Made available in DSpace on 2015-05-14T12:52:26Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4583182 bytes, checksum: 7092aec5837cf773623e51e9b86f4661 (MD5) Previous issue date: 2012-03-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / After more than a quarter of century since the creation of ensemble L Itinéraire, the works created and the thought developed by its members remain as a highly fertile ground for musicological research and an essential reference for today's compositional practice. Among these composers, founders of the aesthetic trend so-called 'spectral', stands out Gérard Grisey (1946-1998) who left us a cohesive and preeminent work, admittedly one of the most influential of the past century s last decades. What we discern in his works is the concern with the thresholds of musical perception ( threshold in Latin is the origin of the term "liminal music" which he described his own music) and especially the notion of different musical 'temporalities'. Hence, we started from the conjecture that 'time' is the bedrock underlying the musical discourse used by the composer of Vortex Temporum. Aiming broader understanding of his music, without confining ourselves to the basic aspect of arithmetic operations on frequencies, we also examine the cardinal resources and ideas used by the French composer concerning the structure of instrumental timbre. This approach enabled us to distinguish how and which aspects of his language directed the development of many of his pieces, revealing, contiguously, the legitimate role played by time in his work. Thus, the core of this study presents the full formalization elaborated by Grisey regarding time and duration, anchored in the concepts of "skeleton", "flesh" and "skin of time." This formalization has led to considerations, albeit concise, about the influence of electronics, psychoacoustics and information theory. Likewise, in the light of the concepts elucidated during the research, we discuss Partiels, a key piece of the cycle Les Espaces Acoustiques and one of the pinnacles of contemporary repertoire. / Passado mais de um quarto de século desde a fundação do coletivo musical L Itinéraire, as obras criadas e o pensamento desenvolvido pelos seus integrantes permanecem como um terreno ubertoso para a investigação musicológica e referência essencial para prática composicional hodierna. Dentre estes compositores, inauguradores da tendência estética dita espectral , destaca-se Gérard Grisey (1946-1998) que nos legou uma obra coesa e proeminente, figurada entre as mais influentes dos últimos decênios do séc. XX. Primordialmente, o que nele discernimos é a preocupação com os limiares da percepção musical (origem do termo música liminar , preferido pelo compositor) e máxime a noção de diferentes temporalidades musicais. Destarte, partimos da conjectura que o tempo é o alicerce que fundamenta substancialmente o discurso musical do compositor de Vortex Temporum. Objetivando compreensão mais ampla de sua música, sem atemo-nos ao aspecto elementar das operações aritméticas sobre frequências, examinamos também os recursos e idéias cardinais utilizados pelo compositor francês concernente à estruturação do timbre. Esta abordagem nos habilitou a distinguir como e quais aspectos da sua linguagem direcionaram a elaboração de muitas de suas peças, descortinando, contiguamente, o papel lídimo desempenhado pelo tempo em sua obra. Assim, o núcleo deste trabalho apresenta integralmente a formalização elaborada por Grisey a respeito do tempo e das durações, ancorado nos conceitos de esqueleto , carne e pelo do tempo . Esta formalização ainda implicou considerações, embora concisas, acerca da influência da eletrônica, da psicoacústica e teoria da informação. Da mesma sorte, sob a luz dos conceitos elucidados durante a pesquisa versamos sobre Partiels, peça chave do ciclo Les Espaces Acoustiques e um dos pináculos do repertório contemporâneo.

Als sollte das Vorurteil bestätigt werden, mitteleuropäische Ohren seien für klangliche Sensationen wenig empfänglich, ist die Musik des 1998 verstorbenen Spektralisten Gérard Grisey in Deutschland nach wie vor wenig bekannt. Nach einer Einführung in das Werk Le Temps et l`Écume (Die Zeit und der Schaum) folgt zum besseren Verständnis der analytischen Untersuchungen ein naturwissenschaftlicher Exkurs in die Welt der Quantenphysik sowie eine kurze Abhandlung zum Begriff der musikalischen Zeit bei Grisey. Einen ersten Zugang zum Werk verschafft eine Höranalyse bevor eine detaillierte Analyse des Werks erfolgt. Dabei ist ein Aspekt die exemplarische Untersuchung der Instrumentation sowie die Vorstellung einer Instrumentencharakteristik Griseys. Ein Ergebnis der Analyse ist, dass Grisey – obwohl er die Mathematik als musikalisches Modell ablehnt – bei der Konstruktion von Klanggesten auf mathematische Werkzeuge zurückgreift. Abschließend wird mit der Partialtonklassen-Analyse eine in Deutschland nur selten verwendete Analysemethode vorgestellt, die in ihren Grundlagen auf Hugo Riemann und James Tenney zurückgeht. Mit dieser Methode werden Teile des Werks eingehend analysiert.

