounding Bodies: Embodiment and Gesture in the Collaborative Creation and Realisation of works for Piano and Electronics - Zubin Kanga","This paper examines works for piano and electronics that use technology to expand and subvert the body and pianistic technique of the pianist. It draws upon the fledgling research field of auto-ethnographic examination of composer-performer collaboration and builds upon the author’s doctoral thesis, Inside The Collaborative Process: Realising New Works for Solo Piano, which examined collaborations between the author and 30 composer on new piano works to track and analyse the catalysts and pressures that affect the process, such as differences of age and seniority, the goal of virtuosity, the use of graphic notation and the cumulative effects of long-term collaborations. However, new approaches to gesture have been only fleetingly explored in these case studies, and the use of electronics was not explored at all – this paper is thus a vital keystone in both fields.\r\n\r\nAs a study of composer-performer collaboration, work also builds upon the work in this field of Östersjö (2008), Roche (2012), Hayden/Windsor (2007), Clarke/Cook/Harrison/Thomas (2005), Heyde/Fitch (2007), Heyde/Bayley (2014), Clarke/Doffman/Lim (2013) and Hooper (2013) who all use ethnographic (or autoethnographic) documentation of collaborations as a research tool. The author examines the process of creating or realising each of these works, allowing the formation of new approaches to gesture through multimedia to be observed, tracked and analysed. This type of examination will allow the role of the performer in creating, refining and controlling the innovative gestural aspects of the work to be revealed. It also allows the author to test the effects on the collaboration process of these interactions between body and technology.\r\nThe three new works are by Belgian, Australian and British composers, with two of the works written specifically for the author (a concert pianist). Each explores and subverts the relationship between the pianist’s body and the instrument but each does so using different musical and technological means. The process of creative collaboration was documented (through filming of workshops, collection of sketch materials and interviews) creating a body of data that can be analysed and compared. By studying a group of similar cases, trends and strategies can be tracked across multiple cases, allowing the specific interaction between technology and collaborative process to be assessed.\r\n\r\nDark Twin (2015) by Australian composer, Julian Day, utilises a tape part to create the effect of a pianist accompanied by a distorted doppelgänger. The perception of the relationship between the pianist’s sound and physicality is gradually altered and subverted, creating the illusion of a complex interaction between pianist and technology. In Piano Hero (2012) by Belgian composer, Stefan Prins, the performer uses a keyboard to control a video avatar of a pianist, creating gestural complexity from the contrast between the live performer’s gesture and the resultant ‘performing’ video. Although this work was not composed for the author, the gestural aspects of the work still required workshopping, with discussions focussing on the managing the many different roles that gesture plays in the work. British composer, Patrick Nunn’s Morphosis (2014) uses 3D sensors, attached the pianist’s hands to control the electronics (programmed with Max). The movements of the pianist are not choreographed, yet the specific parameters of control programmed into the electronics part create a 3D landscape for the pianist to explore. In addition, Nunn sets up different parameters for each section, creating a game for both performer and audience of continuously attempting to discover the limits of control.\r\n\r\nThese works all require explore new approaches to the interaction between performative gesture and electronics and all require many stages of collaborative creativity and experimentation. In addition, considerable creative input is required from the performer at all stages from the process, in calibrating the electronics parts, exploring the constraints and controls of both the notation and the electronics as well as choreographing movements around the piano. In some cases, the electronics and choreography are tailored to the pianist’s natural gestural approach to the piano, and in others, the electronics and choreography are made to challenge the technique of the pianist in a prime example of resistance as a creative tool (a term coined by Sennett (2008) and explored further in Heyde/Callis/Kanga/Sham (2014)). The process of collaborative creation of works for piano and electronics has not been examined before, and