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Musidanse sur HAL : Dernières publications
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Articles
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[hal-04288192] Pour la Paix. Analysing the piece and preparing its performance
15 novembre 2023, par ano.nymous@ccsd.cnrs.fr.invalid (Ulysse Ghingaro), Ulysse GhingaroPour la Paix (1981-82) has a particular place inside Xenakis’ production: it is his unique radio composition (Hörspiel). The composer drew extracts of texts from two books of his wife, to tell the story of two young boys, stemming from the same village, but recruited in two enemy armies. This text is read by four narrators. It is musically commented by sounds produced by the UPIC. In parallel, ten choral sequences open more speculative spaces, and propose a musical extension. Put in a tape, these three components can be diffused on the radio. However, the work was created in concert, and it is doubtless why Xenakis also proposes concert versions. After the examination of the project and the genetics of the work, we will analyze the components one by one (text, choral sequences, UPIC sounds). Then, we will examine their assembly, by emitting the hypothesis that the fragility of this assembly explains why the version concert (in particular the one with the narrators and the choirs on stage) is the more interesting for the listener. A particular attention will be devoted to the performance of the version concert, as we will perform it with the vocal ensemble Soli Tutti on April 2022 at University Paris 8. -
[hal-04288173] Une introduction aux études xenakiennes
15 novembre 2023, par ano.nymous@ccsd.cnrs.fr.invalid (Makis Solomos), Makis SolomosLes études xenakiennes Les travaux sur Xenakis sont de plus en plus nombreux et variés. Nous pouvons distinguer plusieurs étapes dans l’histoire des études xenakiennes. Durant la première, les musicologues, reprenant le discours xenakien dominant, insistaient sur sa relation aux mathématiques et à la formalisation. Puis, l’accent a été mis sur des dimensions importantes, mais encore inconnues de son œuvre : la musique comme composition-du-son, le recyclage de ses matériaux, etc. Après sa mort, est venue la phase de l’exploitation des archives, phase toujours en cours. Dernièrement, avec le colloque Xenakis22, qui a réuni plus de soixante chercheurs d’une quinzaine de pays, une nouvelle phase semble s’ouvrir, qui explore simultanément plusieurs aspects de son univers. -
[hal-04288167] Música y sonido en la detención política. Escuchar, recordar y poder actuar
15 novembre 2023, par ano.nymous@ccsd.cnrs.fr.invalid (Makis Solomos), Makis SolomosEn su libro colectivo, antiguos presos de la dictadura en Coronda (1974-79), Argentina, relatan sus experiencias sonoras e incluso musicales: "El silencio en el pabellón era insólito y pesado" (El Periscopio, 2020: 181); "Y seguíamos cantando..." (ibíd.: 115). (ibíd.: 115). En la actualidad, se han realizado numerosos trabajos sobre la música y el sonido en la detención (cf. K. Chornik, 2018; A. Papaeti, 2013; V. Polti, 2022). Este artículo retoma elementos de uno de mis artículos anteriores (M. Solomos, 2018) tanto sobre la dictadura de los Coroneles en Grecia (1967-1974) como sobre la dictadura de Pinochet en Chile, actualizándolos. En primer lugar se analizan los usos nocivos de la música y el sonido, destinados a desubjetivar a los detenidos: la música "por encargo", que hace un uso negativo de la energía de la música como música, y las prácticas de tortura sonora, que utilizan la música (o el sonido) como energía acústica. A continuación, se examinan las funciones positivas que desempeña la música durante su desarrollo "libre" por parte de los presos, funciones en las que la música puede consolar, ayudar a crear comunidad y resistencia, entretener, etc. -
[hal-04288106] Timbre and Sound
15 novembre 2023, par ano.nymous@ccsd.cnrs.fr.invalid (Makis Solomos), Makis SolomosTimbre is one of the elements that make up the history of musical modernity, a history that leads from music to sound. Other elements are equally important: noise (with which timbre forms a kind of dialectic); listening (thinking in terms of timbre or sound implies a paradigmatic shift in listening); the idea of composing (composing sound or timbre, i.e. not taking them to be natural categories); the sensation of immersion and space (which emphasises the materiality of sound). The notion of timbre was very important at a central moment in this history, in the 1970s and 80s (particularly with spectral music). One might have thought that, thereafter, it would have disappeared, leaving the concepts of sound, noise or space to take precedence. This was not the case. Not only does it continue to be used to this day in studies of perception; it is also now used in other fields such as ethnomusicology. How can this resilience of the notion of timbre be explained? I will hypothesise here that the term has retained its relevance because, while introducing to the new materialism that characterises the emergence of a culture centred on sound, it allows us to retain the strength of the hermeneutic tradition of music.