Dans la création contemporaine, les musiciens s'inspirent parfois de l’océan dans leur pratique de la composition. Cette thèse a pour but d'observer leur façon de faire à travers l’analyse d'oeuvres dont le titre ou le sujet évoquent l'environnement océanique. Elle part de l’hypothèse que la poétique, c’est-À-Dire l’inspiration à partir de la mer, sert la poïétique, donc sert les manières de faire la musique, de l'écrire, sans pour autant servir nécessairement le rendu esthésique. Dans le chapitre I, l’analyse est basée sur des oeuvres de Claude Debussy, André Boucourechliev, Kaija Saahario et Yoshihisa Taira. Le chapitre II consacre une importante partie de son développement à l’étude des oeuvres de Tristan Murail inspirées de l'océan. Enfin, dans le chapitre III, deux des propres compositions de l'auteur sont analysées. Finalement, cette thèse révèle l'existence de cycles partant de l'esthésique, c'est à dire le ressenti devant la mer vers la poétique puis la poïétique et enfin l'esthésique, c'est à dire le ressenti du rendu musical. Par ailleurs, le travail d'analyse réalisé au cours de cette thèse a permis de mettre en valeur l'importance de la notion d'objet, c'est à dire une pensée de la composition orientée par la manipulation de l'objet musical. L'approche de Debussy, telle qu'interprétée par Barraqué, ouvre le siècle. Le modèle de la mer au sens des objets sur le plan dynamique est très cohérent avec la notion d'objet musical. Nous ne pouvons que constater cette présence et c'est en cela que la conclusion de la thèse est un peu ouverte. C'est avec cela que nous allons composer nos futures pièces. La thèse nous a servi finalement aussi à formaliser notre musique. / In the genre of contemporary music, musicians sometimes take their inspiration from the ocean when addressing take their compositions. The goal of this thesis is to observe method of these composers by analyzing works which evoke the ocean's environment in their subject. This study claims that the poetic inspiration which is engendered by the ocean ends up by providing the poietics of the projects themselves, which is to say, ways of creating music, of writing it, without necessarily treating the aesthesic of the final product. In Chapter I the analysis is based on the works of Claude Debussy, André Boucourechliev, Kaija Saahario and Yoshihisa Taira. Chapter II consecrates a large part of its development to the study of works by Tristan Murail which are inspired by the ocean. Finally, in Chapter III, two of the compositions of the thesis' author are taken into analytical consideration. This thesis reveals the existence of cycles coming from the aesthesic, which then moves towards poietics and returns to aesthesic. It also needs to be taken into account that the analyses produced during the course of this study focus on the musical object itself. This is to say that the study is geared towards the manipulation of the musical object. Debussy's approach, as it is interpreted by Barraqué, serves as the overture of the century. The model of the sea as a dynamic objet coincides with the notion of the musical object. We can only propose this stated presence and this is why the conclusion of the thesis is somewhat open-Ended. Nonetheless, it is this point of departure which allows us to compose future works. It is thesis, in the end, that formalizes our music.

Orientador: Jonatas Manzolli, Mikhail Malt / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T15:52:24Z (GMT). No. of bitstreams: 1 Cervini_Lucia_D.pdf: 8294885 bytes, checksum: 388b537070b6754849347a33ba308558 (MD5) Previous issue date: 2008 / Resumo: Esta tese situa-se no âmbito da reflexão teórica aliada à prática interpretativa. O estudo aqui reportado foca a Música Espectral no que tange à interpretação pianística. O objetivo do trabalho foi, através da obra Territoires de l'Oubli de Tristan Murail, elaborar uma concepção interpretativa. Três aspectos foram abordados para este fim: a incorporação da noção de Continuum, a idéia de Processo e o aporte da Escuta. Através destes três elementos procurou-se traçar uma revisão do referencial teórico a partir de artigos do compositor Tristan Murail associados a textos específicos de Hugues Dufourt, Joshua Fineberg, Philippe Leroux, Jérôme Baillet, Nicholas Cook, dentre outros. Para desenvolver as idéias ligadas à prática interpretativa, utilizou-se de apontamentos realizados no Atelier de Piano Contemporâneo com a pianista Martine Joste, de Master Class com a pianista Dominique My, além de entrevista com o próprio compositor. Da interação entre referencial teórico e imersão interpretativa foi possível levantar aspectos analíticos dos processos que compõem Territoires e cujo enfoque convergiu para a realização musical. De forma análoga aos mecanismos de síntese sonora, a pesquisa decompôs os processos constituintes da obra para reintegrá-los na concepção de uma interpretação / Abstract: This thesis connects theoretical framework to interpretative perspective. It discusses Spectral Music in the context of piano performance. This research aimed to develop an interpretative conception for Tristan Murail¿s Territoires de l'Oubli. Three aspects were studied along this goal: incorporation of the Continuum notion, study of the Process idea and the importance of sound perception. In line with these three points, there is a theoretical review covering articles from the composer Tristan Murail to texts from Hugues Dufourt, Joshua Fineberg, Philippe Leroux, Jérôme Baillet, Nicholas Cook, among others. To elucidate issues on piano performance, this text presents notes of the Martine Joste¿s Contemporary Piano Atelier and a Master Class with the pianist Dominique My and also an interview with the composer himself. From the interaction between theoretical perspective and interpretative immersion, it was possible to analyze aspects of Territoires processes converging to a musical realization. Such as a sound synthesis method, the piece constituent processes were analyzed to be re-integrated in a performance conception / Doutorado / Doutor em Música

