- João Pessoa (Paraíba) - Brazil.
- CNPq, Language and Arts, AdjunctUniversidade Estadual de Campinas, Núcleo Interdisciplinar de Comunicação Sonora - NICS, Faculty Memberadd
- Musicology, Music analysis, Computer musicology, Contemporary Music, Electronic Music, Music Theory, and 44 moreInteractive and Digital Arts, Ethnomusicology, Applied Mathematics, Music Cognition, Psychoacoustics, Music, Music and philosophy, Music Aesthetics, Computer Assisted Composition, Digital Signal Processing, Music and Mathematics, Musique Et Musicologie, Histoire de la musique, Computers and Composition, Composição Algoritmica, Algorithmic Composition, Teoria e Análise Musical, Sonologia, Analyse Musicale, Musique Acousmatique, Piano Music, Orchestration, Musical Composition, Composition of Electroacoustic Music, Anton Webern, Luciano Berio, Karlheinz Stockhausen, Análise Musical, Music and Timbre, Sonority-based structure, Claude Debussy, Debussy, Helmut Lachenmann, Spectral Music, Sonic Art, Berlioz, Jean-Philippe Rameau, Beethoven, Olivier Messiaen, Tristan Murail, Gérard Grisey, Meyerbeer, Computer Music, and Systematic Musicologyedit
- A French-born, Didier Guigue lives in Brazil. Senior Researcher at CNPq, Fellow Researcher at NICS/Unicamp and Tenure... moreA French-born, Didier Guigue lives in Brazil. Senior Researcher at CNPq, Fellow Researcher at NICS/Unicamp and Tenured Teacher at the Universidade Federal da Paraíba. His academic production, research, lectionning and lecturing activities are mainly in the fields of XXth/XXIth Century Music Theory, History & Aesthetics, and Computing Applied to Music. "Docteur en Musicologie du Xxe Siècle" by the E.H.E.S.S., Paris (France) under the directon of philosopher and composer Hugues Dufourt, he is since 1997 the founder and director of the Mus3 Research Group , a IRCAM associated partner, founder of Compomus (www.ccta.ufpb.br/compomus) , and member of other research groups or laboratories in Brazil and France.
Have a consistent number of publications, in Brazil and Europe, among them outstands the book "Esthétique de la Sonorité" (Paris: L'Harmattan, 2009), translated to portuguese in 2011.
His concern as a composer is about digital music and multimedia art. (See more on this point at his Facebook music page, bandcamp , soundcloud and Youtube pages.)edit
In this paper, we present a sonority analysis of a work by Marisa Rezende, Ressonâncias (1983) where the main goal was to include performative elements in the analysis. First, we identified the key elements of sonority construction in the... more
In this paper, we present a sonority analysis of a work by Marisa Rezende, Ressonâncias (1983) where the main goal was to include performative elements in the analysis. First, we identified the key elements of sonority construction in the performance of the piece, which are: use of pedal, use of register, and piano touch. Given these key elements, an analysis was performed by applying Guigue’s (2011) concepts in respect to sonority analysis, verifying the elements through data obtained from a recording of the piece which was performed on piano by the first author of this paper. The material analyzed consists of MIDI and audio data, having extracted information as to velocity, Q values, spectral centroid and spectrogram. The preliminary results of this experimental methodology showed that including the performance in a musical analysis is a valid possibility.
Neste artigo será apresentada uma análise da sonoridade na peça Ressonâncias (1983), de Marisa Rezende, onde o objetivo central foi a inserção de elementos advindos da performance na análise. Em um primeiro momento, foram identificados os elementos essenciais para a construção da sonoridade nesta interpretação da peça, sendo eles: uso dos pedais, utilização dos registros e toque pianístico. Vistos estes elementos centrais, segue a análise propriamente dita, onde, a partir dos conceitos de Guigue (2011) a respeito da análise da sonoridade, tais elementos serão verificados através de dados obtidos a partir de uma gravação da peça, executada pela pianista e primeira autora deste artigo. O material analisado consiste em dados MIDI e áudio, dos quais informações sobre velocity, valor Q, centroide espectral e espectrograma foram extraídas. Os resultados preliminares mostraram esta metodologia experimental como uma possibilidade válida na inserção da performance na análise musical.
Neste artigo será apresentada uma análise da sonoridade na peça Ressonâncias (1983), de Marisa Rezende, onde o objetivo central foi a inserção de elementos advindos da performance na análise. Em um primeiro momento, foram identificados os elementos essenciais para a construção da sonoridade nesta interpretação da peça, sendo eles: uso dos pedais, utilização dos registros e toque pianístico. Vistos estes elementos centrais, segue a análise propriamente dita, onde, a partir dos conceitos de Guigue (2011) a respeito da análise da sonoridade, tais elementos serão verificados através de dados obtidos a partir de uma gravação da peça, executada pela pianista e primeira autora deste artigo. O material analisado consiste em dados MIDI e áudio, dos quais informações sobre velocity, valor Q, centroide espectral e espectrograma foram extraídas. Os resultados preliminares mostraram esta metodologia experimental como uma possibilidade válida na inserção da performance na análise musical.
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Partimos do conceito de invariância definido por Costa (2016) para compreendermos até que ponto a duração das 31 (trinta e uma) seções da Sinfonia em Quadrinhos (1986) de Hermeto Pascoal (1934) mantém certa estabilidade em 03 (três)... more
Partimos do conceito de invariância definido por Costa (2016) para compreendermos até que ponto a duração das 31 (trinta e uma) seções da Sinfonia em Quadrinhos (1986) de Hermeto Pascoal (1934) mantém certa estabilidade em 03 (três) amostras da peça: a partitura e duas gravações. Constatamos que apesar das diferenças de tempo das performances em relação à notação, os desvios são pouco significativos e as seções funcionam como estruturas fixas para criações espontâneas do próprio compositor no ato de sua execução.
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Com base no conceito de Unidade Sonora Composta (USC) (GUIGUE, 2011), realizamos uma avaliação quantitativa do parâmetro harmonicidade para compreendermos o fluxo sonoro das estruturas verticais na Sinfonia em Quadrinhos (1986) de... more
Com base no conceito de Unidade Sonora Composta (USC) (GUIGUE, 2011), realizamos uma avaliação quantitativa do parâmetro harmonicidade para compreendermos o fluxo sonoro das estruturas verticais na Sinfonia em Quadrinhos (1986) de Hermeto Pascoal (1936). A propensão à inarmonicidade e o comportamento irregular do parâmetro no contexto global da composição permitiu-nos compreender como o compositor tende a projetar a manutenção de uma sonoridade proeminentemente “complexa” sem renunciar ao princípio de diversificação à obra como um todo.
