Documents found
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1044.More information
Keywords: concert, Exposition universelle, France, vie musicale, siècle, concert, World Exhibition, France, musical life, 19th century
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1045.More information
A close reading of Boulez's courses at the Collège de France, collected in Jalons (pour une décennie), in which, unlike his earlier writings, the concept of listening is given a central place. Boulez introduces new terminology for characterizing the manner in which music, and specifically his music, is perceived. After a survey of some of the most important of these new terms, the author introduces a distinction between "Structural" listening and "Resonance-listening", which plays a crucial role in Boulez's compositions.
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1046.More information
Professor of composition at Université de Montréal's Faculty of Music since 2001, Denis Gougeon has taught many composers who now enjoy successful careers. On November 8, 2013 at the Chapelle historique du Bon-Pasteur (Montreal), seven of his former students paid homage with premieres of miniatures inspired by his cycle Six thèmes solaires, particularly its opening piece, Piano-Soleil. The seven tributes were written by Ashot Ariyan, Simon Bertrand, André Cayer, Mathieu Lavoie, Analía Llugdar, Pierre Michaud, and Marianne Trudel. They were performed, following the ten pieces that comprise Six thèmes solaires, by the Arkea Ensemble under the direction of Dina Gilbert. This article presents the accounts of these seven composers on their various works and helps us understand Gougeon's teaching methods, in particular his emphasis on the rigors of the craft and the need for versatility. Gougeon spoke briefly after the concert, and a transcription of his speech serves as a conclusion to the article.
Keywords: composition, Denis Gougeon, enseignement, hommages, Six thèmes solaires, composition, Denis Gougeon, teaching, homages, Six thèmes solaires
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1048.More information
2005, the year of Lachenmann's seventieth birthday, saw the beginning of an explosion of international interest in the composer's work. This interview took place on 19 January 2006 in Paris, during the concert series ‘Lachenmann/Mozart' at the Cité de la Musique. During this revealing interview, Lachenmann discusses his conception of musical form as the constant transformation of sound categories which transcend traditional instrumental divisions. The composer also reveals the continued relevance to his work of the notion of ‘sound structure', set out formally for the first time in his 1966 essay, ‘Klangtypen der Neuen Musik'. Taking the form of a sound typology, ‘Klangtypen' begins with the purely physical perception of sounds and culminates with the notion of ‘sound structure' (Strukturklang). Crucially, in this latter concept, music is seen as dialectical object of perception. In other words, in a Strukturklang sounds are experienced not only in themselves but also in terms of their relation to their wider context and the various relationships which they form. Structural listening for Lachenmann, then, involves on one level a mode of perception which is not based solely on understanding, or recognition of the familiar, but on a deeper form of listening, which could be understood as a form of intuition without fixed co-ordinates. ‘The idea of structure', says Lachenmann, ‘is not an intellectual thing but a touching thing'. Linked to a kind of renunciation or relaxation of the pretence of total subjective control — Lachenmann calls it ‘a sort of desubjectification' — the work no longer represents a pre-conceived image, but enacts a form of creative opening-up to the outside. Yet crucially Lachenmann's position isn't one of total relativism. The dialectic between the familiar and the unfamiliar is all important: the relationships embedded in a sound's past, for example, are an essential part of the listening experience. Through a process of transforming or recontextualising what we already know — by ‘breaking the magic' of the familiar — Lachenmann prompts us to hear sounds anew. In a broader sense, his work looks backwards at tradition, but only in order to mobilise that tradition, to inject it with a new immediacy. The music is something not only to be understood but also to be experienced — it is a musical situation undergoing constant transformation.
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1050.