National audienceSequenza III (1965-1966) for Female Voice by Luciano Berio is one of the leading... more National audienceSequenza III (1965-1966) for Female Voice by Luciano Berio is one of the leading works in the solo vocal repertoire after 1945. The work is the culmination of a fruitful on-going collaboration with Cathy Berberian, interrupted by the singer’s death in 1983. Perfectly knowing the singer’s vocal possibilities, Sequenza III was “not only written for Cathy, but about Cathy” as the composer asserts. It is then legitimate to ask the question of the fate of the work, since Sequenza III was by no means reserved, in Berio’s mind, to a dedicated performer. In order to answer this question, this article analyzes five recorded performances (Berberian, 1967 and 1970; Castellani, 1998, Ganz, 2006: Arnold, 2006). An analysis of recordings duration and of silence and breathing length was carried out. The score of the Sequenza III written in proportional notation being divided into 10-second segments, we were able to establish the temporal profiles of each performance. An audio feat...
HAL (Le Centre pour la Communication Scientifique Directe), Jun 28, 2017
Disponible sur : http://euromac2017.unistra.fr/wp-content/uploads/2017/05/Ext.-Lalitte-Philippe.p... more Disponible sur : http://euromac2017.unistra.fr/wp-content/uploads/2017/05/Ext.-Lalitte-Philippe.pdf. Intervention donnée en Session 13C : Analyser la performance aujourd'hui : enjeux et perspectivesInternational audienceL’analyse de la performance de musiques savantes écrites des XXe–XXIe siècles pose des problèmes méthodologiques spécifiques à ce répertoire (Lalitte, 2015). Plus que dans un autre répertoire, l’interprète a un rôle particulièrement important pour transmettre à l’auditeur une image auditive (McAdams, 1984) la plus cohérente possible d’œuvres fréquemment qualifiées de perceptivement complexes. Cette constatation est particulièrement cruciale dans la musique polyphonique où le ou les interprète(s) doivent clarifier le plus possible certains éléments de structure à un niveau temporel local ou plus global. De son côté, le musicologue qui analyse la performance musicale (dans ses aspects d’exécution et d’interprétation) peut contribuer à une meilleure compréhension des enjeux perceptifs de l’œuvre et de leurs implications dans le rendu de la performance.L’une des possibilités pourrait consister à reprendre certains principes développés par l’Analyse de Scène Auditive (Bregman, 1990, 1994; McAdams & Bregman, 1979) afin de les appliquer à l’analyse de la performance.Si l’ASA adonné lieu à une exploitation dans le domaine de l’analyse d’œuvres ou de styles d’écriture (Douglas et al., 2016; Huron, 1989; Lalitte, 2009, 2011, 2013; McAdams, 2015; Moutain, 2009; Pressnitzer, 2001), elle n’a pas encore été mise à profit pour l’analyse de la performance. Cette communication se donne pour objectif d’examiner en quoi et dans quelle mesure les concepts de l’ASA peuvent être transférés à l’analyse de la performance d’œuvres du répertoire précité
National audienceThe purpose of this article is to pursue a semiotic approach to mixed music alre... more National audienceThe purpose of this article is to pursue a semiotic approach to mixed music already outlined in some writings. After having developed a theoretical model capable of synthesizing the possible concert apparatus and defining the functions of the various protagonists, this article attempts, on the one hand, to establish a typology of the main relational strategies between instrumental and electronics observed in the repertoire and, on the other hand, to develop an analysis method using the topics. Relational strategies are approached with the concept of topic, defined as an imaginary place to articulate potential contents and unify them within an identifiable theme. In the repertoire of mixed music, we have been able to identify twelve categories of topic that reflect the different relational strategies between instrumental and electronics. We have grouped them into three main classes: communication relations (Inexistence, Coexistence, Dialogue, and Confrontation), iden...
Conceptual priming studies have shown that listening to musical primes triggers semantic activati... more Conceptual priming studies have shown that listening to musical primes triggers semantic activation. The present study further investigated with a free semantic evocation task, 1) how rhythmic vs. textural structures affect the amount of words evoked after a musical sequence, and 2) whether both features also affect the content of the semantic activation. Rhythmic sequences were composed of various percussion sounds with a strong underlying beat and metrical structure. Textural sound sequences consisted of blended timbres and sound sources evolving over time without identifiable pulse. Participants were asked to verbalize the concepts evoked by the musical sequences. We measured the number of words and lemmas produced after having listened to musical sequences of each condition, and we analyzed whether specific concepts were associated with each sequence type. Results showed that more words and lemmas were produced for textural sound sequences than for rhythmic sequences and that so...
