Dans ce mémoire, j'ai étudié les techniques de composition et d'orchestration à la disposition d'un compositeur pour écrire des pièces ou des sections d'une grande rapidité. Les techniques abordées sont adjointes d'exemples venant du répertoire classique, contemporain et de mes propres compositions. À travers ces exemples, l'objectif est de gagner une meilleure compréhension de ce qui constitue l'impression de vitesse dans la musique instrumentale. / In this thesis, I explore many of the techniques of composition and orchestration a composer can use to write a piece or a section with a great sense of speed. The techniques are illustrated by examples from the classical and contemporary repertory but also from my own compositions. By analyzing theses examples, the objective is to gain a better understanding of what can contribute to the sense of speed in instrumental music.

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Ce mémoire explore deux aspects importants de ma musique : la polymodalité et le contraste. Nous verrons donc les différents modes utilisés dans mon œuvre ainsi que les façons de les superposer. Les contrastes se retrouvent aussi en abondance dans ma musique : je proposerai plusieurs manières de créer des contrastes ainsi que l’effet désiré. Les aspects formel, rythmique, harmonique et mélodique vont nourrir l’analyse de ses deux facettes dans quatre compositions : Fantasia Armonica, pour quatre violons, mon premier Quatuor à cordes, Jeux d’Ombres pour le Nouvel Ensemble Moderne et Poudrerie pour orchestre. Ces pièces présentent ainsi des gestes contrastants ayant un but dramatique, humoristique ou jouant avec l’anticipation de l’auditeur. La polymodalité peut s’exprimer en de multiples configurations, allant de la polyphonie à la stratification. / This dissertation expounds on two important aspects of my music: polymodality and contrasts. Moreover, I describe various modes used in my pieces and how they can be superimposed. In addition, it is demonstrated that the listener can find a range of contrasts profusely used in my music. Four aspects, formal, rhythmical, harmonical and melodical will help analyse those two facets in four of my compositions: Fantasia Armonica for four violins; my first string quartet; Jeux d’Ombres for the Nouvel Ensemble Moderne; and Poudrerie for orchestra. Those pieces pose contrasting gestures that have dramatic or humorous goals or play with the listener's anticipation. Polymodality can be expressed in various manners, polyphonically or in musical layers.

Theory as an approach to generative composition and interactive computer music. Inspired by the notion of Performance Indeterminacy, software has been developed that attempts to simulate the interactions of improvising performers using a multi-agent system based on the ‘Iterated Prisoner’s Dilemma’. Composition activities and programming activities have formed a symbiotic relationship throughout the creation of the portfolio as each has constantly informed the other. Stylistically, the works presented fall into the experimental genre, although individually they address a wide range of aesthetic goals. The main contribution of this portfolio is a new approach to generative composition based on behavioural models, creating a sense of form bottom-up through modelling the social dynamics of music performance. Through this approach, the direct modelling of musical structures is avoided; instead larger scale forms emerge through the interactions of an ensemble of ‘improvising’ agents. This method offers a departure from previous complex systems work in the area of music, creating computer models of specific musical situations. Links between the Iterated Prisoner’s Dilemma and music are also established and combined with current music technologies. / Thesis(Ph.D.)- University of Adelaide, Elder Conservatorium of Music, 2008

Theory as an approach to generative composition and interactive computer music. Inspired by the notion of Performance Indeterminacy, software has been developed that attempts to simulate the interactions of improvising performers using a multi-agent system based on the ‘Iterated Prisoner’s Dilemma’. Composition activities and programming activities have formed a symbiotic relationship throughout the creation of the portfolio as each has constantly informed the other. Stylistically, the works presented fall into the experimental genre, although individually they address a wide range of aesthetic goals. The main contribution of this portfolio is a new approach to generative composition based on behavioural models, creating a sense of form bottom-up through modelling the social dynamics of music performance. Through this approach, the direct modelling of musical structures is avoided; instead larger scale forms emerge through the interactions of an ensemble of ‘improvising’ agents. This method offers a departure from previous complex systems work in the area of music, creating computer models of specific musical situations. Links between the Iterated Prisoner’s Dilemma and music are also established and combined with current music technologies. / Thesis(Ph.D.)- University of Adelaide, Elder Conservatorium of Music, 2008

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