Le langage de Salvatore Sciarrino et celui de Brian Ferneyhough sembleraient aux antipodes : l’un doté d’une ligne épurée de tout excès, l’autre avec une notation surchargée de détails. La structure temporelle de leurs langages pourraient toutefois trouver un point de contact dans deux pièces pour flûte seule : L’orologio di Bergson de Sciarrino et Carceri d’Invenzione IIb de Ferneyhough. La pièce de Sciarrino est structurée sur la périodicité de certains éléments qui, par leur récurrence, créent une sensation de temps circulaire. Celle de Ferneyhough, bien que plus complexe à la surface, emploie la même idée de récurrence du matériau. La simplicité des éléments sonores de Sciarrino laisse la place à des unités de matériau incandescentes. Cette thèse a comme but de montrer une certaine similarité quant à la gestion du temps, et quant à son déroulement. L’analyse de plusieurs interprétations montrera aussi comment les interprètes s’approprient cette conception temporelle. / At first impression, the language of Salvatore Sciarrino and that of Brian Ferneyhough seem to be antipodes, two extremes exactly opposite to each other: one simple, pure, deprived of any unnecessary excess, while the other rich, complex, decorated with all the possible details. However, in these two pieces for flute solo, there is a common ground that can be found: L’orologio di Bergson of Salvatore Sciarrino and Carceri d’Invenzione IIb of Brian Ferneyhough. The piece of Sciarrino is structured on the periodicity of certain elements, by their recurrence, which create a sensation of circular time. While the piece of Ferneyhough, although, seemingly much more complex, employs the same idea of recurrence of the material. The simplicity of the sonic elements of Sciarrino gives the space to the unity of the incandescent materials. The objective of this thesis is to demonstrate some certain similarity, concerning the time management and its development. The analysis of several interpretation also shows how the interpreters adapt themselves to this time conception.

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This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece, "Phase," including the application of number systems ranging from formal to local levels.