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Resumo: Tomo o Choros n. 6 e a Introdução ao Choros como exemplos sonoros para ouvir e discutir alguns aspectos da concepção estética de Villa-Lobos. Mais especificamente, convoco os conceitos de "paisagem hi-fi" de Murray-Schafer, e... more
Resumo: Tomo o Choros n. 6 e a Introdução ao Choros como exemplos sonoros para ouvir e discutir alguns aspectos da concepção estética de Villa-Lobos. Mais especificamente, convoco os conceitos de "paisagem hi-fi" de Murray-Schafer, e "musique concrète" de Pierre Schaeffer, para mostrar como, não só nos trechos escolhidos mas de modo geral no ciclo completo dos Choros, se colocam diversos binômios tradicionalmente discutidos acerca deste compositor: cultura/natura, ordem/caos, e brasilidade/modernidade. Neste último ponto, faço também referência ao conceito de "visão edênica" do Brasil, nos moldes que apontou Leonardo Martinelli. Villa-Lobos: some insights for a historically informed listening. Abstract: I take the Choros n. 6 and the Introdução ao Choros as examples for listening and discuting some aspcets of Villa-Lobos' aesthetics. More precisely, I make use of the concepts of Murray-Schaffer's "hi-fi landscape" and Pierre Schaeffer's "musique concrète" to show how, not only in the selected samples but, in a more general way, in the complete cycle of Choros, are put some binomials which are traditionally discuted when dealing with this composer: culture vs nature, order vs chaos, e nationalism vs modernism. At this point, I refer also to the concept of the "edennist" vision of the Brazil, in the sense Leonardo Martinelli argued.
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Composer's discurse, between technique and hermeneutics Abstract After a short evocation of the frequent tension observed between the artwork and the artist's discourse, I will focus my lecture from the point of view of Kofi Agawu, who... more
Composer's discurse, between technique and hermeneutics
Abstract
After a short evocation of the frequent tension observed between the artwork and the artist's discourse, I will focus my lecture from the point of view of Kofi Agawu, who rather points, in his '96 paper « Music Analysis Versus Musical Hermeneutics », on a tension between a theory-based analysis and a musical hermeneutics. I comment some of his ideas, starting from the hypothesis that it would not exist de facto tension with both type of discourses, but rather, instead, idiosyncrasies which are no more than the result of different approaches of the same object. To illustrate these questions, I present two composers' "discourses" where analysis and hermeneutics interact in a variety of forms: Messiaen's and Lachenmann's.
Resumo
Após uma breve evocação da frequente tensão observada entre a obra e o discurso do artista acerca da mesma, centro a minha intervenção nesta discussão a partir do ponto de vista de Kofi Agawu, que fala, antes, no artigo « Music Analysis Versus Musical Hermeneutics » de 1996, de tensão entre a análise musical fundada numa teoria e a hermenéutica musical. Pretendo comentar as suas idéias, partindo da hipótese de que não haveria de fato tensão entre os dois tipos de discurso, mas sim, idiossincrasias que não são nada mais de que a resultante de abordagens divergentes de um mesmo objeto. Para ilustrar essas colocações, apresento dois "discursos" de compositores onde a análise técnica e a hermenéutica interagem de forma variada: o de Messiaen e o de Lachenmann.
Co
Abstract
After a short evocation of the frequent tension observed between the artwork and the artist's discourse, I will focus my lecture from the point of view of Kofi Agawu, who rather points, in his '96 paper « Music Analysis Versus Musical Hermeneutics », on a tension between a theory-based analysis and a musical hermeneutics. I comment some of his ideas, starting from the hypothesis that it would not exist de facto tension with both type of discourses, but rather, instead, idiosyncrasies which are no more than the result of different approaches of the same object. To illustrate these questions, I present two composers' "discourses" where analysis and hermeneutics interact in a variety of forms: Messiaen's and Lachenmann's.
Resumo
Após uma breve evocação da frequente tensão observada entre a obra e o discurso do artista acerca da mesma, centro a minha intervenção nesta discussão a partir do ponto de vista de Kofi Agawu, que fala, antes, no artigo « Music Analysis Versus Musical Hermeneutics » de 1996, de tensão entre a análise musical fundada numa teoria e a hermenéutica musical. Pretendo comentar as suas idéias, partindo da hipótese de que não haveria de fato tensão entre os dois tipos de discurso, mas sim, idiossincrasias que não são nada mais de que a resultante de abordagens divergentes de um mesmo objeto. Para ilustrar essas colocações, apresento dois "discursos" de compositores onde a análise técnica e a hermenéutica interagem de forma variada: o de Messiaen e o de Lachenmann.
Co
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Esta comunicação constitui um recorte de uma pesquisa em andamento, que persegue dois objetivos: (1) estabelecer um método de análise da orquestração que venha subsidiar, para esta dimensão específica, o conceito de sonoridade como... more
Esta comunicação constitui um recorte de uma pesquisa em andamento, que persegue dois objetivos: (1) estabelecer um método de análise da orquestração que venha subsidiar, para esta dimensão específica, o conceito de sonoridade como elemento estruturante da forma musical; (2) evidenciar, nas Variações op. 30 de Webern, a interação do que chamamos de nivel "primário" da composição (organização do material motívico-serial) com o nivel " secundário" que constitui as estratégias de organização dos recursos sonoros que o compositor escolheu. O recorte aborda, apenas, a configuração das distribuições instrumentais e das texturas, e sugere relações com a estruturação do nivel primário.
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Since the entropy (SHANNON, 1948) allows us to measure how predictive is the musical information, we chose to complement the research adding data on the progression or recession of rhythmic textures (GENTIL-NUNES; CARVALHO, 2003) −... more
Since the entropy (SHANNON, 1948) allows us to measure how predictive is the musical information, we chose to complement the research adding data on the progression or recession of rhythmic textures (GENTIL-NUNES; CARVALHO, 2003) − calculated from their contrast ratios and redundancy caused by the simultaneity of sound events – by incorporated them as the notion of Compound Sound Units (CSU) by Guigue (2011) in order to understand the impact of textural tension to increase or decrease the entropy on the piece The Comic Strip Symphony (1986) by Brazilian composer Hermeto Pascoal (1936). We find that both the entropy as the rhythmic textures contribute to the structuring of sound complexity from local contrasts generated by the two parameters in the analyzed sections.
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Este artigo é uma tradução, revista e atualizada a seis mãos, de um capítulo da minha tese "Une Etude 'pour les Sonorités Opposées' " , de 1996. Faz um apanhado dos dados fornecidos pelas pesquisas científicas sobre a acústica do piano... more
Este artigo é uma tradução, revista e atualizada a seis mãos, de um capítulo da minha tese "Une Etude 'pour les Sonorités Opposées' " , de 1996. Faz um apanhado dos dados fornecidos pelas pesquisas científicas sobre a acústica do piano nessas últimas décadas , para construir uma avaliação geral das condições de controle das variáveis timbrísticas do instrumento, para uso dos intérpretes, compositores e musicólogos. As informações técnicas trazidas neste paper tem percentual elevado de ineditismo no Brasil, e deve ser utéis em cursos de piano e composição.
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This paper sets up the essential theoretical premises and analytical methodology developed by the author, in order to embody the "sonority" among the form-structuring dimensions in 20th century music. Summa- rizing the... more
This paper sets up the essential theoretical premises and analytical methodology developed by the author, in order to embody the "sonority" among the form-structuring dimensions in 20th century music. Summa- rizing the research, which constitutes the main axis of the Mus3 research activities, the text outlines the means by which one can identify sonic objects from the score and pick
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Disponível on line (cf. url em cima).
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Esta palestra consiste em algumas considerações sobre o processamento do tempo num projeto metodológico de análise da música não tonal a partir do conceito de sonoridade. Neste contexto, o tempo é visto como um momento com início e fim no... more
Esta palestra consiste em algumas considerações sobre o processamento do tempo num projeto metodológico de análise da música não tonal a partir do conceito de sonoridade. Neste contexto, o tempo é visto como um momento com início e fim no interior do qual as durações se manifestam em termos relativos ou estatísticos. O método se funda no princípio de dissociação entre forma morfológica e forma cinética, e, por extensão e para retomar as formalizações do compositor Helmut Lachenmann, entre estado e processo.
