Słowa kluczowe
F.-B. Mâche
C. Miereanu
S. Sciarrino
D. Smalley
T. Wishart
spectromorphology and structuring processes
temporal semiotic units, or TSUs
“elementary forms” and sonorous naturalism
morphodynamics of projected sounds
archetypes of complex sounds
accidental forms
beginning
continuity (prolongation)
culmination
stasis
extinction
Jak cytować
Liczba wyświetleń: 49
Liczba pobrań: 17
Abstrakt
The purpose of this article is to present an astonishing convergence in the creative processes and theories of some contemporary composers on the one hand, and to confront this convergence with TSU theory (Temporal Semiotic Units) on the other. My analyses carried out in the field of electroacoustic music since 1988 have revealed the same broad categories of structuring processes, regardless of the country of origin and the aesthetic conceptions of each creator.
The composers in question are the following, according to the chronological order of theorizing their compositional process: F.-B. Mâche, T. Wishart, D. Smalley, C. Miereanu, S. Sciarrino, F. Bayle.
After having examined their structural processes, I have drawn up the four main summarizing categories according to their approaches:
1) emergence or beginning; 2) extinction or collapse; 3) culmination point, explosion, or zenithal form; 4) the different cases of “stasis” and stillness, repetitive and discontinuous forms.
The archetypal processes of the six composers will be compared to the 19 Temporal Semiotic Units (TSU) established by the composers of Marseille studio of electroacoustic music (GMEM) and of the GRM composers (Paris). This theory has been published in different books and articles in France since 1996.
We believe that this view on the convergences of current compositional theories and “temporal semiotic units” provides us with new analytical tools for a better understanding of contemporary musical works.
Bibliografia
Bayle François, Komposition und Musikwissenschaft im Dialog IV (2000–2003). L’image de son /Klangbilder. Technique de mon écoute/ Technik meines Hörens, with CD, LIT Verlag, Münster 2003.
Bayle François, La forme du temps est un cercle, [introduction], CD Magison 2002.
Delalande François, Analyse musicale et conduites de réception. ‘Sommeil’ de Pierre Henry, INA-GRM document, 53 pages, 1996.
Delalande François, La terrasse des audiences au clair de lune. Essai d’analyse esthésique. La Prise en compte des écoutes-types comme points de vue d’analyse, “Analyse Musicale” 1989, no. 16, pp. 75–84.
Garant Dominic, Tristan Murail. Une expression musicale modélisée, L’Harmattan, Paris 2001.
Giacco Grazia, La Notion de «figure» chez Salvatore Sciarrino, L’Harmattan, Paris 2001.
Grabócz Márta, Esquisse typologique des macrostructures dans les oeuvres de F.-B. Mâche, “Les Cahiers du CIREM” 1992, no. 22–23, pp. 115-130.
Grabócz Márta, Les universaux et leur rapport avec la composition dans l’oeuvre de F.-B. Mâche, [in :] Son et Nature. Composition et théorie musicale en France: 1950–2000, éd. Gianmario Borio, Pierre Michel, “Musicalia”, n° 1, Pisa–Roma 2005, pp. 153–172.
Les Unités sémiotiques temporelles. Eléments nouveaux d’analyse musicale, (collected edition: M. Formosa, M. Frémiot, F. Delalande et al.), with CD, Ed. Eska, Paris 1996.
Mâche François-Bernard, Le son et la musique, [in :] Entre l’observatoire et l’atelier, Éditions Kimé, Paris 1998 (first published in 1963), pp. 77–87.
Mâche François-Bernard, Musique au singulier, Éditions Odile Jacob, Paris 2001.
Mâche François-Bernard, Musique, mythe, nature. Ou les dauphins d’Arion, Klincksieck, Paris 1991 (first published in 1983).
Miereanu Costin, Fuite et conquête du champ musical, Meridiens Klincksieck, Paris 1996. Chapters: Vers une nouvelle microstructure (pp. 149–175); Auto-analyses (pp. 175–281).
Miereanu Costin, Stratégies du discontinu, [in:] Les Universaux en musique, éd. Costin Miereanu, Xavier Hascher, Publications de la Sorbonne, Paris 1998, pp. 31–42.
Murail Tristan, La révolution des sons complexes, “Darmstädter Beiträge” 1980, Vol. XVIII, pp. 77–92. Re-edition in: Modèles et artifices. Les écrits de T. Murail, éd. Pierre Michel, Presses Universitaires de Strasbourg, Strasbourg 2004.
Nouvelles clés pour l’écoute, CD-ROM, MIM/INA-GRM 2002.
Schaeffer Pierre, Chion Michel, Guide des objets sonores, INA/GRM-Buchet-Chastel, Paris 1983.
Sciarrino Salvatore, Le figure della musica: da Beethoven a oggi, Ricordi, Milano 1998.
Smalley Denis, Spectro-Morphology and Structuring Processes, [in:] The Language of Electroacoustic Music, ed. Simon Emmerson, Macmillan Press, London 1986, pp. 61–96. DOI: https://doi.org/10.1007/978-1-349-18492-7_5
Smalley Denis, Spectromorphology. Explaining Sound-Shapes, “Organised Sound” 1997, vol. 2, issue 2, p. 107–126. DOI: https://doi.org/10.1017/S1355771897009059
Vinay Gianfranco, Metafore cosmologiche et filosofia della natura nella musica acusmatica di François Bayle, [in:] Son et Nature. Composition et théorie musicale en France: 1950–2000, éd. Gianmario Borio, Pierre Michel, “Musicalia”, n° 1, Pisa–Roma 2004, pp. 147–152.
Wishart Trevor, Audible Design. A Plain and Easy Introduction to Practical Sound Composition, Orpheus The Pantomime, York 1994.
Wishart Trevor, On Sonic Art, York 1985 (author’s edition), chapters: Is there a Natural Morphology of Sounds? (pp. 97–104); Soundimage as Metaphor. Music and Myth (p. 89–99); On ‘Red Bird’ (pp. 153–154).
Licencja
Prawa autorskie (c) 2023 Márta Grabócz
Utwór dostępny jest na licencji Creative Commons Uznanie autorstwa – Użycie niekomercyjne – Bez utworów zależnych 4.0 Międzynarodowe.