the insights of this comparative exploration will be of significant importance to both the field of the study of new approaches to gesture, the research into new approaches to composition for the piano as well as the field of study of composer-performer collaboration.",{"id":140,"slug":141,"title":142,"description":143,"duration":144,"type":34,"timestamp":35},"40d86d13-450a-4d62-9958-575dcb9f7ee3","xf0e3a4","No score, hundreds of sketches: Mario Bertoncini’s Spazio-Tempo - Valentina Bertolani","In the last decades, sketch studies and musical philology have been expanding their object of study to include non-conventional notation and alternative supports for the diffusion of the work of art, such as tapes or pieces of code (e. g. Hall and Sallis 2004; De Benedictis 2004; Zattra 2007). Those works that can be placed in the middle of the continuum between composed works and installations pose an additional challenge to these disciplines. Intuitively, the study of the written documents might seem inadequate to understand the complexity of those works. I argue, instead, that a thorough study of the sketches, if far from providing the ultimate answers, can still be a valuable tool to frame into specific creative practice otherwise elusive aesthetical issues. In my paper I will focus on the work of the Italian composer Mario Bertoncini (born 1932), specifically on Spazio-Tempo (1967-70) – an “environmental theatre piece,” as defined by the author, performed at the Venice Biennale in 1970 – an applauded composition that counts hundreds of pages of preparatory material but has no score.\r\n\r\nMost of Bertoncini’s sketches up to the mid-1970s are held at the Archive of the Akademie der Künste in Berlin, constituting a growing collection (not entirely catalogued yet) of thousands of items. The collection is very diversified, with sketches, letters, final scores, pictures, posters, material for classes, etc. It also contains documents related to some of the most important works by Bertoncini, such as Quodlibet (1964, Gaudeamus Prize), Tune (1965) and Cifre (1964-7). More than 300 pages of the trust are taken up by documents for Spazio-Tempo.\r\n\r\nSince 1964, with the composition of Quodlibet, Mario Bertoncini made use of non- conventional notations. A great part of the signs used were slightly modified but consistently present in later works, until the most recent ones. This interesting development can be seen through the documents in the archive, where the composer repeatedly tries to draw the “right” shape for the score as an actual part of the intermediate stages of the compositional process. For what concerns Cifre, it is possible to trace some of the signs back to the original movements improvised on the instrument (early stage of composition) thanks to drawings of the action that was played.\r\n\r\nIn the great part of the 300 and more papers dedicated to Spazio-Tempo, the modus operandi of the composer does not change much. However, this work represents a pivotal experience in Bertoncini’s opus because it represents the middle ground between the normative function of notation and the radical turn of the Aeolian harps (1973), for which the score consists of the Aeolian object itself (Borio 2012). Spazio-Tempo is the first multimedia work of the author, featuring mimes-dancers next to musicians and a conductor.\r\n\r\nThe work is at the edge of composition and installation, even though the installation and compositional elements are hard to unravel. The audience – unwittingly – inputs gestures that will trigger reactions in the dancers-mimes; the action of the dancer-mimes will trigger reactions in the musicians, and their reaction will be based on graphical indications projected on the wall. The conductor, who probably has the most detailed indications, will moderate the process. The set-up (an entangled web of tubes and resonant objects that can be performed directly by the dancers) and the lights are playing a structural role in the piece, able to give indications to the performers on how to react to certain elements. It is prescribed that the entire performance last for three days. The performance is constituted by a dress rehearsal and two executions of the work.\r\nTo the best of my knowledge, a study of the phases of Bertoncini’s compositional process has not been attempted so far. Comparing the materials about different compositions, I grouped the documents found on Spazio-Tempo as following:\r\n\r\n1. Drafts of theoretical texts: Spazio-Tempo features an unusually rich collection of drafts of theoretical texts on the significance of contemporary musical form. In other compositions, this type of reflection seems to be linked to the early stages of the creative process, but in the case of Spazio-Tempo I suspect it belongs also to the intermediate/advanced stages, due to the complexity of the idea and the long gestation. A parallel with the published text “Il teatro della realtà” [The theatre of reality] (Bertoncini 1985) seems to be particularly useful.