A obra Echo-Andante deste compositor é utilizada como exemplo para ilustrar como os dados sobre o processamento do tempo são obtidos – por meio do auxílio de um programa computacional – e interpretadas para produzir conhecimento sobre estrutura, forma e estética.
A obra Echo-Andante deste compositor é utilizada como exemplo para ilustrar como os dados sobre o processamento do tempo são obtidos – por meio do auxílio de um programa computacional – e interpretadas para produzir conhecimento sobre estrutura, forma e estética.
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Por constituirem uma longa série composta durante considerável parte de sua trajetória artística, os Momentos de Almeida Prado se tornam a priori um testemunho privilegiado da sua estética e técnica composicional, inclusive,... more
Por constituirem uma longa série composta durante considerável parte de sua trajetória artística, os Momentos de Almeida Prado se tornam a priori um testemunho privilegiado da sua estética e técnica composicional, inclusive, possivelmente, da sua evolução no tempo. Investigamos este corpus (assim como, pontualmente, outras obras pianísticas significativas) com o intuito de identificar denominadores estilísticos ou técnicos. Nosso objetivo é realizar, até onde for possível, uma síntese cuja função é, em última análise, de fundamentar a inserção do compositor como uma figura atualmente predominante no grande eixo estético que começa com Debussy e passa por Villa-Lobos, Messiaen, e, ainda que tangencialmente, por Boulez, Stockhausen e Murail. Objetos sonoros que se articulam em classes organizadas sintagmaticamente, ou que se ramificam a partir de uma matriz, ou ainda estruturas espectrais manipuladas para gerar dinâmicas formais, são as estratégias composicionais que identificamos e descrevemos neste texto.
O relatório está dividido em três partes (três links).
O relatório está dividido em três partes (três links).
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Disponível on line (cf. url em cima).
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Estuda a questão do pós-tonalismo na infraestrutura cromática do Prelúdio I (7), e as relações entre o nível remoto, o nível de organização cromática e o nível de articulação das sonoridades. Eu procuro mostrar que, sem abandonar as... more
Estuda a questão do pós-tonalismo na infraestrutura cromática do Prelúdio I (7), e as relações entre o nível remoto, o nível de organização cromática e o nível de articulação das sonoridades. Eu procuro mostrar que, sem abandonar as relações harmônicas entre os sons, nem o princípio da preferencia hierárquica de algum baixo fundamental ou acorde e com uma clara organicidade melódico-harmônica baseada na dicotomia consonância-dissonância, o prelúdio I (7) consegue, no entanto, não atender, em momento algum, a nenhuma das expectativas e lógicas intrínsecas ao sistema tonal. Ademais, este prelúdio oferece mais um exemplo de como o compositor integra plenamente elementos da sonoridade do piano ao projeto formal como um todo.
http://www.rem.ufpr.br/_REM/REMv4/vol4/artigo_Guigue/artigo_guigue.htm
http://www.rem.ufpr.br/_REM/REMv4/vol4/artigo_Guigue/artigo_guigue.htm
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A análise que Dieter Schnebel fez do prelúdio Brouillards de Debussy [Schnebel 1964] é tomada neste artigo como ponto de partida para expor um estudo analítico do papel da sonoridade na articulação dinâmica da estrutura formal de uma... more
A análise que Dieter Schnebel fez do prelúdio Brouillards de Debussy [Schnebel 1964] é tomada neste artigo como ponto de partida para expor um estudo analítico do papel da sonoridade na articulação dinâmica da estrutura formal de uma obra. Por sonoridade entende-se no presente contexto uma dimensão abstrata da composição. Pretendo esclarecer por que meios, nesta obra, a concepção composicional de DEBUSSY implica em uma diluição do poder estruturador normalmente atribuído ao elemento motivo-cromático dentro dos sistemas de articulação das sonoridades. Ainda são poucas as estratégias analíticas capazes de responder a esta emancipação histórica, mas os insights de SCHNEBEL fornecem preciosas trilhas que tento seguir.
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A short summary of ten years of research activities at the GMT/Mus3, including the history of research projects, a selected bibliography and a list of members.
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Teatro, música e gesto são parceiros indissociáveis de uma modalidade de expressão sintética que conveniamos genéricamente chamar de ópera. Eu evoco ligeiramente neste artigo algumas das estratégias de interação texto/música na ópera, com... more
Teatro, música e gesto são parceiros indissociáveis de uma modalidade de expressão sintética que conveniamos genéricamente chamar de ópera. Eu evoco ligeiramente neste artigo algumas das estratégias de interação texto/música na ópera, com o fim de chamar a atenção dos estudiosos de teatro sobre a importância que tem de se estudar esta forma de expressão cênica, por sinal de grande relevância sociológica, quando se quer debater a questão da função da música no teatro.
Research Interests: Estudios Culturales, Historia, Literatura, Sociologia, Filosofía, and 8 moreMuseologia, Arte, Cine, Teatro, Documentación, Música, ópera, and Antropologia
We introduce a method for computer-assisted analysis of orchestration. We also look into the role that texture and orchestration have in structuring musical form. The method comprises a numerical representation, a hierarchy of ‘textural... more
We introduce a method for computer-assisted analysis of orchestration. We also look into the role that texture and orchestration have in structuring musical form. The method comprises a numerical representation, a hierarchy of ‘textural situations’ and measures for heterogeneity, diversity and complexity of orchestral-textural configurations.
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We introduce a method for computer-assisted analysis of musical texture and orchestration. Our aim is to establish a formal understanding of these symbolic dimensions that could be on par with existing computational approaches to rhythm... more
We introduce a method for computer-assisted analysis of musical texture and orchestration. Our aim is to establish a formal understanding of these symbolic dimensions that could be on par with existing computational approaches to rhythm and pitch. We also propose to investigate the role that texture and orchestration control has in structuring musical form. Our research is based on the theoretical considerations made by Wallace Berry in the classic Structural Functions in Music and the subsequent numerical representation and combinatorial manipulation, grounded on the mathematical theory of integer partitions proposed by Pauxy Gentil-Nunes. To do this, we assumed that each local sonic configuration (an orchestral configuration in the case of symphonic music), or Local Sonic Setup, delineate a sound unit. The qualification of these setups according to the number of sonic resources used and the way in which they are distributed to create more or less polyphonic complexity is information that is added to the other dimensions that contribute to the development of a dynamic of the form through sound.
