Documents found
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1052.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relaxation of the pretence of total subjective control — Lachenmann calls it ‘a sort of desubjectification' — the work no longer represents a pre-conceived image, but enacts a form of creative opening-up to the outside.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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1058.More information
This paper presents exploratory research conducted jointly by the Institut de recherche en musique et arts de la scène de la Haute école spécialisée de Suisse occidentale and the Haute école de musique Genève-Neuchâtel. The goal of this study was to evaluate the self-assessment of teachers from the HEM (University of Music) of French-speaking Switzerland regarding their digital skills and to analyze their reported digital practices. The results highlight that teachers consider themselves competent in digital pedagogy and in the use and production of digital content. However, competence related to copyright and licensing seems less well mastered. The reported practices indicate that communication is greatly streamlined with digital tools and that the teachers surveyed favour the computer in their professional practices, to the detriment of other tools (tablet, smartphone).
Keywords: éducation musicale supérieure, littératie numérique, numérique, pédagogie musicale, techniques, digital, digital literacy, higher music education, music pedagogy, techniques
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1059.More information
Composers and their performers collaborate to the creation of works. These collaborations are multifarious and unique unto themselves. This article questions the traces left on Pascal Dusapin's vocal scores by his contact with singers Françoise Kubler and Georg Nigl. This analysis is tainted by the author's own personal experience of Dusapin's music. The composer's approach to vocal music originates in an experimental approach, first met through chamber music, and gradually opened up to opera, eventually reaching its uppermost form, that of a total artwork. This process is crystalized in Dusapin's relation to Kubler and Nigl. Dusapin responds to issues of expressivity and diction through the means of an immediate theatrical dimension, through the timbers of the voice and physical expression. The gesture imagined by the composer communicates affect. It is not only vocal, but it also embraces the unfolding of a singing body into space.
Keywords: voix, mouvement, expressivité, Pascal Dusapin, Georg Nigl, Françoise Kubler