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Contemporary Compositional Techniques and Openmusic Bob Gilmore & Rozalie Hirs

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Contemporary Compositional Techniques and Openmusic Bob Gilmore & Rozalie Hirs 776_CONTEMPORARY_2009_dos21mm.qxd:Collec776_CONTEMPORARY_2009_dos21mm.qxd:Collec776_CONTEMPORARY_2009_dos21mm.qxd:Collec musique musique sciences musiquesciences sciences23/10/09 23/10/09 23/10/09 12:36 12:36 Page12:36 Page 1 Page 1 1 SCIENCES OF MUSIC CONTEMPORARYCONTEMPORARYCONTEMPORARY 7\ISPJH[PVU!+LJLTILY COMPOSiTiONALCOMPOSiTiONALCOMPOSiTiONAL TECHNiQUESTECHNiQUESTECHNiQUES AND AND AND OPENMUSiCOPENMUSiCOPENMUSiC .9 +($(12 .9 .!(+,.1$ .9 +($(12 .9 +($(12 .9 .!(+,.1$ .!(+,.1$ THE OMTHE BOOKTHE OM OMBOOKSERiES BOOK SERiES SERiES MUSMUS iMUS QUE i QUE i / QUE SC / SC /i SCENCE i ENCE i ENCE S S S #(3.12#(3.12#(3.12 iNCLUDiNGiNCLUDiNGiNCLUDiNG AN iNTERViEW AN ANiNTERViEW iNTERViEW Collection «Musique/Sciences» WiTH WiTHTRiSTANWiTH TRiSTAN MURAiLTRiSTAN MURAiL MURAiL %*(,%*(, -- --%*(, *( *(-- )*%+( )*%+(*( )*%+( #/&0# #/&0# #/&0# () () () .9 +($(12.9.9 +($(12 +($(12 .*)/+)*.*)/+)* % ( .*)/+)*% ( )*%)% )*%)% % ( +#1%# #(% )*%)% +#1%# #(% +#1%# #(% & (%1%0&##&& & (%1%0&##&& & (%1%0&##&& #$&( % #$&( % #$&( % # # # .!(+,.1$.!(+,.1$.!(+,.1$ directed by J.M Bardez and M. Andreatta +* +*((0(+$%%+(,2&0# ((0(+$%%+(,2&0# +* ((0(+$%%+(,2&0# () (%)*&##))#10 () (%)*&##))#10 () (%)*&##))#10 "$ "$ "$ %(0! %(0! %(0! #(3.12 #(3.12#(3.12 - - )" )" - )" CONTEMPORARYCONTEMPORARYCONTEMPORARY COMPOSiTiONAL COMPOSiTiONAL COMPOSiTiONAL TECHNiQUES TECHNiQUES TECHNiQUES AND AND OPENMUSiC AND OPENMUSiC OPENMUSiC '$%(123/'$%(123/ 13.%3'(2!..*".-3 13.%3'(2!..*".-3'$%(123/ 13.%3'(2!..*".-3 (-2$22 (-2$22 82.-,42(" 82.-,42(" (-2$22 +6.1*2.%+82.-,42(" +6.1*2.%+ +6.1*2.