Documents found
-
1451.
-
1452.
-
1453.More information
Following the Second World War Francis Poulenc took a keen interest in the music of the French avant-garde and was compelled to react in both his music and his writings to the aesthetic and technical experiments of the younger generation. Although the music of composers like Olivier Messiaen and Pierre Boulez did not elicit a profound change on the substance of Poulenc's compositional language, he did grow to the realization that the style he had embraced during the interwar period—one generally described as light-hearted and ironic—had become largely out of sync with new critical trends and concerns. Poulenc's self-conscious aim to assert a personal form of “seriousness” in his works—one constructed with recourse to religiosity, stylistic homogeneity and the ostensibly concomitant values of sincerity and authenticity—formed the backbone of a new tone and persona that emerged following the war and which inflected his entire body of work up to his death in 1963. Poulenc's desire to reinvent himself during this period forces us to re-examine his works, writings, and elements of his biography for the way in which they were constructed as a means of facilitating the discursive emergence of this new, more “serious,” persona.
-
1456.More information
The mytheme of Chaos is studied through the vocal works of Xenakis. It is representative of the history, the concerns, and the sensibility of the “contemporary” (of the end of the twentieth century): although inspired by Greek antiquity, the treatment of the text oscillates between the poles of pure abstraction and significant expression. Furious, stormy, the Xenakian Chaos can result from trauma, madness, and war, to indicate the state of what has no shape, the abyss, the deluge, the genesis, the perdition, to be a transition, process, to represent the origin or the end of the world. So the composer wanted “to handle abysses” by the soloist or the choir vocality, to find “all the cosmic wealth, but chaotically.” This article opens a diptych; the second section is entitled “The Big Neolithic Mother in Serment-Orkos” (published by the Iannis Xenakis Center, University of Rouen). The postulate is that chaos theory and complexity theory belong themselves to an anthropology of the imagination. This article joins research on the transdiction (notion explained on the site of the CEREdI, University of Rouen): sound and body in the musico-literary transfers.
-
1457.More information
This paper question “sense” in music on the basis of the old concept of “parole” from Saussure's linguistics, expanding it to the field of “participation” – a field for which there is currently much interest. This theoretical backdrop will be embodied in a very specific “situation”, namely the development of artist-audience-stage interactive devices. Since the beginning of XXIe century, such devices have become a locus of a collective experience of art, including music. Following the works of philosopher Zask Joëlle (2011), we propose a semiotic protocol that allows us to analyze live concerts from the perspective of “parole”, namely an individual appropriation of “langue”, its individuation, its creation or re-creation. This leads to an exciting opportunity to reconsider our relationship to democracy through participatory concerts as potential agents for learning (or relearning) about our personnal engagement (or re-engagement) in the social and political sphere through art.
Keywords: Sémiotique, sens, démocratie, concerts participatifs, démocratie participative, parole, individuation, Semiotics, Meaning, Democracy, Participative Concerts, Participative Democracy, parole, Individuation
-
1458.
-
1460.More information
A transcript of an interview given by Henri Pousseur to Michel Gonneville, which inaugurated the Visages d'Henri Pousseur (Portraits of Henri Pousseur) event. The interview is mainly devoted to two key moments in Pousseur's career: his place in the avant-garde world of the 1950s, and his "refusal to refuse" at the outset of the 1960s.