{"id":112,"date":"2012-02-22T17:24:28","date_gmt":"2012-02-22T17:24:28","guid":{"rendered":"http:\/\/musiquemixte.sfam.org\/?page_id=112"},"modified":"2012-03-01T10:49:38","modified_gmt":"2012-03-01T10:49:38","slug":"writings-forms-and-model-in-mixed-spectral-music-jour-contre-jour-by-gerard-grisey","status":"publish","type":"page","link":"http:\/\/musiquemixte.sfam.org\/?page_id=112","title":{"rendered":"Writings forms and model in mixed spectral music: Jour, Contre-jour by G\u00e9rard Grisey"},"content":{"rendered":"

This paper analyses the implications of mixed music in a case study: Jour, contre-jour <\/em>(1978), for electric organ, thirteen instruments and four-track magnetic tape by Gerard Grisey.<\/p>\n

In Jour, Contre-jour<\/em> there are two musical writing forms (electronic and \u201cnotated\u201d), which produce a single work correlating incarnations and re-mediations that are intrinsically different, possibly also derived from the same model. The question is: given an ideal form \u2013 a spectrum -, how was it created and how does its materialization sound? Or: is it possible and legitimate to reach back to the compositional model starting from the orchestral score and from the materialising on the sound track on tape?<\/p>\n

The published analysis of Jour, Contre-jour<\/em> has so far concentrated on defining models starting from the notation on the score or from actual projects, ignoring, however, the specificity of electronic writing and the ensuing problems.<\/p>\n

This lecture focuses on the duplicity of writing modes and analyzes the work both on the synchronic level of model derivation and on the diachronic level of its establishment process. Being the product of two different writing forms, Jour, Contre-jour<\/em> first of all requires, both for the musical score and for the audio documents, a source criticism to confirm its authenticity and consistency using tools which are appropriate for the means; this investigation is now regarded as preliminary for any analytical study, also in the case of audio materials. The analysis will then highlight the formal aspects of the work, including the electronic section on tape whose relations to the orchestral score are problematic. Various sources will be examined: 4-track tapes deposited by Grisey with Casa Ricordi; Casa Ricordi rented materials; versions on 8 and 4 tracks from the Elektronisches Studio at the Technische Universit\u00e4t in Berlin; sketches and scores preserved at the Paul Sacher Foundation in Basel.<\/p>\n

Luca Cossettini<\/strong><\/h2>\n

Luca Cossettini is researcher in Musicologia e Storia della Musica at the Department of Human Sciences of the University of Udine. He teaches \u201cMusical philology\u201d and \u201cRecorded Music History\u201d at the DAMS-Music study program in Gorizia and he is part of the committee of the international Ph.D. in Audiovisual Studies: Cinema, Music and Communication<\/em> at the University of Udine. In 2011 he was guest professor at the University of Paris EST Marne La-Vall\u00e9e for the Master Cin\u00e9ma, audiovisuel, archives et Musique\u00a0: Parcours Pr\u00e9servation et restauration des archives sonores, visuelles et des \u0153uvres technologiques<\/em>.<\/p>\n

He studies the influences of audio technology in the compositional processes of the second half of the 20th century, with the aim of laying the foundation for a musical philology capable of interpreting the electronic music repertoire. Currently his research projects focus on the inter-textual problems of compositions involving both instrumental and electronic components.<\/p>\n

He is the scientific director of the annual international meeting Generazioni Elettroniche<\/em> (http:\/\/generazionielettroniche.uniud.it<\/a>) and part of scientific committee of the \u201cQuaderni del Laboratorio MIRAGE\u201d series (published by LIM). In 2010 he published the critical edition of Luigi Nono\u2019s Fabbrica illuminata <\/em>for Casa Ricordi, <\/em>as well as the restored edition of many other Nono\u2019s compositions on tape. He is the editor of the first volume of the \u201cQuaderni del Laboratorio MIRAGE\u201d series, Luigi Nono, studi, edizione, testimonianze<\/em>.<\/p>\n