%+ 4#$(5($1 4#$(5($1 4#$(5($1LonelyLonely child,Lonely child, child, :1 :11#1(2$8 1#1(2$8Quatre:1Quatre chants1#1(2$8 chants pourQuatre pour franchir chants franchir le pour seuil, le franchir seuil, le seuil, -#1(23 -#1(23 -41 -#1(23 -41 (+ -41Le (+ Lac,Le (+ !8.!Lac,Le Lac, !8.! !8.! ,UNSPZOIVVR0U[LY]PL^I`;YPZ[HU4\YHPSPUJS\KLK(+,.1$$(+,.1$$ -4"$15: -4"$15:(+,.1$$ -#.9 -#.9-4"$15: +($(12'$ +($(12'$ -#.9 43'.12/1.5(#$#$3 +($(12'$ 43'.12/1.5(#$#$3 43'.12/1.5(#$#$3 (+$# (+$#- +82$2.%3'$2$6.1*2%."42(-& - (+$# +82$2.%3'$2$6.1*2%."42(-& - +82$2.%3'$2$6.1*2%."42(-& .-%1$04$-"8!.-%1$04$-"8! 2$#3$"'-(04$2.-%1$04$-"8! 2$#3$"'-(04$2 -#".,/.2(3(.-2$#3$"'-(04$2 -#".,/.2(3(.- -#".,/.2(3(.- +/1."$22$2$,/+.8$#!83'$".,/.2$12 +/1."$22$2$,/+.8$#!83'$".,/.2$12 +/1."$22$2$,/+.8$#!83'$".,/.2$12 MUSMUS i QUEMUS i /QUE i SC QUE i / ENCE SC / SC i SENCE i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omponistenpracticum +Componistenpracticum --4 +Componistenpracticum6'("'/6'("'/ (123'$.186'("'/ (123'$.18 (123'$.18-#/1 -#/1 "3("$(- -#/1 "3("$(- "3("$(-6 8-.36 68-.3 8-.3 %.4-#%.4-# -86'$1$$+2$(-3'$6.1+#'$($46-2$,!+$ -86'$1$$+2$(-3'$6.1+#'$($46-2$,!+$%.4-# -86'$1$$+2$(-3'$6.1+#'$($46-2$,!+$ -#".-#4"3.14" -#".-#4"3.14" -#".-#4"3.14" 2(21$'$ 2(21$'$ 2(21$'$12$# 12$# -#/$1%.1,$# 12$# -#/$1%.1,$# -#/$1%.1,$# -$6/($"$261(33$-!8-$6/($"$261(33$-!8-$6/($"$261(33$-!8 -(-3$1- -(-3$1- 3(.- 3(.-+&1.4/.%".,/.2(3(.-234#$-32%1.,3'$.-2$15 -(-3$1- +&1.4/.%".,/.2(3(.-234#$-32%1.,3'$.-2$15 3(.- +&1.4/.%".,/.2(3(.-234#$-32%1.,3'$.-2$15 3.1(4,5 3.1(4,5 3.1(4,5 - - - ,23$1#,23$1# , -#, 3'$-#,23$1# .83'$ .8+ , .-2$15 +-# .-2$15 3'$ 3.(1$ .8 3.(1$+ (- .-2$15 3'$ (- $3'$1+3'$ 3.(1$ $3'$1+ (- -#2 3'$ $3'$1+-#2 - 341- - -#2 341- 3'$ - 234#$-323'$ 341- 234#$-32 3'$ #."4,$-3$#234#$-32 #."4,$-3$# #."4,$-3$# 3'$(1 3'$(1 3'$(1 "1$ 3(5$/1."$22(-"1$ 3(5$/1."$22(-"1$ 3'$2$5$-$22 3(5$/1."$22(- 3'$2$5$-$22 82(-"+4#$#(- 3'$2$5$-$22 82(-"+4#$#(- 82(-"+4#$#(- 3'(25.+4,$-$73$-2(5$$22 3'(25.+4,$-$73$-2(5$$22 3'(25.+4,$-$73$-2(5$$22 8.-1(23 8.-1(23 8.-1(23 -41 -41 -41(+=2 (+=2 (+=2 TECHNiQUES AND OPENMUSiC TECHNiQUES AND OPENMUSiC TECHNiQUES AND OPENMUSiC ".,/.2(3(.-".,/.2(3(.- +(#$ +(#$2".,/.2(3(.- -#%1$04$-"8! 2 -#%1$04$-"8! +(#$ 2 2$#3$"'-(04$2.1(&(--#%1$04$-"8! 