\r\n\r\n2. Attempts at graphical renderings of musical gestures: in the Berlin collection, this type of material is present in almost all the folders dedicated to Bertoncini’s compositions and may represent the intermediate stage of composition (the early stage being the exploration on the instrument itself). Of particular interest in the case of Spazio-Tempo is a comparison with the gestures used in Quodlibet.\r\n\r\n3. Accounts of unwillingness to write a score: as far as I know, this type of material is unique within the collection at the Akademie der Künste. Accounts are relatively scarce but they mark a crucial point in the change in Mario Bertoncini’s creative process, leaving the final stages of composition to the untraceable moment of the rehearsals and, perhaps, to the unfinished theoretical drafts.\r\n\r\n4. Contextual information: pictures, letters to prospective performers, promotional material, etc.\r\n\r\nBased on the working hypothesis that installation and compositional elements are almost equally present and absent in the written documents, I will trace continuity and discontinuity patterns in the compositional/notational process of Spazio-Tempo with previous productions. In order to achieve this goal, I will make use of archival research, the composer’s accounts and historical reconstruction. The discussion of Spazio-Tempo can represent a valuable contribution to the current scholarship not only because it is a work at the intersection of music composition, musical installation, and multimedia work, but also because its compositional process features different notational strategies, forcing a reflection on the role each of them can play.","25 min",{"id":146,"slug":147,"title":148,"description":149,"duration":38,"type":34,"timestamp":35},"7ce8078d-b2c8-4cbb-8554-b0d77e9c9321","x21a4a3","Creativity within Formal Structures: Two American Indian Song Repertories - Tara Browner","In traditional First Nations musical expression, the formal structures of music often hold both spiritual and political meanings beyond the songs themselves. As frameworks for composition most often referred to as “song making” these forms are amazingly flexible, and provide song creators from novice through experienced a means to produce culturally relevant musical while expressing personal creativity. The two styles that I would like to present and contrast are Plains Indian War dances and Iroquoian Eskanye Ganiseh, also known as women’s social dance songs. Each exists within a formal musical structure as music for dance, and performances usually feature songs of antiquity side by side with those that are newly composed. Plains War dances are the same songs that are used at powwow events (although they can also be used in other contexts), and at their most basic level are made up of a theme and variations moving down a pentatonic scale, broken up by sung 16th note rhythmic cadential patterns. The overall formal structure is a strophic ABB, and the cadential patterns are quite set, with minor variations from tribe to tribe and region to region. This all fits over a constant unchanging drum beat (other than accents and dynamic levels). Where creativity comes into play is through melodic variation, rhythmic variation, and Native language text—ultimately the key element in the melodic structure, as the melody must compliment the text in a way that the listener cannot only understand it, but also be energized in their dancing. This is accomplished through laying the text/melody onto the drum part using a technique where the main word stresses are always a 16th to 32nd note off from the heavier drum beat, giving the song a kind of forward motion, as opposed to the stereotypical bum-bum-bum-bum that many people assume is common to Native American songs.\r\n\r\nEskanye Ganiseh is in some ways quite similar to Plains War Dance styles, but with a number of key differences. The form is usually AA1BA1A2 (as a complete song) and each phrase is finished off with a cadential pattern of Gaina Wiiya Heya. In traditional contexts, songs are sung in repeated pairs, and complete “set” is seven songs (seven pairs). Instruments used are a single water drum and cowhorn rattles, and those parts are set and unchanging. Where musical creativity comes into play is through the creation of text and melody, and like Plains music, the melody is adapted to the text. In this tradition, texts and melodic fragments can be drawn from completely outside of the culture, and songs based on everything from Hank Williams tunes to Old MacDonald had a Farm are in current circulation.