Angelo Orcalli<\/strong><\/h2>\n

Angelo Orcalli est professeur de Musicologie et Histoire de la musique \u00e0 l\u2019Universit\u00e9 d\u2019Udine (Italie), directeur scientifique du laboratoire de recherche MIRAGE (DAMS Gorizia, Italie) pour la conservation, la restauration et l\u2019\u00e9dition de documents sonores, et professeur au Doctorat de Recherche Internationale d’\u00c9tudes Audiovisuelles: Cin\u00e9ma, Musique et Communication de l’universit\u00e9 d’Udine. Parall\u00e8lement \u00e0 ses \u00e9tudes en musicologie, Angelo Orcalli a suivi une double formation en math\u00e9matique et en philosophie\u00a0; il poursuit ses activit\u00e9s de recherche sur les sujets de l\u2019histoire de la musique contemporaine, de l\u2019histoire des th\u00e9ories musicales, de l\u2019\u00e9pist\u00e9mologie de la composition, et de m\u00e9thodologie pour la restauration audio et l\u2019\u00e9dition critique des sources sonores. Sa production scientifique se caract\u00e9rise pour l’\u00e9tude des interconnexions entre musique, science et technologie. \u00a0Il a dirig\u00e9 un projet pour l\u2019\u00e9dition critique des ouvrages \u00e9lectroniques de Bruno Maderna \u00a0et, actuellement, il est en charge du projet d\u2019\u00e9dition des ouvrages \u00e9lectroniques de Luigi Nono. Il est responsable scientifique de l\u2019I<\/em>ncontro Biennale Internazionale sul Restauro Audio<\/em>. En 2010 il a cr\u00e9\u00e9 la s\u00e9rie \u00ab\u00a0Quaderni del laboratorio MIRAGE\u00a0\u00bb (\u00e9d. LIM). Il est membre du comit\u00e9 scientifique des revues\u00a0: \u00ab\u00a0Musica\/Realt\u00e0\u00a0\u00bb, \u00ab\u00a0Music\/Technology\u00a0\u00bb (Florence University Press), et \u00ab\u00a0Sonus, materiali per la musica contemporanea\u00a0\u00bb.<\/p>\n

En 2011 il a \u00e9t\u00e9 accueilli en s\u00e9jour d\u2019enseignement et de recherche \u00e0 l\u2019Universit\u00e9 Paris 8 en qualit\u00e9 de professeur invit\u00e9. En 2010 et en 2011 il a \u00e9t\u00e9 professeur \u00e0 l\u2019unit\u00e9 d\u2019enseignement \u00ab\u00a0Musique et sciences depuis 1945\u00a0\u00bb\u00a0 cours de l\u2019UE MSV organis\u00e9 par l\u2019IRCAM- Paris. Il est actuellement accueilli \u00e0 l\u2019Universit\u00e9 Paris EST Marne La-Vall\u00e9e en qualit\u00e9 de professeur au Master Cin\u00e9ma, audiovisuel, archives et Musique\u00a0: Parcours Pr\u00e9servation et restauration des archives sonores, visuelles et des \u0153uvres technologiques. De plus Angelo Orcalli collabore avec instituts de musique, \u00e9ditions et centres de recherche musicale, notamment\u00a0: L\u2019Archivio Luigi Nono de Venise\u00a0; la Biennale de Venise\u00a0; le CDMC de Paris\u00a0; le Centre culturel fran\u00e7ais de Milan\u00a0; le Conservatoire National de Paris\u00a0; la Discoth\u00e8que d’\u00c9tat \u2013 Rome\u00a0; les \u00c9ditions Casa Ricordi \u2013 Milan\u00a0; les \u00c9ditions Suvini Zerboni \u2013 Milan\u00a0; L’\u00e9quipe de recherche:\u00a0 Esth\u00e9tique, musicologie et cr\u00e9ations musicales, l’Ecole doctorale Esth\u00e9tique, sciences et technologies des arts – Universit\u00e9-Paris 8\u00a0; Le Festival MITO \u2013 Milan\u00a0; \u00a0Le Festival \u00ab\u00a0Milano Musica\u00a0\u00bb; \u00a0La Fondation Benetton- Treviso\u00a0; La Fondation Cini – Venise\u00a0; Les\u00a0 Laboratoires Audio de la RAI- Milan\u00a0; GRM \u2013 INA- Paris\u00a0;\u00a0l’IRCAM – Paris\u00a0; Pontificio Istituto Ambrosiano di Musica Sacra- Milan (PIAMS)\u00a0; la SISSA – Trieste\u00a0; les Teche\u00a0 Rai \u2013 Rome\u00a0; L\u2019Universit\u00e9 de S\u00e9ville.<\/p>\n","protected":false},"excerpt":{"rendered":"

This paper analyses the implications of mixed music in a case study: Jour, contre-jour (1978), for electric organ, thirteen instruments and four-track magnetic tape by Gerard Grisey. In Jour, Contre-jour there are two musical writing forms (electronic and \u201cnotated\u201d), which … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/musiquemixte.sfam.org\/index.php?rest_route=\/wp\/v2\/pages\/112"}],"collection":[{"href":"http:\/\/musiquemixte.sfam.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/musiquemixte.sfam.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/musiquemixte.sfam.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/musiquemixte.sfam.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=112"}],"version-history":[{"count":4,"href":"http:\/\/musiquemixte.sfam.org\/index.php?rest_route=\/wp\/v2\/pages\/112\/revisions"}],"predecessor-version":[{"id":170,"href":"http:\/\/musiquemixte.sfam.org\/index.php?rest_route=\/wp\/v2\/pages\/112\/revisions\/170"}],"wp:attachment":[{"href":"http:\/\/musiquemixte.sfam.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=112"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}