How is Stravinky still recognisable even if he “merely” transcribes someone else’s work and orchestrates almost without changing pitch and rhythm? What technical procedures enable him to add a certain haptic and physical feel to the sound? As Wolfgang Rihm once said, Stravinsky formed music – even that of others – with his big hands to suit it to his own image and thereby paving two ways: one historical and the other personal. Both of these lead to Venice. This essay concentrates on the analysis of Stravinsky\'s Two sacred songs from 1968. An accurate profile may be given to the results by comparing them with the orchestration (written for nearly the same instruments) which is realized in Gérard Grisey’s Wolf-Lieder from 1997. Works from the German-Austrian compositional tradition conflict both with Stravinsky’s and Grisey’s arrangements on account of a sensitivity to timbre that dates from an originally French tradition of orchestration. It will be shown that counterpoint can effectively become a neutralizing agent in this clash of cultures.

How is Stravinky still recognisable even if he “merely” transcribes someone else’s work and orchestrates almost without changing pitch and rhythm? What technical procedures enable him to add a certain haptic and physical feel to the sound? As Wolfgang Rihm once said, Stravinsky formed music – even that of others – with his big hands to suit it to his own image and thereby paving two ways: one historical and the other personal. Both of these lead to Venice. This essay concentrates on the analysis of Stravinsky\''s Two sacred songs from 1968. An accurate profile may be given to the results by comparing them with the orchestration (written for nearly the same instruments) which is realized in Gérard Grisey’s Wolf-Lieder from 1997. Works from the German-Austrian compositional tradition conflict both with Stravinsky’s and Grisey’s arrangements on account of a sensitivity to timbre that dates from an originally French tradition of orchestration. It will be shown that counterpoint can effectively become a neutralizing agent in this clash of cultures.

Als sollte das Vorurteil bestätigt werden, mitteleuropäische Ohren seien für klangliche Sensationen wenig empfänglich, ist die Musik des 1998 verstorbenen Spektralisten Gérard Grisey in Deutschland nach wie vor wenig bekannt. Nach einer Einführung in das Werk Le Temps et l`Écume (Die Zeit und der Schaum) folgt zum besseren Verständnis der analytischen Untersuchungen ein naturwissenschaftlicher Exkurs in die Welt der Quantenphysik sowie eine kurze Abhandlung zum Begriff der musikalischen Zeit bei Grisey. Einen ersten Zugang zum Werk verschafft eine Höranalyse bevor eine detaillierte Analyse des Werks erfolgt. Dabei ist ein Aspekt die exemplarische Untersuchung der Instrumentation sowie die Vorstellung einer Instrumentencharakteristik Griseys. Ein Ergebnis der Analyse ist, dass Grisey – obwohl er die Mathematik als musikalisches Modell ablehnt – bei der Konstruktion von Klanggesten auf mathematische Werkzeuge zurückgreift. Abschließend wird mit der Partialtonklassen-Analyse eine in Deutschland nur selten verwendete Analysemethode vorgestellt, die in ihren Grundlagen auf Hugo Riemann und James Tenney zurückgeht. Mit dieser Methode werden Teile des Werks eingehend analysiert.

Cette thèse étudie trois compositeurs reliés autour du courant « musiquespectrale » dont les pensées et les oeuvres sont fortement marquées dans un premiertemps par la prise de conscience de la nature « dynamique » du son : Giacinto Scelsi,Gérard Grisey et Kaija Saariaho, trois compositeurs représentant trois périodesdifférentes dans l’histoire du courant spectral. Dans leurs oeuvres et leurs écritsthéoriques, plusieurs questions s’élèvent ou dérivent de la conception « énergétique »du matériau et dépassent le simple cadre de celui-ci : la perception, la forme, le tempsmusical, l’expressivité, le rapport à la tradition, etc. Plus généralement, une questionessentielle se pose : qu’est-ce qui existe au-delà du son, au-delà de l’énergie àl’intérieur du son ?Pour répondre à cette question, cette recherche se base sur des analyses deplusieurs oeuvres de ces trois compositeurs tout en gardant à l’esprit la conceptionadornienne du matériau qui met en cause l’idée « naturaliste » de celui-ci et l’idée du« son » isolé comme auto-suffisant. Plusieurs catégories, comme « médiation »,« articulation », « tradition », « histoire », « culture/nature », entrent en jeu. Ainsi,cette étude est parvenue à mettre en relief trois différentes « esthétiques » qui sedéveloppent à partir d’une base commune de « l’énergie sonore » comme porteuse dela forme musicale — l’esthétique de l’énergie sonore, l’esthétique du processus, etl’esthétique de l’expression, trois esthétiques qui semblent montrer une évolution versune « interpénétration de l’énergétique et de la sémiotique ». / This thesis studies three composers connected around the "spectral music" andwhose thoughts and works are strongly marked at first by the awareness of the"dynamic" nature of sound: Giacinto Scelsi, Gérard Grisey and Kaija Saariaho, threecomposers representing three different periods in the history of the spectral current. Intheir works and their theoretical writings, several questions arise or derive from the"energetic" conception of the material and go beyond the framework of the material:perception, form, musical time, expressivity, relation to the tradition, etc. Moregenerally, an essential question arises: what exists beyond the sound, beyond theenergy within the sound?To answer this question, this research analyses several works by the threecomposers while keeping in mind the adornian conception of material whichquestions the "naturalist" idea of material and the idea of an isolated sound as selfsufficient.Several categories, such as "mediation", "articulation", "tradition","history", "culture / nature" come into play. Thus, this study has managed to highlightthree different "aesthetics" that develop from a common base of "sound energy" as thebearer of musical form — the aesthetics of sound energy, the aesthetics of process,and the aesthetics of expression, three aesthetics that seem to show an evolutiontowards an "interpenetration of the energetics and the semiotics".

