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Nouveautés en bref 新产品简介
Circuit Pub Date : 2020-01-01 DOI: 10.7202/1026189AR
I. Ceccarelli
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引用次数: 0
Créé dans Le Vivier 在池塘里创造的
Circuit Pub Date : 2020-01-01 DOI: 10.7202/1042844AR
Gabrielle Blais-Sénéchal
{"title":"Créé dans Le Vivier","authors":"Gabrielle Blais-Sénéchal","doi":"10.7202/1042844AR","DOIUrl":"https://doi.org/10.7202/1042844AR","url":null,"abstract":"","PeriodicalId":53890,"journal":{"name":"Circuit","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80761530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Introduction. Art + son = art sonore ? 介绍。艺术+儿子=艺术儿子?
Circuit Pub Date : 2020-01-01 DOI: 10.7202/1069079ar
Annelies Fryberger
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引用次数: 0
Quatuor Bozzini : de l’audace underground et upperground 博兹尼四重奏:大胆的地下和上层
Circuit Pub Date : 2019-01-01 DOI: 10.7202/1066483AR
Emanuelle Majeau-Bettez
{"title":"Quatuor Bozzini : de l’audace underground et upperground","authors":"Emanuelle Majeau-Bettez","doi":"10.7202/1066483AR","DOIUrl":"https://doi.org/10.7202/1066483AR","url":null,"abstract":"Cet article est ecrit en deux temps. Retournant au moment de l’emergence du Quatuor Bozzini au debut des annees 2000, il retrace certaines des propositions esthetiques de l’ensemble, et analyse la maniere dont elles ont participe a une certaine redefinition du mandat d’un ensemble de musique contemporaine, ainsi qu’a une nouvelle comprehension de la collaboration. L’article se tourne ensuite vers les temoignages de six collaborateur.ice.s du Quatuor, soit Eliane Radigue, Phill Niblock, Marc Boivin, Nicole Lizee, Simon Martin et James O’Callaghan. Ces six artistes soulignent, presque d’un commun effort, dirait-on, le serieux et l’immense sensibilite avec lesquels le Quatuor Bozzini traverse les differentes spheres creatrices proposees par leurs collaborateurs, ou encore initiees de leur propre chef.","PeriodicalId":53890,"journal":{"name":"Circuit","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78612469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Rencontres et « émotions nouvelles » : Pascal Dusapin raconté par cinq collaborateurs 会议和“新情感”:Pascal Dusapin由五位合作者讲述
Circuit Pub Date : 2019-01-01 DOI: 10.7202/1059427AR
Emanuelle Majeau-Bettez
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引用次数: 2
Playing with Shadows: Reinjection Loops and Historical Allusion in Georg Friedrich Haas’s Live Electronic Music 玩弄阴影:重注入循环和历史典故在乔治·弗里德里希·哈斯的现场电子音乐
Circuit Pub Date : 2019-01-01 DOI: 10.7202/1062568ar
Landon Morrison
{"title":"Playing with Shadows: Reinjection Loops and Historical Allusion in Georg Friedrich Haas’s Live Electronic Music","authors":"Landon Morrison","doi":"10.7202/1062568ar","DOIUrl":"https://doi.org/10.7202/1062568ar","url":null,"abstract":"Recent scholarship suggests that the music of Austrian composer Georg Friedrich Haas can be understood as a dramatic confrontation between “clashing harmonic systems” (Hasegawa, 2015). Building on this observation, the present article focuses on Haas’s recent endeavors in the genre of live electronic music, showing how the composer deploys a relatively straightforward technical procedure—the reinjection loop, or the delayed playback of recorded sound at various speeds—to juxtapose different modes of pitch organization, including twelve-tone equal temperament, ultrachromatic microtonality, and just intonation. After surveying the composer’s relationship to these historical idioms, the article presents detailed analyses of two pieces (Ein Schattenspiel and String Quartet No. 4) to illustrate how the reinjection loop operates at multiple registers simultaneously, bringing the performers into contact with their immediate past, while also bringing Haas into dialogue with the shadows of his own compositional predecessors.","PeriodicalId":53890,"journal":{"name":"Circuit","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75267195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Michel Gonneville : L’hypothèse Caïn Michel Gonneville:该隐假说
Circuit Pub Date : 2019-01-01 DOI: 10.7202/1062572ar
B. Côté
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引用次数: 0
Nouveautés en bref 新产品简介
Circuit Pub Date : 2019-01-01 DOI: 10.7202/1066492ar
Gordon Williamson
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引用次数: 0
Introduction. Écosystèmes sonores 引言。生态环境噪声
Circuit Pub Date : 2019-01-01 DOI: 10.7202/1066482ar
Emanuelle Majeau-Bettez, Maxime Mckinley
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引用次数: 0
Une approche ergonomique des langages microtonaux au violoncelle : perspective d’interprète-compositrice, exemples du répertoire et pistes d’analyse 大提琴微音调语言的人机工程学方法:演奏者-作曲家的观点，曲目的例子和分析轨道
Circuit Pub Date : 2019-01-01 DOI: 10.7202/1062567ar
Émilie Girard-Charest
{"title":"Une approche ergonomique des langages microtonaux au violoncelle : perspective d’interprète-compositrice, exemples du répertoire et pistes d’analyse","authors":"Émilie Girard-Charest","doi":"10.7202/1062567ar","DOIUrl":"https://doi.org/10.7202/1062567ar","url":null,"abstract":"Cet article aborde la question de l’ergonomie dans l’ecriture des repertoires microtonaux au violoncelle, a travers le prisme de l’experience de l’auteure en tant que violoncelliste et compositrice. Des pistes de reflexion y sont proposees afin d’aborder cet aspect a partir de differents elements d’analyse perceptive mettant en relation le son et la physicalite de l’instrumentiste.","PeriodicalId":53890,"journal":{"name":"Circuit","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81774565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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