No description available.

This document provides a short history and analysis of Gerard Grisey's Anubis et Nout, written for Harry Sparnaay in 1983 and dedicated to Claude Vivier, a friend and colleague of Grisey's who was murdered that year. Although Anubis et Nout is originally for solo contrabass clarinet, Grisey also created a version in 1990 for Claude Delangle, to be played on either baritone or bass saxophone. Both versions are published by Ricordi.In the first two chapters, I present a brief introduction to the life and music of Gerard Grisey, as well as an introduction to Claude Vivier. In chapter three, I give a chronology of Anubis et Nout; the history presented here is largely informed by interviews conducted by the author with instrumentalists Jean-Noel Crocq, Claude Delangle, Harry Sparnaay, and Taimur Sullivan. The remainder of the document is an original analysis of each movement of Anubis et Nout. The analysis includes discussion and examples of subharmonicity, harmonicity, time concepts presented in Grisey's essay "Tempus ex Machina" , and Grisey's attention to timbre through diacriticals as they pertain to the work.

Beginning in the 1970s, and aided by the advancement and an increased prevalence of computers, spectral music emerged as an important development in twentieth century music. Spectral composers, as exemplified by Gérard Grisey and Tristan Murail, took the harmonic spectra of sounds as the fundamental materials of composition. The resulting music placed an emphasis on texture and gradually evolving forms. The generation of composers immediately following the spectralists assimilated their techniques into distinct and varying styles. Finnish composer Kaija Saariaho uses spectral techniques to create an aesthetic that generates form and progression from a sound/noise axis. In her piece Du cristal…à la fumée, a number of pendulum and half-pendulum gestures build up texture and form. The accompanying original composition Axiom Unearthed employs similar pendulum gestures and uses spectral techniques to generate melody and harmony in an aesthetic divergent from traditional spectral pieces.

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.

Dissertation--Philosophische Fakultät III--Berlin--Humboldt-Universität, 2002. / Bibliogr. p. 275-287.

Bien que le courant musical « spectral » soit à la source de nombreuses recherches, il apparaît que les percussions y tiennent une place particulière qui n’a été que trop peu étudiée. L’évolution de disciplines comme l’organologie, l’anthropologie ou l’ethnomusicologie a contribué à l’inclusion dans le vocabulaire des compositeurs de nombreux nouveaux instruments à percussion. Si on remarque que les spectres fournis par les percussions servent bien souvent à composer le timbre, c’est l’intérêt pour la perception qui pousse les compositeurs à considérer la sonorité globale des pièces par phénomènes de mémoire ou de seuils. Ceci amène une nouvelle manière de forger des sons sur certaines caractéristiques inhabituellement mises en avant comme la densité, la plage fréquentielle, la rugosité, ou la granulation. Le langage des percussions apparait comme vecteur immédiat de l’expression des compositeurs et des interprètes, et le courant spectral semble bénéficier de cette exploration sonore. / Although the musical style called « spectral » is the source of much research, it appears that the percussion family holds in it a special place that has been too little studied. Developments in disciplines such as organology, anthropology or ethnomusicology contributed to the inclusion of many new percussion instruments in the vocabulary of composers. If one notice that the spectra provided by the percussion often serve to dial tone, it is the interest towards perception that pushes composers to consider the overall sound of pieces through memory and threshold phenomena. This brings a new way to craft sounds from some unusually highlighted characteristics such as density, frequency range, roughness, or granulation. Percussion appear as immediate expression vectors to composers and performers, and the spectral movement seems to benefit from this exploration of sound, made possible by the diversity inherent to percussion alloys spectra.

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T06:08:20Z (GMT). No. of bitstreams: 1 Copini_GuilhermedeCesaro_M.pdf: 72399274 bytes, checksum: b14afa1acbdd94ff753cf3f23123d8d2 (MD5) Previous issue date: 2010 / Resumo: A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grisey, compositor e cofundador de uma das mais importantes escolas de composição da segunda metade do século XX (a Música Espectral), apresenta uma singular visão do fenômeno musical, particularmente diante do seu desenvolvimento no tempo. Seu pensamento é fundamentado principalmente em pesquisas no campo da acústica e psicoacústica, ou seja, na estrutura física do som e na maneira como o som é percebido, respectivamente. O objetivo principal desta pesquisa é expor as reflexões de Grisey em relação ao tempo musical. Outro objetivo é a composição de uma peça original baseada nestas reflexões. Justifica-se tal recorte pela evidente atenção dada ao tema 'tempo em música' por importantes compositores do século XX (como por exemplo, Messiaen, Boulez e Grisey). Tal importância pode ser verificada tanto na obra musical, quanto teórica destes compositores. Inicialmente foi realizado aprofundamento teórico por meio do estudo dos textos produzidos pelos principais representantes e estudiosos da Música Espectral. Em seguida iniciou-se a redação da dissertação, que teve como foco a filosofia composicional de Grisey, e a composição da peça original, baseadas nas características e técnicas identificadas na primeira etapa da pesquisa / Abstract: Music is a temporal art, and its primary object, the sound, can only exist and be noticed when the dimension time is considered. Then, one believes that the discussion about sound-time relation in music is important for the contemporary composer.Gérard Grisey, composer and cofounder of one of the most important schools of composition of the second half of the 20th century (the Spectral Music), shows a singular understanding toward the musical phenomenon, especially about its development over time. His understanding is mainly based in researches in the field of acoustics and psychoacoustics, in other words, in the physical structure of sound and how it is perceived, respectively. The main objective of this research is to expose the thinking about musical time by Grisey. Another objective is to compose an original musical piece based on this thinking. This outline is justified by the evident attention that important composers of the 20th century (as Messiaen, Boulez and Grisey) gave to the subject "time in music". Such importance can be verified either in their musical and theoretical works. Initially, a study of the main bibliography produced by the leading composers and experts in Spectral Music was accomplished. Then the writing process of the thesis began, which was focused on the compositional philosophy of Grisey, and the composition of the original musical piece, based on the characteristics and techniques identified in the first part of this research / Mestrado / Musica / Mestre em Música

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.

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