\r\n\r\nMy goal with this presentation is to explore just how song makers do their job, and specifically how a kind of implicit knowledge of song form influences their creative practice. Research methods used are almost entirely fieldwork based, and include long and detailed conversations with song makers, as well as participant observation in dances. As composer/performers, song makers are inspired by everything from melodies and texts learned from dreams and visions to commercial music from television ads, and somehow are able to fashion workable songs inspired by these disparate sources. In this case, a fairly strict musical form seems to be a key to their ability to utilize melodic and textual sources from outside of their culture to enrich their own.",{"id":151,"slug":152,"title":153,"description":36,"duration":154,"type":34,"timestamp":35},"0ded6fd1-59ad-4632-a0fb-637855bf87dd","xfd51f4","La pratique de la direction d’orchestre au prisme du genre - Claire Gibault, Dominique My, Hyacinthe Ravet","01 h 48 min",{"id":156,"slug":157,"title":158,"description":159,"duration":38,"type":34,"timestamp":35},"e5b536f5-ddaa-4bd6-8e31-7784320a70e1","x87a209","'Feeling New Strength': Beethoven's Ninth Symphony and Quartet in A Minor, Op. 132 - William Kinderman","One landmark in the reception history of Beethoven’s Ninth Symphony is Thomas Mann’s novel Doktor Faustus, in which Mann places his fictional composer Adrian Leverkühn into the role of the Faustian figure. Leverkühn’s culminating work is a great Faust Cantata entitled Des Fausti Weheklag or “Lament of Faust,” a multi-movement composition bearing an orchestral finale which “revokes” the idealistic message of Beethoven’s Ninth.\r\nManuscripts recording the genesis of Beethoven’s symphony show that he too had doubts about the choral finale based on Schiller’s poem, since he repeatedly made entries for a “Finale instrumentale” or orchestral finale, whose main theme was subsequently transposed from D minor to A minor when used as the principal subject of the rondo finale of op. 132. A page from the “DeRoda” Sketchbook of 1825 documents the transference of this passionate theme from the symphony to the quartet. In the end, of course, Beethoven remained committed to his remarkable Schiller setting for the choral finale of the Ninth Symphony. But it is worth pondering how the D minor theme not used in the symphony became the main theme of the finale of this second of the “Galizin” quartets, the work in A minor, op. 132. Noteworthy is the rhythmic and motivic kinship between the main theme of the first movement of the symphony and the theme Beethoven transferred to the quartet. While absorbing the preexisting theme into the quartet, Beethoven not only developed the subject and changed its key, but he also chose to preface the finale with a piercing dramatic recitative in the first violin, a gesture unmistakably linked to the quartet’s opening movement. The position of the recitative in the quartet reminds us once more of the Ninth Symphony, whose elaborate recitative passages at the threshold to the finale are bound up with the recall of earlier movements.\r\nThe nineteenth-century pioneer of Beethoven sketch studies, Gustav Nottebohm, already observed how Beethoven originally contemplated adding words to the instrumental recitative passages in the Ninth Symphony sketches, words that clarify why the recall of earlier movements is rejected in favor of the adoption of the idealistic Schiller text, with its musical setting in D major suggestive of folksong. Scrutiny of the manuscript sources of the symphony and quartet extends Nottebohm’s observation, and opens up a startling new perspective on these two intimately related works. What Beethoven weighed, in completing the Ninth Symphony, was nothing less than whether the vision of Schillerian collective harmony, of joyful community, could sustain itself against the contrasting modalities of the preceding movements, and especially the despairing character of the great opening Allegro in D minor.\r\nAs in the symphony, the quartet’s finale is prefaced by recitative, which here assumes a despairing, tragic character deeply grounded in the work as a whole. The recognition that Beethoven inserted the quartet’s fourth movement, the Alla marcia, at a late compositional stage suggests that he used it as a stylized foil against which the recitative makes its mark. Beethoven’s “Joy” theme and its ensuing variations in the choral finale assume the character of an optimistic march in D major, a march in which gradually all sections of the orchestra and then the vocal soloists and chorus join. In the A minor Quartet, by contrast, a Alla marcia in the major mode precedes the finale; its forthright confident mood is then countered by the darkly impassioned recitative. In this context, Beethoven has inverted and negated the narrative succession of the symphony in his quartet.