Contemporary Compositional Techniques and Openmusic Bob Gilmore & Rozalie Hirs

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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\LUJÌHZLK[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 ÔPJO WHPYZ [OLVY` HUK WYHJ[PJL PU H ^H` UV[ MV\UK HU`ÔLYL 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\LUJÌHZLK [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). Her recent FRPSRVLWLRQ5RVHKHUWH IRUODUJHRUFKHVWUDDQGHOHFWURDFRXVWLFVRXQGVZDVSUHPLHUHGE\WKH1HWKHUODQGV5DGLR 3KLOKDUPRQLF2UFKHVWUDDQGVHOHFWHGIRUWKH7RRQ]HWWHUVSUL]HLQ+HUHOHFWURDFRXVWLFFRPSRVLWLRQ3XOVDUV commissioned by the Dutch Radio, received the designation Recommended Work at the IREM in Lisbon in 2007. TO DISCOVER ...

386_COLLEC4_FORMALISME2.qxd 23/05/06 19:42 Page 1

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PARTiTiONS MUSiCALES %! #%! # $# $# " " $#! $#! "("# "("# ! ! # # #'# #'# $" $" !# !# %! %! &$ %!$ &! %)&"$ '&&! % )""$ & & '%&!$+%$$$%!$ !% !(2!(%) !' '&*%)5 $)( &"&/)"#!$&2"'#"$$&##"$2"#!3" Cet ouvrage dans lequel se trouvent rassemblés trente-cinq ans de "*)% %'%'!#%&!''"!"&'%' '"%' &#'& ' #%")&" #"&%&#"!'& $!!$&*5$!!$&*5 *)$*'! *)$*'! 66 &*'2*#0!7 '"((%2!()($#'"2((* ) &*'2*#0!7 '"((%2!()($#'"2((* ) ! " ! " ! ! "! "! #! $ $# #! $ $# # # !# !# #!" #!" ! ! ! ! "# "# "# "# !%! '%!&% %)%!$&% &%!!&$&+"%! '%! ! !,'(2&)+%)5'( !)'%) ((!(#"!$ %)&&" "!& 5"(2&4( !)'# publications retrace la démarche du compositeur et ingénieur André Riotte à la recherche de fonde- ")*& ((#)!!"#)((#)!!"#) 2)2*#$($#'"'&*!72+$&*'($#()$'#(&*!!*!7$*+')*' 2)2*#$($#'"'&*!72+$&*'($#()$'#(&*!!*!7$*+')*' # " $"# # " $"# !(# !! "#!$#$!" !(# !! "#!$#$!" " $"(#"" ! " " $"(#"" ! " #)# #)# (%&&! %%!"$!( ) &$"$&&! % &% !!$%&&% %!$"% #%) %)'#)'"("%)((2!&"'5((&$')2* #$$!"( 5#)( '!(2! ments raisonnés de l’écriture musicale. Il évoque aussi le chemin parcouru depuis la fin des années "" &*'"'' (& !" #('%" !& !&!'!"%#%"&&"! "!&( 7*#2)7*#2) (*'!()*)$#)*!!7*#%%'$#!-)&*$#) (*'!()*)$#)*!!7*#%%'$#!-)&*$#) !(%%!)$#($"%$()$##!!( !(%%!)$#($"%$()$##!!( " !%" " !%" "!"+ "!"+ !# " %! $" !# " %! $" "# ""$""$" "# ""$""$" # # ! ! ! & !(&'$%!&%!!$$ &$"$% &&! %! !&% $% ! $ (%)'#"( 5$$ (#"/ !)'# #2$'' #!$2("(&(#"" '!)'# #)' 1980 en compagnie de Marcel Mesnage, informaticien et mélomane devenu musicologue. ''"! &* &&'(!'&!!&'%('"%& !' (& ) ' "!&''('&%%!"%)%"(& #(&*!('")$#(")2")&*(($#)#(&*!('")$#(")2")&*(($#) !$#74)'2%*(2( !$#74)'2%*(2( 2$'#(!"*(&* 2$'#(!"*(&* "*( "*( ! !!"## !"## $""#( $""#( $" "#!#" $" "#!#" !#$" " $(""#$" !#$" " $(""#$" "# "# %$%$ ""&!% '$ !&% "" *(%&! "&%%&! !&&)(&! #"(+()#)&'')2&( )#"(&& !'"