2$#3$"'-(04$2.1(&(- 2$#3$"'-(04$2.1(&(- 3$#(-3'$+$"341$2$1($2&(5$-!8.9 3$#(-3'$+$"341$2$1($2&(5$-!8.9 3$#(-3'$+$"341$2$1($2&(5$-!8.9 +($(12 +($(12 +($(12 CONTEMPORARY COMPOSiTiONAL 3/1.5(#$23'$,.23#$33/1.5(#$23'$,.23#$33/1.5(#$23'$,.23#$3 (+$##(2"422(.-.%41 (+$##(2"422(.-.%41 (+$##(2"422(.-.%41 (+=26.1* (+=26.1* 5 (+(+=26.1* 5!+$(--&+(2'3.# (+ !+$(--&+(2'3.# 5 (+ !+$(--&+(2'3.# 8 8 8 CONTEMPORARY COMPOSiTiONAL CONTEMPORARY COMPOSiTiONAL '$'$ $22 82 $22 2/82 - 2/ '$- !1. $22 !1.# 82 2"./$ # 2/2"./$ - .% !1.".,/.2(3(.- .% # ".,/.2(3(.- 2"./$ .% + ".,/.2(3(.- (#$ + 2 (#$ (-5.+5(-& 2 (-5.+5(-&+ (#$ 2 ,.-&23 (-5.+5(-& ,.-&23 .3'$12 ,.-&23 .3'$12 %1$04$-"8! .3'$12 %1$04$-"8! %1$04$-"8! 2$# 2$# 2$# 0:)5 0::5 3$"'-(04$23$"'-(04$2 ".423(",.#$+(-&2$33'$.18 ".423(",.#$+(-&2$33'$.183$"'-(04$2 ".423(",.#$+(-&2$33'$.18 -#/$1,43 -#/$1,43 3(.- -#/$1,43 3(.-+3$"'-(04$2 +3$"'-(04$2 3(.- +3$"'-(04$2 France : 28.00 € TTC With theWith participation the participation of Ircam,With of Ircam,the Amsterdam participation Amsterdam School of Ircam, School of theAmsterdam of Arts the (Research Arts School (Research of Group the Arts Group Art (Research Practice Art Practice Group Art Practice and Development),and Development), Nieuw Nieuw andEnsemble, Development), Ensemble, Conservatorium Conservatorium Nieuw Ensemble, van Amsterdam, Conservatoriumvan Amsterdam, CNRS, van CNRS, Amsterdam,and SFAM. and SFAM. CNRS, and SFAM. DLT1632DLT1632DLT1632 ( .'+#( .'+# ( 23 .'+# 23 23 2-7521-0054-X 2-7521-0054-X 2-7521-0054-X 9 782752 100801 Réf. DLT1824 ISBN 978-2-7521-0080-1 2'3*#2# 2'3*#2#( 2'3*#2#*( $)*(( *( 2008$)*(( *( $)*(20082008 9 782752 100801 ISSN 1951-5812 Contemporary compositional techniques and Openmusic Bob Gilmore & Rozalie Hirs ABOUT THE BOOK : ;OLMPYZ[WHY[VM[OPZIVVRJVU[HPUZHUPU[LY]PL^^P[O;PYZ[HU4\YHPSHUK[OYLLLZZH`ZVUT\ZPJHS^VYRZVM*SH\KL=P]PLY 3VULS`JOPSK .tYHYK.YPZL`8\H[YLJOHU[ZWV\YMYHUJOPYSLZL\PS ¶ HUK;YPZ[HU4\YHPS3L3HJ I`)VI.PSTVYL1LHU3\J/LY]tHUK9VaHSPL/PYZ;OLH\[OVYZWYV]PKLKL[HPSLKHUHS`ZLZVM[OLZL^VYRZMVJ\ZPUNVU [OLMYLX\LUJ`IHZLK[LJOUPX\LZHUKJVTWVZP[PVUHSWYVJLZZLZLTWSV`LKI`[OLJVTWVZLYZ ;OL ZLJVUK WHY[ VM [OL IVVR