Tributes to Pauline Oliveros, Pierre Boulez & Jean-Claude Risset

Gender, Genre and Electroacoustic Soundmaking Practices

Intersections Canadian Journal of Music ◽

10.7202/1013224ar ◽

2012 ◽

Vol 26 (2) ◽

pp. 20-48 ◽

Cited By ~ 34

Author(s):

Andra McCartney

Keyword(s):

Pierre Boulez ◽

Project Analysis ◽

Compositional Control ◽

Musique Concrete ◽

Pauline Oliveros

This article is an exploration of how genres and practices of electroacoustic soundmaking are gendered, examining processes of gendering in language used in the early dichotomous categorization betweenmusique concrèteandelektronische Musik,then thinking about related arguments concerning abstraction, context, and compositional control in the writings of electroacoustic soundmakers including Pierre Schaeffer, Pierre Boulez, Daphne Oram, Pauline Oliveros, and several participants of the In and Out of the Sound Studio project. Analysis of their practices and ideas suggests different ways of conceptualising electroacoustic genres, their related practices, and roles of contemporary electroacoustic soundmakers (composers, artists, producers, mixers, audiences...), by examining the potentials of the concepts ofempathetic knowledgeandecologicalthinkingadvanced by feminist epistemologist Lorraine Code.

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Table ronde de 1963, journées des 16, 18 et 23 juillet

Circuit Musiques contemporaines ◽

10.7202/902368ar ◽

2010 ◽

Vol 15 (3) ◽

pp. 23-52

Author(s):

Marc Chenard ◽

Jean-Jacques Nattiez

Keyword(s):

Luciano Berio ◽

Pierre Boulez

Transcription inédite de trois tables rondes ayant eu lieu à Darmstadt en juillet 1963, dont les intervenants étaient Luciano Berio, Pierre Boulez et Henri Pousseur. Chaque compositeur annonce les thèmes qu’il va aborder dans le cadre de ses cours. En débattant entre eux et en répondant aux questions de la salle, ces trois compositeurs abordent des questions fondamentales telles celles du métier, de la technique, du geste, du langage et de la syntaxe, de la forme, et de l’esthétique. Au-delà des réponses provisoires qu’ils avancent, cette transcription offre une vue sur le fonctionnement ordinaire du débat esthétique et technique à Darmstadt vers la fin de la période qu’on pourrait nommer « héroïque » — avec ses enjeux idéologiques, ses rivalités et avec sa façon toute particulière de déterminer les problèmes de la création musicale contemporaine.

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Gotteskinder und Störenfriede - Das Spiel und die Weisheit begnadeter Musiker

10.24894/978-3-7965-4271-8 ◽

2020 ◽

Author(s):

Felix Schmidt

Keyword(s):

Pierre Boulez

Felix Schmidt ist vielen Musikern, Dirigenten und Komponisten so nahe gekommen wie kaum ein anderer Journalist. Er trank Wodka mit Mstislaw Rostropowitsch, fütterte mit Glenn Gould einen verlassenen Hund in Toronto und führte das letzte Interview mit Paul Sacher vor dessen Tod. Schmidts Gespräch mit Pierre Boulez, das 1967 unter dem Titel Sprengt die Opernhäuser in die Luft erschien, versetzte die Musikwelt in Aufruhr und wurde 30 Jahre später zum Anlass eines polizeilichen Verhörs. In diesem Buch sind ausgewählte persönliche Interviews und treffende Porträts versammelt, die einmalige Einblicke hinter die Kulissen der Musikwelt geben. Schmidt zeichnet ein Gesamtbild der Neuen Musik in der zweiten Hälfte des 20. Jahrhunderts und macht sichtbar, was dem Konzertbesucher sonst verborgen bleibt.

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Procedimentos Estruturais na Peça A Twilight's Song de Matthias Pintscher

Per Musi ◽

10.35699/2317-6377.2020.15108 ◽

2020 ◽

pp. 1-19

Author(s):

Levy Oliveira ◽

João Pedro Oliveira

Keyword(s):

Pierre Boulez

Este trabalho visa analisar os procedimentos estruturais da peça A Twilight’s Song do compositor alemão Matthias Pintscher. A análise terá enfoque em três aspectos: desenvolvimento motívico, articulação global da forma e exploração tímbrica. Utilizando como referência bibliográfica textos de Steve McAdams, Kaija Saariaho, Panayiotis Kokoras e o filme A Lesson by Pierre Boulez, almeja-se descobrir quais técnicas foram utilizadas pelo compositor para alcançar a plenitude formal da obra.