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The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum... more
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum pattern, a background pad repeating a three-chords harmonic cycle, an eventual glissando effect, and some semi-aleatory 'piano' sound entries. Such a minimalist ambient gives all room and freedom for the astounding vocal part. Assisted by a thrilling use of the Autotune (especially in the S1 part) and the Vocoder (S3), the singer delivers a highly sensible and poetical performance of the lyrics. The overall structure – a static repeated bass cycle which serves as background for a highly developed (and/or improvised) soloist part – refers to the ancient form of Chaconna.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Research Interests:
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum... more
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum pattern, a background pad repeating a three-chords harmonic cycle, an eventual glissando effect, and some semi-aleatory 'piano' sound entries. Such a minimalist ambient gives all room and freedom for the astounding vocal part. Assisted by a thrilling use of the Autotune (especially in the S1 part) and the Vocoder (S3), the singer delivers a highly sensible and poetical performance of the lyrics. The overall structure – a static repeated bass cycle which serves as background for a highly developed (and/or improvised) soloist part – refers to the ancient form of Chaconna.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Research Interests:
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum... more
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum pattern, a background pad repeating a three-chords harmonic cycle, an eventual glissando effect, and some semi-aleatory 'piano' sound entries. Such a minimalist ambient gives all room and freedom for the astounding vocal part. Assisted by a thrilling use of the Autotune (especially in the S1 part) and the Vocoder (S3), the singer delivers a highly sensible and poetical performance of the lyrics. The overall structure – a static repeated bass cycle which serves as background for a highly developed (and/or improvised) soloist part – refers to the ancient form of Chaconna.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Research Interests:
Happy to finally release the results of this long-time research on the Webern's Variations. My goal was to observe how Webern's orchestration interacts with serialism. The paper points to some usefull (I hope!) and unpreceded (I guess!)... more
Happy to finally release the results of this long-time research on the Webern's Variations. My goal was to observe how Webern's orchestration interacts with serialism. The paper points to some usefull (I hope!) and unpreceded (I guess!) conclusions, and a lot of future work.
Abstract: Webern’s Variationen op. 30 constituted a well-known milestone in the consolidation of serialism as a compositional technique. It has been the target of a large number of investigations focused on the way the composer developed a broader concept. As could it not be otherwise, his orchestral design is also closely tied to his structural concerns. However, it appears to lack a systematization of the composer’s orchestration principles. Thus, to propose an analysis of Webern’s orchestration, one need to elaborate an ad hoc method, virtually starting from scratch. This paper aims to describe the main points of this method in its current experimental stage. At the same time, we point to some conclusions about Webern’s orchestration according to his aesthetics.
Direct link:
https://musmat.org/wp-content/uploads/2018/06/07-Didier.pdf
Abstract: Webern’s Variationen op. 30 constituted a well-known milestone in the consolidation of serialism as a compositional technique. It has been the target of a large number of investigations focused on the way the composer developed a broader concept. As could it not be otherwise, his orchestral design is also closely tied to his structural concerns. However, it appears to lack a systematization of the composer’s orchestration principles. Thus, to propose an analysis of Webern’s orchestration, one need to elaborate an ad hoc method, virtually starting from scratch. This paper aims to describe the main points of this method in its current experimental stage. At the same time, we point to some conclusions about Webern’s orchestration according to his aesthetics.
Direct link:
https://musmat.org/wp-content/uploads/2018/06/07-Didier.pdf
Research Interests:
Musical form and orchestration are closely related dimensions of the musical discourse. Despite the proposition of several practical tools for assisted-orchestration in the past few years, scarcely any computational methods for analyzing... more
Musical form and orchestration are closely related dimensions of the musical discourse. Despite the proposition of several practical tools for assisted-orchestration in the past few years, scarcely any computational methods for analyzing the role of orchestration in shaping musical form and its perception have been put forward. As an answer to that, in this presentation, we discuss a couple of Open-Music functions we designed for estimating the textural complexity of a piece's successive formal segments and sections. The calculations behind the functions originate in an appropriation of the mathematical theory of integer partitions and Wallace Berry's ideas on musical texture. In the current stage, our estimation of textural complexity is carried out upon the composer's prescriptions found on the musical score. Nevertheless, the work we present here is part of an overall model that ultimately aims to analyze form and orchestration combining symbolical and signal data, that is, joining the musical score and its performance recordings.
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We present three female artists of Brazilian experimental music scene, working with women's inclusion in the field. Natacha Maurer and Renata Roman produce a series of concerts called Dissonant, where female participation has to be at... more
We present three female artists of Brazilian experimental music scene, working with women's inclusion in the field. Natacha Maurer and Renata Roman produce a series of concerts called Dissonant, where female participation has to be at least 50 per cent. Vanessa de Michelis ministers workshops for "stage assembly do-it-yourself" for women and lesbians. We try to point the profile of this field, demonstrating its importance, mainly in the present political moment in Brazil, characterized by an institutional coup that was forged from old marks that are still very current in Brazilian society such as misogyny, sexism, elitism and racism.
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This is the english abstract of a paper I'm working on for peer submission.
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A temporary framework for understanding the connection between France & Germany in the 2nd half of XVIII Century, and how it has led to a modernist approach of orchestration (and thus the structural fonction of sound). Lists composers... more
A temporary framework for understanding the connection between France & Germany in the 2nd half of XVIII Century, and how it has led to a modernist approach of orchestration (and thus the structural fonction of sound).
Lists composers and some of their relevant symphonic works, besides samples of their sacred music and dramatic output, as long as they may also have contributed to a progressive conception of orchestration.
Blue: French composers or French-related music; Red: German composers or German-related music. Glück get both colors.
Lists composers and some of their relevant symphonic works, besides samples of their sacred music and dramatic output, as long as they may also have contributed to a progressive conception of orchestration.
Blue: French composers or French-related music; Red: German composers or German-related music. Glück get both colors.
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This is a long time due update version of the SOAL doc file, already prompt for the 4.0 version (to be released soon). Works for SOAL 2.0 & 3.0.
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Abstract: This paper aims to present an experimental method for the analysis of sonority in the piano piece Ressonâncias from the Brazilian composer Marisa Rezende. The construction of sonority in this paper is understood as the resultant... more
Abstract: This paper aims to present an experimental method for the analysis of sonority in the piano piece Ressonâncias from the Brazilian composer Marisa Rezende. The construction of sonority in this paper is understood as the resultant of the interaction between performer and text (score). This understanding is supported by the idea of music as performance (Costa, 2016). When the musical text is understood as something that can represent the entire musical meaning, many musical aspects, such as the performative ones, are missed. The performer, with his own subjectivity, musical view, and personal musical decisions took upon the score contributes as an active subject to the construction of musical meaning. There is not a score capable to encapsulate all the nuances and possibilities that a musical piece presents. The methodological possibility that will be presented has an experimental character, once the musical source of meaning is no longer the written text, but the performance, where the score has already been interpreted and filtrated by the performative view and transformed into real sound.
The analysis of Ressonâncias will focus on one specific performance, that made by the pianist and author of this paper. The interpretation of the piece will prioritize mainly the manipulation of sonority, bringing up aspects of piano timbre that can be manipulated by the performer. As methodological support, this analysis will use records of the piece in public performances and in private study sessions and also a study diary that will bring information about the development of the piece, since the first reading of the score until the moment of its public performances. The sonority in the piece will be analyzed through the recordings made in the process of learning and performing the piece. In a first moment, the performance cues related to timbre used in performance (and noted in the study diary) will serve to separate the piece into sonority units. Done this identification, the main aspect of the sonority in each one of these units will be analyzed adopting Guigue’s method for the analysis of sonority (Guigue, 2012). It is important to reinforce that in this analysis, both the division into sonority units and the identification of the main aspect of the sonority in each unit will be done based on the practical relation with the piece, taking into account this relation as a performer, not only as an analyst.