VYPNPUH[LK PU º6WLU4\ZPJ HUK *VU[LTWVYHY` *VTWVZP[PVUHS ;LJOUPX\LZ» H ZLYPLZ VM SLJ[\YLZ HUK ^VYRZOVWZ NP]LU I` 9VaHSPL /PYZ HUK N\LZ[ WYVMLZZVYZ ;YPZ[HU 4\YHPS 4PROHPS 4HS[ )LUQHTPU ;OPNWLU4HYJV:[YVWWHHUK5PLSZ)VNHHYKZH[[OL*VUZLY]H[VYP\T]HU(TZ[LYKHTK\YPUN[OLHJHKLTPJ `LHY;OL ZLYPLZ ^HZ PUP[PH[LK I` [OL 5PL\^ ,UZLTISL HUK P[Z HY[PZ[PJ KPYLJ[VY 1VwS )VUZ HZ WHY[ VM [OL HUU\HS *VTWVUPZ[LUWYHJ[PJ\T ^OPJO WHPYZ [OLVY` HUK WYHJ[PJL PU H ^H` UV[ MV\UK HU`^OLYL LSZL PU [OL ^VYSK ;OL 5PL\^ ,UZLTISL HUK JVUK\J[VY 3\JHZ=PZ YLOLHYZLK HUK WLYMVYTLK UL^ WPLJLZ ^YP[[LU I` HU PU[LYUH[PVUHS NYV\W VMJVTWVZP[PVUZ[\KLU[ZMYVT[OL*VUZLY]H[VYP\T]HU(TZ[LYKHTHUK[OL9V`HS*VUZLY]H[VPYLPU[OL5L[OLYSHUKZ 0U [\YU [OL Z[\KLU[Z KVJ\TLU[LK [OLPY JYLH[P]L WYVJLZZ PU [OL ZL]LU LZZH`Z PUJS\KLK PU [OPZ ]VS\TL(U L_[LUZP]L LZZH` VU ;YPZ[HU 4\YHPS»Z JVTWVZP[PVUHS PKLHZ HUK MYLX\LUJ`IHZLK [LJOUPX\LZ VYPNPUH[LK PU [OL SLJ[\YL ZLYPLZ NP]LU I` 9VaHSPL /PYZ 0[ WYV]PKLZ [OL TVZ[ KL[HPSLK KPZJ\ZZPVU VM 4\YHPS»Z ^VYR H]HPSHISL PU ,UNSPZO [VKH` ABOUT THE AUTORS : Bob Gilmore is a musicologist and keyboard player born in Northern Ireland and presently living in Amsterdam. He is the DXWKRURIPDQ\ERRNVDQGDUWLFOHVRQQHZPXVLFVSHFLÀFDOO\RQPLFURWRQDODQGVSHFWUDOUHSHUWRULHVLQFOXGLQJWKHDZDUG winning Harry Partch: a biography (Yale, 1998), a study of the American composer, theorist and instrument builder. He edited Maximum Clarity: selected writings on music by the American microtonalist Ben Johnston (University of Illinois 3UHVV +HLVSUHVHQWO\FRPSOHWLQJDELRJUDSK\RIWKH)UHQFK&DQDGLDQFRPSRVHU&ODXGH9LYLHU+HWHDFKHVDW%UXQHO 8QLYHUVLW\LQ/RQGRQDQGLVWKHGLUHFWRURI7ULR6FRUGDWXUDDQ$PVWHUGDPEDVHGHQVHPEOHVSHFLDOLVLQJLQPLFURWRQDOPXVLF Rozalie Hirs is a composer and poet. After completing her chemical engineering degree at Twente University (MSc, 1990) she studied composition with Louis Andriessen at the Royal Conservatoire in the Netherlands. As a Fulbright fellow she pursued further composition studies with Tristan Murail at Columbia University (DMA, 2007).
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