« Je veux changer la conscience de mon prochain. Pour atteindre ce but, je dois me servir des moyens acoustiques de notre temps. » Prononcés en 1975, ces mots de Luigi Nono (Venise, 1924 - Venise, 1990) résument parfaitement la démarche d’un compositeur qui se définissait comme un « musicien-militant », choisissant délibérément de ne faire aucun départ entre le musical et le politique. Pour Nono, changer la conscience d’autrui revint ainsi à transformer sa perception du monde, via sa musique, en s’attachant à faire émerger les « infinis-possibles » du son. En tâchant d’établir des rapports intrinsèques entre formes de l’écriture et dimension politique dans l’œuvre de Luigi Nono, nous tentons de montrer dans cette thèse comment le compositeur s’employa, à travers sa musique — et notamment grâce à son travail sur la perception auditive —, à rejoindre ce que depuis son activité de militant communiste il essaya également de faire : élargir, altérer, multiplier le monde, en faire épanouir tous les possibles, le rendre plus juste aussi, et faire sourdre de nouvelles utopies à partir du laboratoire expérimental de ses compositions.Construit autour d’éléments biographiques et de textes fondamentaux du compositeur que nous tentons de faire dialoguer avec un certain nombre de penseurs du 20ème siècle — d’Adorno à Merleau-Ponty, en passant par Deleuze, Marcuse, Benjamin, Bloch ou encore Bachelard — notre travail s’adosse avant tout aux compositions du Vénitien. Nous en proposons le panorama le plus complet possible, tout en focalisant notre attention sur certaines œuvres en particulier (chronologiquement : Due espressioni [1953] ; Liebeslied [1954] ; Canti di vita e d’amore [1962] ; La Fabbrica illuminata [1964] ; Como una ola de fuerza y luz [1971] ; …sofferte onde serene… [1976] ; Fragmente-Stille, an Diotima [1979-1980] ; Das atmende Klarsein [1981] ; ¿Dónde estás hermano? [1982] ; Prometeo [1981-1985]), selon la relation qu’elles entretiennent avec chacun des trois thèmes que nous développons : perception, altérité et utopie. / "I want to change the consciousness of my fellow human beings. To achieve this purpose, I must use the acoustic means of our time." Delivered in 1975, these Luigi Nono's words perfectly summarize the approach of a composer who defined himself as a "musician-activist" deliberately choosing not to make any difference between music and politics. For Nono, changing the consciousness of others, via his music, means changing their perception of the world by applying himself to bring out the "infinite possibilities" of the sound.This thesis tries to show intrinsic relationship between writing forms and political dimension in Luigi Nono’s works. So this contribution will endeavour to explore how the composer exerted himself through his music – particularly thanks to auditive perception – to link up with what he tried to do as a communist militant: widen, alter, multiply the world, make it open out all possibilities, make it fairer too, and arise new utopias from the experimental laboratory of his compositions.This work is built around biographical elements and fundamental texts of the composer which I try to make converse with a number of thinkers in the 20th century from Adorno to Merleau-Ponty, including Deleuze, Marcuse, Benjamin, Bloch or still Bachelard. It mainly leans on the Venetian’s compositions of which I propose the most complete panorama as possible, particularly focused on some chosen works: chronologically Due espressioni (1953); Liebeslied (1954); Canti di vita e d’amore (1962); La Fabbrica illuminata (1964); Como una ola de fuerza y luz (1971); …sofferte onde serene… (1976); Fragmente-Stille, an Diotima (1979-1980); Das atmende Klarsein (1981); ¿Dónde estás hermano? (1982); Prometeo (1981-1985), by the relation they have each other with the three themes that I develop: perception, otherness and utopia.

Este trabalho se propõe a analisar alguns dos aspectos da obra tardia do compositor veneziano Luigi Nono (1924-1990), a partir da leitura de três obras: Fragmente-Stille, an Diotima para quarteto de cordas, Das atmende Klarsein para flauta baixo, coro e processamento em tempo real, e Omaggio a György Kurtág para contralto, flauta, clarinete baixo e processamento em tempo real. As três diferentes análises têm como foco três importantes princípios da poética tardia de Luigi Nono: as idéias de fragmentação, de limite e de suspensão. / This research studies some aspects of Luigi Nonos (1924-1990) late work. It is based on analysis and interpretation of three important works of the Venetian composer: Fragmente-Stille, an Diotima, for string quartet, Das atmende Klarsein, for bass flute, double-bass, choir and live electronics, and Omaggio a György Kurtág, for contralto, flute, bass clarinet and live electronics. Each of these investigations focuses on three important principles of Nonos late poetics: the ideas of fragmentation, limit and suspension.

