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IVAN WYSCHNEGRADSKY ET LA MUSIQUE MICROTONALE Franck Jedrzejewski

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IVAN WYSCHNEGRADSKY ET LA MUSIQUE MICROTONALE Franck Jedrzejewski IVAN WYSCHNEGRADSKY ET LA MUSIQUE MICROTONALE Franck Jedrzejewski To cite this version: Franck Jedrzejewski. IVAN WYSCHNEGRADSKY ET LA MUSIQUE MICROTONALE. Musique, musicologie et arts de la scène. Université de Paris 1 Panthéon-Sorbonne, 2000. Français. tel- 02902282 HAL Id: tel-02902282 https://tel.archives-ouvertes.fr/tel-02902282 Submitted on 18 Jul 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITE PARIS I - PANTHEON-SORBONNE U.F.R. ARTS PLASTIQUES THESE pour obtenir le grade de Docteur de l’Université de PARIS I Discipline : Arts et sciences de l’art Présentée et soutenue publiquement par Franck JEDRZEJEWSKI le 27 juin 2000 IVAN WYSCHNEGRADSKY ET LA MUSIQUE MICROTONALE Directeur de thèse : M. Jean-Yves BOSSEUR Jury : M. Jean-Yves BOSSEUR Président M. Pierre-Albert CASTANET Rapporteur M. Jean-Paul OLIVE Rapporteur Remerciements Je tiens tout d’abord à remercier M. Jean-Yves Bosseur qui a accepté de diriger ce travail, ainsi que M. Pierre-Albert Castanet et M. Jean-Paul Olive, qui ont eu la gentillesse d’être membre du jury. J’exprime toute ma gratitude aux Directeurs et aux Personnels des Centres Internationaux de Musique Contemporaine qui tout au long de mes recherches sur les micro-intervalles, ont bien voulu mettre à ma disposition une importante documentation, et en particulier à M. Irja Apajalahti du Suomalaisen Musiikin Tiedotuskekus, Finlande, M. Matthew Greenall du British Music Information Centre, Angleterre, M. Tore Helseth du Norsk Musikkinformasjon, Norvège, Mr Bergljot Jonsdottir de l’Islenzk Tonverkamidstöd, Islande, Mme Corinne Mon- ceau du Centre de Documentation de Musique Contemporaine, France, M. Jan Olof Ruden du Svensk Musik, Suède, M. Wilhelm Schlter de l’Internationales Musikinstitt Darmstadt, Allemagne, Mmes Anna Van Steenbergen et Diana von Volborth du Centre Belge de Documentation Musicale, CeBeDeM, Belgique, et à l’équipe de Donemus, Pays-Bas. Mes remerciements vont plus également à l’ensemble des membres de l’Association Ivan Wyschnegradsky, et, plus particulièrement à M. Dimitri Vicheney, fils du compositeur, qui a bien voulu mettre à ma disposition l’ensemble des archives de son père, ainsi que pour l’amitié et la sympathie qu’il m’a toujours témoignées. 2 Table des matières Introduction 8 I La vie de Wyschnegradsky 14 1 Les années russes 16 1.1 Les premières années . 17 1.2 Les années de formation . 18 1.3 Deux expériences mystiques . 21 2 Les années expérimentales 24 2.1 Premières expériences microtonales . 24 2.2 Recherches en Allemagne . 25 2.3 Premières créations . 26 3 Les années de création 33 3.1 Premiers concerts parisiens . 33 3.2 Les années de guerre . 34 3.3 Les années de maturité . 40 II Les textes théoriques et philosophiques 48 4 La Journée de l’existence 50 4.1 Première expérience mystique . 51 3 4.2 Deuxième expérience mystique . 53 4.3 Les jours et les nuits de Brahma . 54 4.4 L’évolution de la conscience musicale . 54 4.5 Les subdivisions du moi . 55 4.6 Le Tertium organum . 57 4.7 La coïncidence des opposés . 58 4.7.1 Nicolas de Cues et la coincidentia oppositorum . 58 4.7.2 Le cercle et les motifs cycliques . 