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Processos de indeterminação em Acronon de H. J. Koellreutter

Ouvirouver ◽

10.14393/ouv24-v15n1a2019-14 ◽

2019 ◽

Vol 15 (1) ◽

pp. 206-218

Author(s):

Isabela Martins Bonafe

Keyword(s):

John Cage ◽

Piano Solo ◽

Pierre Boulez

O presente trabalho propõe a análise da peça Acronon, do maestro e compositor Hans Joachim Koellreutter, com base nas estéticas da indeterminação dos compositores John Cage e Pierre Boulez. Ambas as estéticas do século XX divergem a terminologia em significado, porém ainda sim é possível encontrá-las no processo de criação da peça para piano solo, Acronon. Buscar-se-á demonstrar como tais estéticas, por vezes divergentes, convergem na obra de Koellreutter, Acronon, por meio da análise e estudos a cerca do indeterminismo e serialismo de John Cage e Pierre Boulez.

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Field Recording or Field Observation?: Audio Meets Method in Qualitative Research

The Qualitative Report ◽

10.46743/2160-3715/2015.2380 ◽

2015 ◽

Author(s):

Sam Smiley

Keyword(s):

Qualitative Research ◽

Field Observation ◽

Art Music ◽

Social Setting ◽

Field Observations ◽

Field Recordings ◽

Field Recording ◽

Clifford Geertz ◽

Preliminary Research ◽

Pauline Oliveros

The field observation, an ethnographic practice of collecting data and information about a given social setting and situation is often used in preliminary research to have an understanding of the community one is researching. However, from an artist/musician's perspective, the field observation has many commonalities with techniques used in audio field recording. How can field recording be used in parallel with field observations to explore and understand a community through art? This essay will begin with a comparison of field observations and field recordings as methods in their own disciplines, and continue with the concept of “attention” in art, music, science and anthropology. It will follow and conclude with a project that looks at combining qualitative research and art to explore a community of gardeners through recorded interviews and sounds. The work of Pauline Oliveros, Walter S. Gershon, Clifford Geertz, Anne McCrary Sullivan, and Steven Feld will be important in making the connections across disciplines.

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Pierre Boulez and Heinz Holliger: on the problem of transformation of a musical language

PHILHARMONICA International Music Journal ◽

10.7256/2453-613x.2020.4.32872 ◽

2020 ◽

pp. 27-37

Author(s):

Nadezhda Andreevna Petruseva

Keyword(s):

Comparative Analysis ◽

Music Perception ◽

Comprehensive Approach ◽

Cultural Authority ◽

Musical Language ◽

Pierre Boulez ◽

Research Material ◽

Solo Music ◽

History Of ◽

First Time

The article focuses on the problem of transformation of a musical language, the correlation between an esthetic guideline, an invention, a composition technique and a language. The author describes the two strategies of life and work of Pierre Boulez which allowed him to gain significant cultural authority, and enumerates the persons who had influenced Boulez’s esthetics. In a broad esthetic and philosophical context, the author shows the turn from the technique to the language in esthetical and theoretical texts of Pierre Boulez; describes the three concepts of the language, the period of synthesis following the period of rejection, and Boulez’s concerns about the problems of music perception. In the context of Boulez’s thesis about the unity of an invention, a technique and a language, the author considers the piece for viola “Trema” (1981) by Heinz Holliger, Boulez’s adherent. The author uses a comprehensive approach as a combination of elements of comparative analysis, musical phenomenology (focusing of mind on music structures), and hermeneutics (the process of understanding, interpreting). The research material is of a methodical importance for modern educational courses of theory and history of music. The author arrives at the conclusion that Boulez, as well as Kant, directs the concept of art towards Aristotle's category of “poiesis” as “craft and creation”; focuses on the overcoming of the esthetics of rejection (preceding the classic-romantic tradition) in Boulez’s turn to the period of “synthesis” which includes not only the turn from a technique to a language, but also electroacoustic “sound manufacturing”.  The following aspects of Hollinger’s “Trema” are considered for the first time: the idea, the principles of new solo music, the new technique. The author arrives at the conclusion about “Trema” belonging to the “multilayered music epoch” and that radical rethinking of a musical language sharpens communication.   

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