This kind of analysis is also inserted in what we call artistic research (Coessens et. al., 2009), a kind of understanding that change the research focus to the performer’s view, and most commonly, in one specific performance. The main goal of the proposed analysis is to add the interaction between score and performer as a prime source of musical meaning, as something that will, in fact, determine musical structures, in this case in terms of sonority.
References
COESSENS, Kathleen; CRISPIN, Darla; DOUGLAS, Anne. The artistic turn: a manifesto. Ghent, Leuven University Press, 2009.
COSTA, Valério Fiel da. Morfologia da obra aberta. Curitiba, Prismas, 2016.
GUIGUE, Didier. Estética da Sonoridade. São Paulo, Perspectiva/CNPq/UFPB, 2011.
The analysis of Ressonâncias will focus on one specific performance, that made by the pianist and author of this paper. The interpretation of the piece will prioritize mainly the manipulation of sonority, bringing up aspects of piano timbre that can be manipulated by the performer. As methodological support, this analysis will use records of the piece in public performances and in private study sessions and also a study diary that will bring information about the development of the piece, since the first reading of the score until the moment of its public performances. The sonority in the piece will be analyzed through the recordings made in the process of learning and performing the piece. In a first moment, the performance cues related to timbre used in performance (and noted in the study diary) will serve to separate the piece into sonority units. Done this identification, the main aspect of the sonority in each one of these units will be analyzed adopting Guigue’s method for the analysis of sonority (Guigue, 2012). It is important to reinforce that in this analysis, both the division into sonority units and the identification of the main aspect of the sonority in each unit will be done based on the practical relation with the piece, taking into account this relation as a performer, not only as an analyst.
This kind of analysis is also inserted in what we call artistic research (Coessens et. al., 2009), a kind of understanding that change the research focus to the performer’s view, and most commonly, in one specific performance. The main goal of the proposed analysis is to add the interaction between score and performer as a prime source of musical meaning, as something that will, in fact, determine musical structures, in this case in terms of sonority.
References
COESSENS, Kathleen; CRISPIN, Darla; DOUGLAS, Anne. The artistic turn: a manifesto. Ghent, Leuven University Press, 2009.
COSTA, Valério Fiel da. Morfologia da obra aberta. Curitiba, Prismas, 2016.
GUIGUE, Didier. Estética da Sonoridade. São Paulo, Perspectiva/CNPq/UFPB, 2011.
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This is an english-language extended abstract of my communication at 1st Conference of TeMA (Brazilian Association of Musical Theory and Analysis). Full portuguese text is available in the Proceedings of that Conference.... more
This is an english-language extended abstract of my communication at 1st Conference of TeMA (Brazilian Association of Musical Theory and Analysis). Full portuguese text is available in the Proceedings of that Conference. (https://drive.google.com/file/d/0B25FEDImmu_uTVFXdHBKc0FKeFk/view).
Full english and/or french paper on the subject is in preparation for future publication.
Full english and/or french paper on the subject is in preparation for future publication.
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Considering the hypothesis that intervals of fourths work in Debussy's Étude pour les Quartes as an every-level structuring cell, this paper proposes a harmonic analysis where all chords are drawn from a twelve-tone quartal space. The... more
Considering the hypothesis that intervals of fourths work in Debussy's Étude pour les Quartes as an every-level structuring cell, this paper proposes a harmonic analysis where all chords are drawn from a twelve-tone quartal space. The hypothesis is that Debussy tests the capacity of the quartal matrix to supersede conventional triadic harmony. On another hand, because of this novel networking, the high-level formal articulation demands complementary resources to be more effective, especially concerning perception. For this reason, in a second phase, an analysis of secondary dimensions, such as density and relative range, is attempted to highlight their function. The conclusion points to "unsolved" interactions between the lower- level harmonic system, which recycles some aspects of the tonal rhetoric, although in an experimental quartal space, and a surface that avoids sensation of both continuity and causality.
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There is a more recent version of this doc, available here: https://www.academia.edu/29796175/SOAL_4.0_-_SONIC_OBJECT_ANALYSIS_LIBRARY_-_OpenMusic_Tools_for_analyzing_musical_objects_structure_updated_2016-11_. This one is only for... more
There is a more recent version of this doc, available here: https://www.academia.edu/29796175/SOAL_4.0_-_SONIC_OBJECT_ANALYSIS_LIBRARY_-_OpenMusic_Tools_for_analyzing_musical_objects_structure_updated_2016-11_.
This one is only for archive purposes. Thanks!
This one is only for archive purposes. Thanks!
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This text describes the main features of a methodological approach to musical analysis based on the concept of object. Some examples of the application of this analytic technique are illustrated. Particular attention is given to... more
This text describes the main features of a methodological approach to musical analysis based on the concept of object. Some examples of the application of this analytic technique are illustrated. Particular attention is given to Debussy's Étude pour les Sonorités Opposées and Brouillards.
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"Tant que nous continuerons à nous concentrer presque exclusivement sur le monde de la "note", loin de la réalité du "son", notre technologie analytique restera en deçà des besoins de la création et de la recherche contemporaine."
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[en français plus bas] Starting from the premise that Rameau uses the sound resources of the orchestra as an element that can intervene actively in the articulation of a musical dynamics towards the expression of dramatic output, we... more
[en français plus bas]
Starting from the premise that Rameau uses the sound resources of the orchestra as an element that can intervene actively in the articulation of a musical dynamics towards the expression of dramatic output, we propose in this article to study the Ariette Un Horizon Serein, from the opera Les Boréades, from the perspective of its orchestration. Our goal is to elucidate how the composer manages the orchestral resources in order to make tangible to his listeners the dramatic issues exposed in the poem. After having identified the main topics related to the key words the composer retained from the poem, we describe their configurations by emphasizing the diversity of their sound presentations.
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Partant de la prémisse que Rameau pense les ressources sonores de l’orchestre comme un élément qui peut intervenir activement dans l’articulation d'une dynamique musicale mise au service de l'expression de situations dramatiques, nous nous proposons dans cet article d'étudier l'ariette Un Horizon Serein, de l'opéra Les Boréades, sous l'optique de son orchestration. Notre but est d'élucider comment le compositeur travaille les sonorités orchestrales dans le but de rendre tangibles à ses auditeurs les éléments dramatiques exposés dans le poème. Après avoir identifié les principaux topiques liés aux mot-clefs que le compositeur retient du poème, nous décrivons leurs configurations en insistant sur la diversité de leurs présentations sonores.
Starting from the premise that Rameau uses the sound resources of the orchestra as an element that can intervene actively in the articulation of a musical dynamics towards the expression of dramatic output, we propose in this article to study the Ariette Un Horizon Serein, from the opera Les Boréades, from the perspective of its orchestration. Our goal is to elucidate how the composer manages the orchestral resources in order to make tangible to his listeners the dramatic issues exposed in the poem. After having identified the main topics related to the key words the composer retained from the poem, we describe their configurations by emphasizing the diversity of their sound presentations.
//////////
Partant de la prémisse que Rameau pense les ressources sonores de l’orchestre comme un élément qui peut intervenir activement dans l’articulation d'une dynamique musicale mise au service de l'expression de situations dramatiques, nous nous proposons dans cet article d'étudier l'ariette Un Horizon Serein, de l'opéra Les Boréades, sous l'optique de son orchestration. Notre but est d'élucider comment le compositeur travaille les sonorités orchestrales dans le but de rendre tangibles à ses auditeurs les éléments dramatiques exposés dans le poème. Après avoir identifié les principaux topiques liés aux mot-clefs que le compositeur retient du poème, nous décrivons leurs configurations en insistant sur la diversité de leurs présentations sonores.