& 5"(&(#"!)'%)!(2!(%) Reflets de l’attirance de la musique contemporaine pour les idées scientifiques, ces textes montrent les ')'& " #"&'"! ! ,&&! (&" ",!!% )%' && ' , &" "*'%% $!$*($!$*( #!-()( #!-()( $"%$()*'() $"%$()*'() ")2")#( ")2")#( +##) +##) )')$#(*!)*'!!() )')$#(*!)*'!!() 2$'% 2$'% $!)% !$$ % )'")#!" !)'# # #+'( 5)("( $ )'!$#&("( %) $)''" étapes au cours desquelles les auteurs ont élaboré leur méthode de reconstitution des partitions musi- '"&&&&'% )!")%"(&" #('%&!'"#& "!&'%!' '!$(& (!'"! &*(%'$()'3(2!$#2(&*(%'$()'3(2!$#2( (($#) (($#) $#'$#)2(!(*#(*,*)'(0!7$($#7*#'#$#)'&* $#'$#)2(!(*#(*,*)'(0!7$($#7*#'#$#)'&* " #"&! '" #"&! ' " " $#! $#! "# (" "# (" #! #! &"&$%(!&&!&' & "$ &% &$$!$ ,&! !! & "!$$+ $"'2!(2!(%)$)( $&!((&5"*'&'#)')"" "#)*)&("'$2"#!3"' cales au moyen de modèles formels. Il s’agit de descriptions symboliques abstraites dont les différents #%"% ! "'"%!'#%"% ! !)&( #%"% !'%"('%## '"!! %'"(2!"#)%'"(2!"#) %$('!&*()$#!%$')2 %$('!&*()$#!%$')2 (# *,) (# *,) !")(7*#$#%)$#"*($!$ !")(7*#$#%)$#"*($!$ !# $!"## !# $!"## "# "# ! """# ! """# " ! !#!$" " ! !#!$" &' % %&!$& "$ &%%%&'' $($!'%$ &%!' &! "&% #"!"()+ !)'%) éléments, équivalents des paramètres musicaux (hauteurs, durées, attaques, timbres, etc.), sont liés par (& & '"(%' !( %""( !'&"!" #('%## '"!&%) % &*)-%$"%*))$##!&*)-%$"%*))$##! $#) $#) ! ! "2'#'%'2(#)!7*#(,"%!(!(%!*("2'#'%'2(#)!7*#(,"%!(!(%!*( # $# # $# #!$# !" #!$# !" # # & & #! !"!%"!! !!!"&" #! !"!%"!! !!!"&" # ! $# # ! $# ! & '$&! % $ ! %& &' $!'"% &%& "&$ &$&! %"%&) des transformations mathématiques qui, chaque fois que c’est possible, restituent la partition elle-même. &'(&"!'&(' &(&'"!&#%&!'!'&""% (%% "'&*#)(*"'&*#)(*(3!(3! $#! $#! "# "# $!!# $!!# ""$" ""$" !# !# # # # # "" # "" # $" $" & % ! %$$&&!$!'"% &!"!!+ $#!"" $#!"" Une telle méthode représente une contribution originale à la compréhension théorique de la musique %!!)!('&!$'&%&' &% $%$)!$$% %+%& & '%!!+ du XXe siècle, sans s’interdire la description de musiques plus anciennes. Elle propose ainsi une forme Code prix : JE de cohérence historique globale absente de la plupart des tentatives de ce type. CODE PRIX : JE CODE PRIX : JE Avec la participation de l’Ircam et le soutien du CNRS et de la SFAM Réf. éditeur : DLT1173 Référence : DLT1171 &,$)&,$) ' -%*! ISBN' -%*! 978-2-7521-0030- 6 ( -'+# ISBN 978-2-7521-0028-3 Référence : DLT1170 DLT0856 ISBN 978-2-7521-0029-0 Prix public : 23 ! TTC ISBN : 2-7521-0026-4 0$3( 0$3( 0 0 & (&!'(&& (&!'(& /%1) /%1) !/! !/!' )' "()'er' )' "()' Dépôt légal 1 trimestre 2008 2'5* #2# *( $)*( "# "

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