Consacré à la nouvelle question d’agrégation 2018 « Les temps de la musique », ce numéro illustre... more Consacré à la nouvelle question d’agrégation 2018 « Les temps de la musique », ce numéro illustre la diversité des problématiques auxquelles seront confrontés les candidats au concours. Il aborde à la fois le temps de la création et celui de l’interprétation, les temporalités des musiques « savantes » et celles des musiques « populaires », réunissant des textes synthétiques et des analyses d’oeuvres, des approches historiques, ethnomusicologiques et esthétiques. ISBN 9782368570432National audienc
National audienceSequenza III (1965-1966) for Female Voice by Luciano Berio is one of the leading... more National audienceSequenza III (1965-1966) for Female Voice by Luciano Berio is one of the leading works in the solo vocal repertoire after 1945. The work is the culmination of a fruitful on-going collaboration with Cathy Berberian, interrupted by the singer’s death in 1983. Perfectly knowing the singer’s vocal possibilities, Sequenza III was “not only written for Cathy, but about Cathy” as the composer asserts. It is then legitimate to ask the question of the fate of the work, since Sequenza III was by no means reserved, in Berio’s mind, to a dedicated performer. In order to answer this question, this article analyzes five recorded performances (Berberian, 1967 and 1970; Castellani, 1998, Ganz, 2006: Arnold, 2006). An analysis of recordings duration and of silence and breathing length was carried out. The score of the Sequenza III written in proportional notation being divided into 10-second segments, we were able to establish the temporal profiles of each performance. An audio feat...
HAL (Le Centre pour la Communication Scientifique Directe), Jun 28, 2017
Disponible sur : http://euromac2017.unistra.fr/wp-content/uploads/2017/05/Ext.-Lalitte-Philippe.p... more Disponible sur : http://euromac2017.unistra.fr/wp-content/uploads/2017/05/Ext.-Lalitte-Philippe.pdf. Intervention donnée en Session 13C : Analyser la performance aujourd'hui : enjeux et perspectivesInternational audienceL’analyse de la performance de musiques savantes écrites des XXe–XXIe siècles pose des problèmes méthodologiques spécifiques à ce répertoire (Lalitte, 2015). Plus que dans un autre répertoire, l’interprète a un rôle particulièrement important pour transmettre à l’auditeur une image auditive (McAdams, 1984) la plus cohérente possible d’œuvres fréquemment qualifiées de perceptivement complexes. Cette constatation est particulièrement cruciale dans la musique polyphonique où le ou les interprète(s) doivent clarifier le plus possible certains éléments de structure à un niveau temporel local ou plus global. De son côté, le musicologue qui analyse la performance musicale (dans ses aspects d’exécution et d’interprétation) peut contribuer à une meilleure compréhension des enjeux perceptifs de l’œuvre et de leurs implications dans le rendu de la performance.L’une des possibilités pourrait consister à reprendre certains principes développés par l’Analyse de Scène Auditive (Bregman, 1990, 1994; McAdams & Bregman, 1979) afin de les appliquer à l’analyse de la performance.Si l’ASA adonné lieu à une exploitation dans le domaine de l’analyse d’œuvres ou de styles d’écriture (Douglas et al., 2016; Huron, 1989; Lalitte, 2009, 2011, 2013; McAdams, 2015; Moutain, 2009; Pressnitzer, 2001), elle n’a pas encore été mise à profit pour l’analyse de la performance. Cette communication se donne pour objectif d’examiner en quoi et dans quelle mesure les concepts de l’ASA peuvent être transférés à l’analyse de la performance d’œuvres du répertoire précité
National audienceThe purpose of this article is to pursue a semiotic approach to mixed music alre... more National audienceThe purpose of this article is to pursue a semiotic approach to mixed music already outlined in some writings. After having developed a theoretical model capable of synthesizing the possible concert apparatus and defining the functions of the various protagonists, this article attempts, on the one hand, to establish a typology of the main relational strategies between instrumental and electronics observed in the repertoire and, on the other hand, to develop an analysis method using the topics. Relational strategies are approached with the concept of topic, defined as an imaginary place to articulate potential contents and unify them within an identifiable theme. In the repertoire of mixed music, we have been able to identify twelve categories of topic that reflect the different relational strategies between instrumental and electronics. We have grouped them into three main classes: communication relations (Inexistence, Coexistence, Dialogue, and Confrontation), iden...
Conceptual priming studies have shown that listening to musical primes triggers semantic activati... more Conceptual priming studies have shown that listening to musical primes triggers semantic activation. The present study further investigated with a free semantic evocation task, 1) how rhythmic vs. textural structures affect the amount of words evoked after a musical sequence, and 2) whether both features also affect the content of the semantic activation. Rhythmic sequences were composed of various percussion sounds with a strong underlying beat and metrical structure. Textural sound sequences consisted of blended timbres and sound sources evolving over time without identifiable pulse. Participants were asked to verbalize the concepts evoked by the musical sequences. We measured the number of words and lemmas produced after having listened to musical sequences of each condition, and we analyzed whether specific concepts were associated with each sequence type. Results showed that more words and lemmas were produced for textural sound sequences than for rhythmic sequences and that so...
Consacré à la nouvelle question d’agrégation 2018 « Les temps de la musique », ce numéro illustre... more Consacré à la nouvelle question d’agrégation 2018 « Les temps de la musique », ce numéro illustre la diversité des problématiques auxquelles seront confrontés les candidats au concours. Il aborde à la fois le temps de la création et celui de l’interprétation, les temporalités des musiques « savantes » et celles des musiques « populaires », réunissant des textes synthétiques et des analyses d’oeuvres, des approches historiques, ethnomusicologiques et esthétiques. ISBN 9782368570432National audienc
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