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Contribution au livre: RYTHMES BRÉSILIENS Sous la direction de Zélia Chueke L'univers esthétique L'Harmattan, 2013. http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&no=45345&motExact=0&motcle=&mode=AND Aussi édité... more
Contribution au livre: RYTHMES BRÉSILIENS
Sous la direction de Zélia Chueke
L'univers esthétique
L'Harmattan, 2013.
http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&no=45345&motExact=0&motcle=&mode=AND
Aussi édité comme article: LE CONTEMPORAIN. LA MODERNITÉ ET LA "BRÉSILITÉ" PERCEPTION/RÉCEPTION, PARAMÈTRES D'ÉCOUTE.
http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=article&no=30344
Sous la direction de Zélia Chueke
L'univers esthétique
L'Harmattan, 2013.
http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&no=45345&motExact=0&motcle=&mode=AND
Aussi édité comme article: LE CONTEMPORAIN. LA MODERNITÉ ET LA "BRÉSILITÉ" PERCEPTION/RÉCEPTION, PARAMÈTRES D'ÉCOUTE.
http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=article&no=30344
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État des lieux de mon travail (en 2013) sur l'application de méthodes qui permettraient d'évaluer l'impact des stratégies d'orchestration sur la structure. Pour l'expérience, mon choix s'est porté sur les Variations op. 30 de Webern. La... more
État des lieux de mon travail (en 2013) sur l'application de méthodes qui permettraient d'évaluer l'impact des stratégies d'orchestration sur la structure. Pour l'expérience, mon choix s'est porté sur les Variations op. 30 de Webern. La première étape de l'approche, exposée ici, prend sa source dans les informations consignées par le compositeur dans la partition. La méthode passe par la réalisation d'une pondération qualitative de toutes les configurations instrumentales, pour laquelle l'évaluation du taux d'indépendance des parties joue un rôle décisif.
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Cette communication , qui compléte et actualise celle presenté en 2013 aux JAM ("Une méthode d'analyse de l'orchestration: rapport de recherche appliquée aux Variations op. 30 de Webern") présente l'état actuel de notre projet... more
Cette communication , qui compléte et actualise celle presenté en 2013 aux JAM ("Une méthode d'analyse de l'orchestration: rapport de recherche appliquée aux Variations op. 30 de Webern") présente l'état actuel de notre projet d'élaboration d'un modèle méthodologique pour l'analyse de l'impact que les stratégies d'orchestration peuvent avoir sur la dynamique formelle et sa perception. Le modèle aborde l’œuvre à partir de deux angles : la partition, de laquelle sont extraites les informations d'orchestration et d'instrumentation consignées par le compositeur, et un ou plusieurs enregistrements, qui sont analysés par des descripteurs appropriés afin de juger de l'effet concret de ces prescriptions, et de voir jusqu'à quel point leur impact sur la forme en est le reflet. Ce modèle fait appel à des outils informatiques qui aident le musicologue dans l'obtention des données nécessaires. Ceux-ci sont développés dans Audiosculpt et OpenMusic. Au final, ces outils pourraient aboutir à une application dédiée.
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Objet central de réflexion et caractéristique déterminante dans l'Art moderne, la fluidité est célébrée par Mallarmé, défenseur de la mouvance impressionniste. Dans cet ouvrage, Historiens de l'Art, Philosophes, Musicologues et... more
Objet central de réflexion et caractéristique déterminante dans l'Art moderne, la fluidité est célébrée par Mallarmé, défenseur de la mouvance impressionniste. Dans cet ouvrage, Historiens de l'Art, Philosophes, Musicologues et spécialistes se penchent sur ce concept tant esthétique et stylistique que technique. Didier Guigue aborde la question de la fluidité du temps musical chez Debussy et quelques autres.
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William S. Newman affirme qu'il existe dans les sonates de Beethoven de nombreuses évidences tendant à montrer qu'il regardait les qualités timbrales particulières des pianos viennois comme un paramètre fondamental pour son écriture, et... more
William S. Newman affirme qu'il existe dans les sonates de Beethoven de nombreuses évidences tendant à montrer qu'il regardait les qualités timbrales particulières des pianos viennois comme un paramètre fondamental pour son écriture, et ce, tout au long de sa vie créatrice. Or, un certain consensus dans la littérature musicologique veut qu'avantDebussy, tout travail compositionnel sur les timbres au piano, s'il existe, soit systématiquement asservi à l'organisation formelle des hauteurs. Pourtant, on connait assez bien la méthode de travail de Beethoven, et « sa façon de faire entrer détails et structure globale en rapports plus étroits que chez tout autre compositeur » (ROSEN). Si ces "détails secondaires", dont il est inévitable qu'une partie concerne le timbre, sont conçus simultanément, voire antérieurement, au matériau thématique, on ne voit pas comment ils lui seraient subordonnés. Il est plus probable que l'ensemble des composants de l'écriture interagit dans le processus de création, et il serait étonnant que Beethoven se contente toujours de rapports stables et unifonctionnels entre le timbre et les autres composants de son écriture. Cet article analyse certains passages de la Sonate op. 106 (Hammerklavier) sous cet angle de vue.
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L'analyse que Dieter SCHNEBEL a faite du prélude "Brouillards" de DEBUSSY est prise comme point de départ pour exposer une formalisation de lâanalyse du rôle fonctionnel de la sonorité dans lâarticulation de la forme. La sonorité est ici... more
L'analyse que Dieter SCHNEBEL a faite du prélude "Brouillards" de DEBUSSY est prise comme point de départ pour exposer une formalisation de lâanalyse du rôle fonctionnel de la sonorité dans lâarticulation de la forme. La sonorité est ici entendue comme une dimension abstraite de la composition. Nous souhaitons démontrer par quels moyens, dans cette þuvre, la conception compositionnelle de DEBUSSY implique une dilution du pouvoir structurant habituellement confié à lâélément motivico-chromatique, dans les systèmes dâarticulation des sonorités. Il existe encore peu de stratégies analytiques capables de répondre à cette émancipation historique et les insights de SCHNEBEL donnent de précieuses pistes que nous nous sommes proposé de développer.
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"La Cathédrale engloutie" semble exemplairement l'oeuvre au sujet de laquelle le discours analytique ne tend que trop souvent à se retrancher derrière une profusion de métaphores poétiques de peu de recours pour sa compréhension formelle.... more
"La Cathédrale engloutie" semble exemplairement l'oeuvre au sujet de laquelle le discours analytique ne tend que trop souvent à se retrancher derrière une profusion de métaphores poétiques de peu de recours pour sa compréhension formelle. Or, Jarocinsky a bien insisté sur le fait que tout examen "qui n'aborde pas les valeurs purement sonores qu'elle recèle, doit être jugé incomplet, partiel et déformant son véritable aspect". Toutefois, la plupart des travaux qui, cherchant à analyser la configuration et le rôle formel des sonorités dans ce Prélude, vont au-delà de la description métaphorique, abordent cet aspect par des moyens qui ne permettent que des observations très générales, ou la description locale d'effets pianistiques de timbre, sans pouvoir préciser techniquement leurs dynamiques interne et externe.Le présent travail cherche à pallier partiellement à ce déficit, en proposant une méthode spécifique d'investigation de la partition, qui soit à même de fournir des réponses strictement techniques sur les stratégies mises en oeuvre par le compositeur pour articuler un des composants de l'écriture qui participe de la configuration de ces "valeurs purement sonores" dont parle Jarocinsky, à savoir : l'utilisation de l'espace.