In the essay A Rhetorical Guide to Ebb I explore the diverse array of influences in art, and music that guided the creation of the composition Ebb, for 13 musicians and electronics. Of those influences, the boxes of the American artist Joseph Cornell played a particularly important role. Having based the conceptual framework for Ebb on ideas taken from Cornell, the essay, instead of being driven by a single thesis, involves the creation of conceptual boxes. These conceptual boxes emphasize the influence of the artist Joseph Cornell, along with the composers Iannis Xenakis and Gérard Grisey. In addition, a time line documenting the stages in Ebb's creation is included.

This article discusses the conception and creation of space in works by Giacinto Scelsi and Gérard Grisey. Based on the fact that both composers conceived of space as closely related to the energetic, internal structure of sound, I propose a textural approach that emphasizes the interlinear relationship to examine the construction of space in their work. In two works for solo instruments, Ygghur and L’Âme ouverte, Scelsi generates numerous micro-vibrational movements and timbral contrasts from a drone voice, creating a sense of space. In the third movement of Grisey’s Quatre chants pour franchir le seuil space is created through an imitative polyphonic writing associated with the poetic idea of echo. The textural writing in these works shows the decisive role of movement in the creation of sonic space, inspired by the energetic character of sound.

No description available.

Orientador: Silvio Ferraz Mello Filho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T18:26:19Z (GMT). No. of bitstreams: 1 Copini_GuilhermedeCesaro_D.pdf: 51797264 bytes, checksum: d20707e4a2222a83fda9ddeed6fbcefd (MD5) Previous issue date: 2014 / Resumo: A presente Tese é resultado de pesquisas realizadas desde 2008. Em 2010 foi concluído Mestrado junto ao Programa de Pós-Graduação em Música da UNICAMP, cujo tema principal foram as reflexões de Gérard Grisey acerca do tempo musical, apresentadas segundos as ideias e conceitos registrados pelo próprio compositor em seus escritos. Após a imersão no seu pensamento composicional viu-se necessário verificar como ele traduziu em música tais estruturas. Assim, o objetivo principal do presente trabalho é averiguar como o compositor construiu suas estruturas musicais, procurando as ressonâncias com sua produção teórica. Para isso foram escolhidas três peças de distintas fases composicionais de Grisey: Tempus ex machina (1979), Talea (1986) e Vortex Temporum (1994-96). Outro objetivo foi encontrar elementos do processo criativo do compositor que tivessem sido influenciados por teorias vigentes na década de 1970, especialmente a Teoria da Informação. A metodologia consistiu no estudo de bibliografia especializada, e na quantificação e análise dos principais elementos estruturais das peças escolhidas. Como resultados podem-se destacar: 1) elaboração de ferramenta de análise segundo taxa de entropia e informação; 2) identificação das estruturas fundamentais das três peças analisadas; 3) composição de peças originais a partir do estudo conceitual. Após o estudo detalhado das três peças verificou-se que as mesmas técnicas de manipulação dos materiais são preservadas ao decorrer da obra do compositor. A novidade se restringe especialmente à maneira como ele organizou formalmente os processos de transformação, atitude motivada pela necessidade de introduzir maior imprevisibilidade em sua música / Abstract: This thesis is the result of a research conducted since 2008. In 2010 was completed a Master Degree at UNICAMP, whose main theme was Gérard Grisey's reflections on musical time, presented according to ideas and concepts by the composer himself in his writings. After immersion in his compositional thinking it became necessary to check how he translated into music such structures. Thus, the main objective of this work is to investigate how the composer has built his musical structures, looking for resonances with his theoretical production. For this three pieces from Grisey¿s distinct compositional phases were chosen: Tempus ex machina (1979), Talea (1986) e Vortex Temporum (1994-96). Another objective was to find elements of the composer¿s creative process that had been influenced by prevailing theories in the 1970s, especially information theory. The methodology consisted in the study of relevant literature, and, quantification and analysis of the major structural elements of the chosen pieces. The results that can be highlighted are: 1) the development of an analysis tool by rate of entropy and information, 2) identification of the fundamental structures of the three pieces analyzed, 3) composition of original pieces based on the conceptual study. After the detailed study of the three parts it was found that the same techniques for handling the materials were preserved throughout the work of the composer. The novelty is restricted especially the way he formally organized the processes of transformation, attitude motivated by the need to introduce greater unpredictability in their music / Doutorado / Processos Criativos / Doutor em Música