This dissertation is comprised of a paper on Tristan Murail’s Mémoire/Érosion (1976) and a pair of my compositions—R[o/u]LE(s) for string quartet with percussion instruments (2016) and Projectile Motion (2018) for string quartet. The paper endeavors to draw attention to the rich, individualized voices within the French spectralist movement during its emerging phase, exemplifying various paths of en/decoding spectral thinking with Murail’s Mémoire/Érosion. In view of the interdisciplinary essence of spectralism, my analytical approach extensively adapts theories, research findings, and a posteriori knowledge from fields such as psychology, computer technology, and marketing so as to diversely reason how spectral thinking may be en/decoded by maneuvering information harnessed from the (pseudo-)spectral sources while interpreting the resultant perceptions. In comparison to the theme of the paper, which is heavily centered on pitch manipulation, the two compositions downplay such a musical dimension in varying degrees for different purposes. First, passive in nature and magnified by the incorporations of the percussion as well as the strings’ scratch tones, the reduced presence of pitch in R[o/u]LE(s) signals an attempt to navigate and investigate the topic of (Taiwanese) identity. Second, actively suppressed, pitch in Projectile Motion virtually becomes residual traces left by the heightened impulses of gesture, which, apart from being where the music largely gains its momentum, can be viewed as an expression of reflecting on issues of intimacy, accessibility, and cultural implications that contemporary music elicits in relation to a valued sector of my personal sphere.

This essay focusses on the relation between timbre and musical logic. I try to draw a connection between Schoenberg’s remarks on »Klangfarbenmelodie« in his Harmonielehre (1911) and the concept of »harmonie-timbre« represented by the spectral composers Gérard Grisey and Tristan Murail in the 1970s. At first glance, this relation between free atonality and spectral music seems far-fetched as Grisey and Murail rarely commented on Schoenberg’s theories. Nevertheless, a detailed investigation shows a parallelism of both analytical and aesthetic problems. Both the free atonal Schoenberg and the spectralists argued for developing sound sequences out of the innermost quality of timbre. Besides, the forming of free atonal and spectral sound sequences cannot resort to a structural preformation of material as in dodecaphonic or serial music. Therefore qualities of listening gain major importance. In order to realize free atonal or spectral sound sequences, it is necessary to apply a wide notion of perception: on the one hand, the composer enters the »inner« world of timbre by eaves- dropping on timbral nuances carefully. This perceptual attitude (»Lauschen«) brings to mind the transient presence and alterity of sound. On the other hand, this fascination with an »inner« quality of timbre should not lead to the assumption that free atonal or spectral sound sequences are unfolding in an »auto-generative« manner. Although composers can surrender themselves to a »passive« perception of sonic nuances, they are also compelled to make decisions about the direction of the music – decisions within the area of timbre, which seems to be resistant against decision-making. These decisions eventually constitute what might be perceived as musical logic. As a result, listeners of free atonal and spectral music are confronted with a fundamental tension between »inner« and »outer« compositional aspects: they perceive an illusory perfect and organic growth of sound (cf. Adorno: »Schein des Organischen«). The idea of a subject which articulates itself within a »pure« sound unleashes a tension between sense and its subversion, between active and passive listening. This tension seems to be one of the reasons why Schoenberg hesitated between sound and musical »sense«, and why he was fascinated by the »futuristic phantasy« to reconcile the apparent opposites of timbre and musical logic.