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Malgré tout lâintérêt que cette þuvre singulière a pu susciter, il semble extrêmement difficile dâélucider, au moyen des outils théoriques dont la musicologie contemporaine dispose, comment DEBUSSY est parvenu, techniquement, à réaliser... more
Malgré tout lâintérêt que cette þuvre singulière a pu susciter, il semble extrêmement difficile dâélucider, au moyen des outils théoriques dont la musicologie contemporaine dispose, comment DEBUSSY est parvenu, techniquement, à réaliser une composition bâtie sur un paradigme dâopposition de sonorités. Cet essai, au-delà de la tentative de réponse à cette problématique, vise à mettre en lumière certains éléments structurels spécifiques et sans doute fondamentaux du langage pianistique de DEBUSSY, en ce quâil recèle de plus prospectif pour la musique du XXe siècle : une pensée compositionnelle qui, se libérant des contraintes dâune logique structurante exclusivement motivico-thématico-harmonique, se réalise à partir du concept dâobjet sonore fonctionnellement articulé, responsable pour lâessentiel de la dynamique formelle, une pensée orientée objets.
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L'analyse des listes de vélocités fournies par le fichier-Midi de l'enregistrement numérique d'une interprétation de 'La Cathédrale Engloutie' réalisé en situation de concert, permet de mettre à jour très précisément certains aspects de... more
L'analyse des listes de vélocités fournies par le fichier-Midi de l'enregistrement numérique d'une interprétation de 'La Cathédrale Engloutie' réalisé en situation de concert, permet de mettre à jour très précisément certains aspects de la stratégie de lâinterprète face au problème de la sonorité debussyenne, et plus particulièrement des rapports timbre/intensité. Elle apporte en outre des données sur les corrélations entre les prescriptions écrites et leur réalisation effective.
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Our contribution to the analytic litterature upon Berio’s Sequenza IV for piano aims to address the way the composer controls the evolution of the sonic relative complexity of chord objects. It probably makes sense to suppose that the... more
Our contribution to the analytic litterature upon Berio’s Sequenza IV for piano aims to address the way the composer controls the evolution of the sonic relative complexity of chord objects. It probably makes sense to suppose that the Sequenza’s structure is generated through a ‘out–of–phase’ polyphony of sonic dimensions, and the reader will see that some of our conclusions agree with this premise.
Access here the summary of the book and all contributions:
http://www.ashgate.com/isbn/9780754654452
Read this chapter on line :
http://books.google.com/books?id=nmA7d7kjynoC&pg=PA209&hl=pt-PT&source=gbs_toc_r&cad=0_0
Access here the summary of the book and all contributions:
http://www.ashgate.com/isbn/9780754654452
Read this chapter on line :
http://books.google.com/books?id=nmA7d7kjynoC&pg=PA209&hl=pt-PT&source=gbs_toc_r&cad=0_0
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Résumé de la thèse, avec liens vers les lieux ou elle est disponible pour la consultation ou l'achat.
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We introduce a method for computer-assisted analysis of orchestration. We also look into the role that texture and orchestration have in structuring musical form. The method comprises a numerical representation, a hierarchy of ‘textural... more
We introduce a method for computer-assisted analysis of orchestration. We also look into the role that texture and orchestration have in structuring musical form. The method comprises a numerical representation, a hierarchy of ‘textural situations’ and measures for heterogeneity, diversity and complexity of orchestral-textural configurations.
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Neste artigo será apresentada uma análise da sonoridade na peça Ressonâncias (1983), de Marisa Rezende, onde o objetivo central foi a inserção de elementos advindos da performance na análise. Em um primeiro momento, foram identificados os... more
Neste artigo será apresentada uma análise da sonoridade na peça Ressonâncias (1983), de Marisa Rezende, onde o objetivo central foi a inserção de elementos advindos da performance na análise. Em um primeiro momento, foram identificados os elementos essenciais para a construção da sonoridade nesta interpretação da peça, sendo eles: uso dos pedais, utilização dos registros e toque pianístico. Vistos estes elementos centrais, segue a análise propriamente dita, onde, a partir dos conceitos de Guigue (2011) a respeito da análise da sonoridade, tais elementos serão verificados através de dados obtidos a partir de uma gravação da peça, executada pela pianista e primeira autora deste artigo. O material analisado consiste em dados MIDI e áudio, dos quais informações sobre velocity, valor Q, centroide espectral e espectrograma foram extraídas. Os resultados preliminares mostraram esta metodologia experimental como uma possibilidade válida na inserção da performance na análise musical.
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Partant de la premisse que Rameau pense les ressources sonores de l’orchestre comme un élément qui peut intervenir activement dans l’articulation d'une dynamique musicale mise au service de l'expression de situations dramatiques,... more
Partant de la premisse que Rameau pense les ressources sonores de l’orchestre comme un élément qui peut intervenir activement dans l’articulation d'une dynamique musicale mise au service de l'expression de situations dramatiques, nous nous proposons dans cet article d'étudier l'ariette Un Horizon Serein, de l'opéra Les Boréades, sous l'optique de son orchestration. Notre but est d'élucider comment le compositeur travaille les sonorités orchestrales dans le but de rendre tangibles à ses auditeurs les éléments dramatiques exposés dans le poème. Après avoir identifié les principaux topiques liés aux mot-clefs que le compositeur retient du poème, nous décrivons leurs configurations en insistant sur la diversité de leurs présentations sonores.
Research Interests: Humanities and Art
This paper summarizes a preparatory research for an in-deep analysis of Serynade for piano (1998) by Helmut Lachenmann, which is part of a project on Twentieth Century music's aesthetics of sonority. I chose to stress upon some of the... more
This paper summarizes a preparatory research for an in-deep analysis of Serynade for piano (1998) by Helmut Lachenmann, which is part of a project on Twentieth Century music's aesthetics of sonority. I chose to stress upon some of the composer's main theoretical concepts, illustrating them with samples of his output for piano. Besides, this publication aims to providing resources in Portuguese about one of the most important composer of the present.
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Esta comunicacao constitui um recorte de uma pesquisa em andamento, que persegue dois objetivos: (1) estabelecer um metodo de analise da orquestracao que venha subsidiar, para esta dimensao especifica, o conceito de sonoridade como... more
Esta comunicacao constitui um recorte de uma pesquisa em andamento, que persegue dois objetivos: (1) estabelecer um metodo de analise da orquestracao que venha subsidiar, para esta dimensao especifica, o conceito de sonoridade como elemento estruturante da forma musical; (2) evidenciar, nas Variacoes op. 30 de Webern, a interacao do que chamamos de nivel "primario" da composicao (organizacao do material motivico-serial) com o nivel " secundario" que constitui as estrategias de organizacao dos recursos sonoros que o compositor escolheu. O recorte aborda, apenas, a configuracao das distribuicoes instrumentais e das texturas, e sugere relacoes com a estruturacao do nivel primario.