Este trabalho se propõe a analisar alguns dos aspectos da obra tardia do compositor veneziano Luigi Nono (1924-1990), a partir da leitura de três obras: Fragmente-Stille, an Diotima para quarteto de cordas, Das atmende Klarsein para flauta baixo, coro e processamento em tempo real, e Omaggio a György Kurtág para contralto, flauta, clarinete baixo e processamento em tempo real. As três diferentes análises têm como foco três importantes princípios da poética tardia de Luigi Nono: as idéias de fragmentação, de limite e de suspensão. / This research studies some aspects of Luigi Nonos (1924-1990) late work. It is based on analysis and interpretation of three important works of the Venetian composer: Fragmente-Stille, an Diotima, for string quartet, Das atmende Klarsein, for bass flute, double-bass, choir and live electronics, and Omaggio a György Kurtág, for contralto, flute, bass clarinet and live electronics. Each of these investigations focuses on three important principles of Nonos late poetics: the ideas of fragmentation, limit and suspension.

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La thèse, divisée en trois parties, constitue une introduction à l’univers musical de Giacomo Manzoni (Milan, 1932). La première partie aborde huit dimensions de l’œuvre du compositeur dans une perspective analytique (matériau, temps, dynamique, timbre, forme, figures sonores, espace et texte). Dans la deuxième partie, où figure une étude de Per Massimiliano Robespierre (1974) et de Doktor Faustus (1988), sont présentés les principaux axes de sa poétique : l’engagement et l’innovation. La dernière partie conceptualise la notion de matiérisme en tant que fondement de sa praxis compositionnelle. À ce propos, Atomtod (1964), sa troisième œuvre pour le théâtre musical, a été analysée. Des documents inédits, dont des esquisses de ses œuvres et une correspondance avec Luigi Nono, ont été commentés tout au long de la thèse. Les annexes incluent un catalogue chronologique et thématique des œuvres du compositeur, une édition critique bilingue des textes mis en musique, la traduction de son dernier livre (Parole per musica) et une discographie. / This thesis, which consists of three parts, represents an introduction to Giacomo Manzoni’s (Milan, 1932) musical ideas. First part deals with eight dimensions of his work from an analytical point of view (material, time, dynamics, timbre, form, sound shapes, space and text). In the second part, which contains an analysis of Per Massimiliano Robespierre (1974) and Doktor Faustus (1988), two main axes of his poetics were examined: commitment and innovation. Last part conceptualizes the notion of materialism in his poetics, as it constitutes the basis of his musical praxis. To this end, Atomtod (1964), his third work for the stage, was analysed. Unpublished documents, like sketches of his works and a correspondence with Luigi Nono, were commented throughout the thesis. Appendices include a chronological and thematic catalogue of his works, a bilingual critical edition of the texts which he set to music, a French translation of his last book (Parole per musica) and a discography.

Luigi Nono's work Post-Prae-Ludium No.1 "per Donau" represents a model for the emerging genre of electroacoustic tuba music. It is important to preserve this electroacoustic work because of its value to the tuba literature. Not only is it one of the first electroacoustic works for the tuba, but it also was composed by a man who is highly regarded in the field of music composition. Its preservation will be difficult because of the rapid advancement in technology. Within the last three decades of existence, the technology has evolved three times. An examination of the performance practice in Post-Prae-Ludium was undertaken to understand the demand on the performer required to play this work. This study will look at both non-traditional performance practices, as well as an inherent problem of how the advancement of technology can actually threaten the survival of a work dependent upon a specific version of electronic technology. Nono worked in collaboration with Giancarlo Schiaffini to compose a work for tuba and live electronics. Correspondence with Schiaffini has provided his thoughts on the collaboration of Post-Prae-Ludium with Nono and given a better understanding of how to perform the work. Technology will change, and these current adaptations of Post-Prae-Ludium may not be valid in one or two decades. However, with the description and instruction given by Nono and Schiaffini, in addition to recordings made of Post-Prae-Ludium, there is a record from which to reproduce this work. This study provides a source allowing performers to reproduce this work, thereby preserving it for future performers.

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