\r\nStill more thought provoking is the comparison between the symphony’s optimistic “Joy” theme and the crucial initial phrase of the Lydian hymn whose development sustains the climax of the quartet’s great central slow movement. The “Joy” theme circles around the third of D major, rising initially from F#. The opening phrase of the Heiliger Dankgesang in the quartet moves downward from F in a much slower tempo. Structurally, the opening of the Dankgesang is a dark inversion of the head of the “Joy” theme.\r\nFresh study of the sketches for the quartet thus shows that the parallels between symphony and quartet are closer than has previously been recognized, embodying an instance of “expressive doubling” whereby the quartet, while not “revoking” the Ninth in the sense of Thomas Mann’s character Leverkühn, acts as a dark companion work to the luminous chorale finale. As an investigation of “genetic criticism” (critique génétique), this project has twofold significance: it reveals a contrasting background to the compositional genesis of the idealistic Ninth Symphony finale, exemplifying how a shared narrative design can assume diametrically opposed embodiment in two related works; and it illustrates how related artistic ideas can tend to overspill the singular individual work of art, refusing containment within the project for which they were originally envisioned.",{"id":161,"slug":162,"title":163,"description":164,"duration":165,"type":34,"timestamp":35},"56dc642a-54a4-4049-8779-62a9bd1962dc","xaac48c","Gender and the Practice of Conducting","On the occasion of the publication of \"L’orchestre au travail. Interactions, négociations, coopérations\" (Ravet, 2015) which is based on the observation of several conductors and several ensembles in the process of constructing a musical performance, the workshop/encounter takes on the subject of the practice of orchestral conducting as a process of creation. What happens concretely during this collective work?\r\n\r\nHow are the musical and social elements inextricably associated? This what is to be discussed in the company of two women who conduct ensembles: Claire Gibault and Dominique My. Gender brings a particular to light the givens of the situation of collective creation, the present-day transformations of this type of process and the function of the orchestral conductor. How is music brought about according to the size of the ensembles and the various types of repertory? What type of authority do the conductors bring to bear? What forms of creativity do they encourage in instrumentalists over the course of rehearsal and performance? This is what is to be analysed in the light of the three conductors’ experience.","01 h 49 min",{"id":167,"slug":168,"title":169,"description":36,"duration":170,"type":34,"timestamp":35},"19e61753-f405-402b-8465-64a65aff4b03","xb821ae","What is it to analyse the creative process in music? - Georgina Born","01 h 12 min",{"id":172,"slug":173,"title":174,"description":175,"duration":170,"type":34,"timestamp":35},"2dd78d6a-a291-4f12-9427-c104477cdd1e","x57b6ac","Qu’est-ce qu’analyser les processus de création musicale ? - Georgina Born","Traduction simultanée : Marie-Louise Diomède",{"title":177,"program":178},"TCPM 2015",{"getUrl":179},"https://storage.ressources.ircam.fr/ressources/media/b8f807d7-dd60-4cec-a6e6-8c151356df66.pdf?response-cache-control=public%2C%20max-age%3D31536000%2C%20immutable&response-content-disposition=attachment%3Bfilename%3D%22TCPM_Program_Final-web.pdf%22&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ressources%2F20250923%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250923T144957Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=b5175cf0e891454fb39f25ac775f4261a74979433ab7f7644e70f6a49491fc4e","public",["Reactive",182],{"$si18n:cached-locale-configs":183,"$si18n:resolved-locale":36,"$snuxt-seo-utils:routeRules":189,"$ssite-config":190},{"fr":184,"en":187},{"fallbacks":185,"cacheable":186},[],true,{"fallbacks":188,"cacheable":186},[],{"head":-1,"seoMeta":-1},{"_priority":191,"currentLocale":195,"defaultLocale":195,"description":196,"env":197,"name":198,"url":199},{"name":192,"env":193,"url":194,"description":192,"defaultLocale":194,"currentLocale":194},-3,-15,-2,"fr-FR","Ressources IRCAM est une plateforme de ressources musicales et sonores, développée par l'IRCAM, pour les artistes, les chercheurs et les passionnés de musique.","production","Ressources IRCAM","https://ressources.ircam.fr",["Set"],["ShallowReactive",202],{"/media/x3eca57/":-1,"flat pages":-1},"/fr/media/x3eca57"]