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This essay traces the development of a musical sensibility in cinema through the writings and works of Edgard Varèse and Michel Fano. Varèse laid the foundation of a new paradigm in describing the transformations music undergoes in contact with images, and in embedding sound in the cinematographic process of recording/editing/diffusion. For Varèse, the notions of organized sound and sound score are tools allowing conceiving and working with filmic musicality. Then, in the 1960s, Fano, inspired by some of Varèse's ideas, experienced them by composing several sound scores, among which are some for movies by Alain Robbe-Grillet. In integrating all the film sounds (speech, noise, music) in a musical work, the composer produces a new way of listening, and a specific awareness of music in cinema. The sounds (and images) are divided into formants, and the composer connects them in order to create musical affects and signifiers. Notions of sound continuum, musical order, and formant enrich and add to the dynamic of the work of composition as conceived by Varèse. Ultimately, consideration of organized sound in cinema is based on the process of mutual construction of the sound sphere, the film compositional thought and aesthetic forms. The composer works on a continuous plane, which is the sound score, where materials and interactions are to be shaped and organized. The composer links sounds and builds a complex audiovisual network of formants. This continuous sound space, composed of tensions, consonances, dissonances, and energetic and semantic confrontations, modifies deeply our conception of music in film.
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To answer the question “at what semiotic level does mudic communicate?”, we distinguish three semiotic flows of musical narrativity. The first flow of narrativity is called “substance”, and corresponds to primary narrativity present in all music and in sound itself. The second flow of narrativity is called “frame” and corresponds to the way time is organized – problematized – in a musical piece, a style, an era. The third flow of narrativity is called “plot” and corresponds to the emplotment of a work of art. Having clarified the nature of this emplotment by using the concept of “narrative tension”, we then study its actualization by the listener, and more specifically the interaction between reader and text, by insisting on three factors that make it possible : intentionality, embodied simulation and forms of vitality.
Keywords: Narrativité musicale, narratologie, intrigue et tension narrative, interaction entre lecteur et texte, intentionnalité, embodied simulation, formes de vitalité, Musical Narrativity, Narratology, Intrigue and Narrative Tension, Interaction between the Reader and the Text, Intentionality, Embodied Simulation, Forms of Vitality
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In this article I raise the problem of the relationship between philosophy and literature basing it on the case-study of Boris Pasternak's writings, whose life and work enable us to envisage a new linkage between the two disciplines by mobilizing a paradoxically Hegelian scheme. Hegelian scheme because of its three movements : from his musical practice towards poetry via philosophy. But anti-Hegelian scheme, because the Hegelian triad is reversed : philosophy is the medium-term but still central in the movement towards the completion of the system by poetry.
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Anthony Gross and Hector Hoppin's La Joie de vivre is an early example of animated avant-garde cinema that transposes a modernist aesthetic into the musical cartoon formula of the 1930s. Its setting alternates the machinisme inspired by the Parisian working-class suburbs (factories, a power station, a railway) to a bucolic idyll. Though not overtly critical of industrialization, this dichotomy could be seen to represent an escapist pastoral. The original music composed by Tibor Harsányi plays a central role in the film's aesthetic and its analysis can offer a better understanding of the machine/nature duality from a “post-pastoral” perspective.
Keywords: modernisme musical, musique de film, animation, Anthony Gross, musical modernism, film music, animation, Anthony Gross
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A review of Empreintes Digitales' recorded productions of 2001; a productive year for Quebec artists, including new releases from Yves Daoust, Francis Dhomont, Gilles Gobeil, Robert Normandeau, a collection of electroacoustic works from the late Micheline Coulombe Saint-Marcoux, and Yves Beaupré's debut album.