60 4.8 L’Etat…nal parfait et la pensée binomique . 61 4.9 Synthèse de l’idéalisme et du matérialisme . 62 5 La pansonorité 64 5.1 L’intuition du pansonore . 65 5.1.1 Le concept de pansonorité . 65 5.1.2 Continuum et vacuum . 66 5.1.3 La pesanteur sonore . 67 5.2 Les propriétés du milieu pansonore . 68 5.2.1 Les trois propriétés du milieu pansonore . 68 5.2.2 La densité du milieu pansonore . 69 5.2.3 Le cosmos pansonore . 69 5.3 La conception historique pansonore . 70 5.3.1 Le principe naturel . 71 5.3.2 Le principe spatial ou pansonore . 74 5.3.3 La ‡èche pansonore . 75 5.4 L’art musical pansonore . 76 5.4.1 La musique, expression du pansonore . 77 5.4.2 La musique, langage supra-rationnel . 77 5.4.3 L’apollinien et le dyonisiaque . 79 6 Le continuum sonore 82 6.1 Le continu et le discontinu . 82 4 6.2 L’analytique des continuums . 84 6.3 La classi…cation des continuums . 86 6.4 L’équilibrepansonore et le pythagorisme . 87 6.5 La coupole du temple . 89 III Le langage musical 92 7 Les premières oeuvres 94 7.1 La théorie des quartes superposées . 94 7.2 L’introduction des sons nouveaux . 97 7.3 Les cycles d’intervalles . 100 7.4 Les ornements microtonaux . 101 7.5 Modulations aux tons nouveaux . 102 7.6 Les échelles arti…cielles . 103 7.7 Ecritures polytonale et atonale . 106 8 Problèmes de l’ultrachromatisme 108 8.1 Genèse des micro-intervalles . 108 8.1.1 Russolo et le futurisme italien . 108 8.1.2 Le futurisme russe . 109 8.1.3 Koulbine et la musique libre . 109 8.1.4 Premières expériences microtonales . 111 8.1.5 Aloïs Hába et l’écoletchèque . 115 8.1.6 Julian Carrillo et le treizième son . 119 8.2 Notation des micro-intervalles . 122 8.2.1 Principes de la notation . 122 8.2.2 Variété des notations . 124 8.2.3 Les notations colorées . 128 8.2.4 Classi…cation des notations . 130 8.3 Facture instrumentale . 134 8.3.1 Evolution de la lutherie . 134 5 8.3.2 Les instruments de Wyschnegradsky . 137 8.3.3 Le problème des pianos complémentaires . 139 8.3.4 L’instrument mécanique universel . 142 9 Le chromatisme diatonisé 143 9.1 Principes du chromatisme diatonisé . 143 9.2 Foncteurs harmoniques . 145 9.3 Les vingt-quatre préludes . 149 10 Les espaces non-octaviants 162 10.1 Théorie générale . 162 10.2 Espaces non-octaviants de régime 11 . 170 10.3 Espaces non-octaviants de régime 13 . 179 10.4 Densités supérieures et autres régimes . 188 10.5 Le système tempéré à 31 degrés . 193 10.5.1 Principe du système à 31 degrés . 193 10.5.2 L’orgue de Fokker . 194 10.5.3 L’Etude ultrachromatique . 195 10.6 L’écriture des continuums et les polyphonies spatiales . 197 11 L’ultrachromatisme rythmique 200 11.1 Rythme et temps . 201 11.2 Le continuum rythmique . 204 11.3 Fractions rythmiques élémentaires . 206 11.4 Coe¢ cients et modulations rythmiques . 210 11.5 Suites modulantes . 212 12 Les micro-intervalles, aujourd’hui 217 12.1 Marqueurs microtonaux . 217 12.1.1 Le folklorisme . 217 12.1.2 Le problème de la segmentation . 219 12.1.3 Typologies des micro-intervalles . 224 6 12.1.4 La polytempéramentation . 227 12.1.5 Actants microtonaux . 229 12.2 Réseaux plurichromatiques . 229 12.2.1 Les champs microtonaux . 230 12.2.2 Sérialisme et micro-intervalles . 233 12.2.3 Les genres d’Euler-Fokker . 238 12.2.4 L’intonation juste . ..
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