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On se doute que Debussy ne se serait pas beaucoup réjoui d’être présent dans un volume consacré à l’impressionnisme. Malgré la mise au point, à mon sens définitive, de Stephan Jarocinsky, qui prône et justifie le respect à son refus des... more
On se doute que Debussy ne se serait pas beaucoup réjoui d’être présent dans un volume consacré à l’impressionnisme. Malgré la mise au point, à mon sens définitive, de Stephan Jarocinsky, qui prône et justifie le respect à son refus des étiquettes, l’association persiste, due peut-être d’une part à une certaine force d’inertie, et d’autre part parce qu’elle n’est, malgré tout, encore que restrictive, pas dénuée de pertinence, sous certains angles. Par contre, l’expression « subtile fluidité »..
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Posto que a entropia (SHANNON, 1948) nos permite mensurar o quao preditiva e a informacao musical, investigamos dados sobre a progressao ou recessao das texturas ritmicas (GENTIL-NUNES; CARVALHO, 2003) − calculadas a partir das relacoes... more
Posto que a entropia (SHANNON, 1948) nos permite mensurar o quao preditiva e a informacao musical, investigamos dados sobre a progressao ou recessao das texturas ritmicas (GENTIL-NUNES; CARVALHO, 2003) − calculadas a partir das relacoes de contraste e redundância ocasionadas pela simultaneidade dos eventos sonoros – incorporando-os a nocao de Unidade Sonora Composta (GUIGUE, 2011) com o proposito de compreendermos o impacto da tensao textural a elevacao ou decrescimo do conteudo informacional da peca Sinfonia em Quadrinhos (1986) do compositor Hermeto Pascoal (1936). Constatamos que tanto a entropia quanto as texturas ritmicas contribuem para a estruturacao da complexidade sonora a partir de contrastes locais gerados pelos dois parâmetros nos trechos analisados.
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Musical form and orchestration are closely related dimensions of the musical discourse. Despite the proposition of several practical tools for assisted-orchestration in the past few years, scarcely any computational methods for analyzing... more
Musical form and orchestration are closely related dimensions of the musical discourse. Despite the proposition of several practical tools for assisted-orchestration in the past few years, scarcely any computational methods for analyzing the role of orchestration in shaping musical form and its perception have been put forward. As an answer to that, in this presentation, we discuss a couple of Open-Music functions we designed for estimating the textural complexity of a piece's successive formal segments and sections. The calculations behind the functions originate in an appropriation of the mathematical theory of integer partitions and Wallace Berry's ideas on musical texture. In the current stage, our estimation of textural complexity is carried out upon the composer's prescriptions found on the musical score. Nevertheless, the work we present here is part of an overall model that ultimately aims to analyze form and orchestration combining symbolical and signal data, th...
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... Page 24. piano, has been used as the beginning of the second movement of the piano suite Apparitions (2001) by the same author, called I nobili Elfi del bosco
(The Noble Elves Of The Woods
), which you can see in fig.20. ...
Research Interests: Music Theory, Musicology, Atonal Music, Contemporary Music, Music analysis, and 11 moreTimbre, Tone Colour Training, Contemporary Classical Music, Counterpoint, Avant Garde, Avant Garde Music, Analytical Musicology, Chords in Atonal Music, Harmony Classical, Modern Orchestral Music, and Modern harmony
Ainda que incompletos, os dados fornecidos pelas pesquisas cientificas sobre a acustica do piano nessas ultimas decadas permitem destacar com precisao um comportamento tipico do instrumento, que pode ser reduzido a um principio de... more
Ainda que incompletos, os dados fornecidos pelas pesquisas cientificas sobre a acustica do piano nessas ultimas decadas permitem destacar com precisao um comportamento tipico do instrumento, que pode ser reduzido a um principio de decrescimo ponderado da complexidade de espectros proporcional a altura da frequencia fundamental. Explicitadas as causas deste principio, este texto recorda em que medida esta “permanencia causal” (Schaeffer) pode ser moldada pelas diversas modalidades de acao sobre a interface do instrumento e mostra como o controle do compositor e do interprete se exercem sobre as duas dimensoes que determinam a qualidade (timbristica) inicial de uma dada altura – os registros e as intensidades. Destaca-se destas observacoes uma dissociacao funcional fundamental entre estas duas dimensoes: a escrita do registro impoe uma escolha passiva dentre as invariantes possiveis e a escrita das intensidades indica uma direcao e uma taxa de modulacoes a serem efetuadas sobre as invariantes escolhidas. Apos uma sessao sobre a incidencia da acao dos pedais sobre o timbre, e proposta uma avaliacao geral das condicoes de controle das variaveis, do que se conclui que a notacao, mesmo a convencional, e capaz de representar simbolicamente o timbre resultante das prescricoes notadas, desde que formalizadas as correlacoes entre o som e o simbolo e definida uma estrategia funcional de decodificacao. Palavras-chave: Piano; Organologia; Acustica; Timbre; Performance; Composicao para piano; Analise.
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Earle Brown’s “25 pages for 1 to 25 pianos” is a typical “open form” composition, which let a range of variables up to the performer’s decision. We explain why it represents a good case study for a web interactive implementation, on a... more
Earle Brown’s “25 pages for 1 to 25 pianos” is a typical “open form” composition, which let a range of variables up to the performer’s decision. We explain why it represents a good case study for a web interactive implementation, on a musical as well as on a computing point of view. Then we describe how this implementation is being done in Java, discuss problems, solutions and on-going developments.
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Segmentation is a central task in Musical Analysis. We can say that it is the partition of a musical flow, usually following some set of criteria, into homogeneous segments. This paper introduces the Sonic Object Segmentator (SOS), a... more
Segmentation is a central task in Musical Analysis. We can say that it is the partition of a musical flow, usually following some set of criteria, into homogeneous segments. This paper introduces the Sonic Object Segmentator (SOS), a computer tool designed for this task. The theoretical model SOS is based on is Sonic Object Oriented Analysis. It considers the sonic object as the basic component of musical structure. It is defined as the result of the combination and interaction of some statistical components that describe distribution patterns of pitches in space and time. The model also asserts that a continuity break in at least one of these components strongly points out a new structurally significant unit. SOS’ structure is based on Mathema, a multiagent system where artificial agents, each one with a specific knowledge about one of these components, and the human user cooperate in order to accomplish some task. SOS attempts to find, for a given musical work (MIDI formatted), th...
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Este artigo apresenta uma analise da sonoridade em partes selecionadas de duas performances das Cartas Celestes I (1974) de Almeida Prado, para piano solo, e desta peca como um todo. O objetivo principal desta analise e apresentar uma... more
Este artigo apresenta uma analise da sonoridade em partes selecionadas de duas performances das Cartas Celestes I (1974) de Almeida Prado, para piano solo, e desta peca como um todo. O objetivo principal desta analise e apresentar uma metodologia onde as decisoes performaticas sao compreendidas como importantes fontes de informacao, com atencao especial para os aspectos sonoros da peca. Neste contexto, a obra musical e entendida como processo, uma vez que a partitura e apenas um dos elementos que influenciarao no resultado final (Costa, 2016). A metodologia consistiu em tres etapas principais, e se baseou na metodologia de analise da sonoridade de Guigue (2009): (1) a primeira etapa foi o processo artistico, que levou a construcao das duas performances da peca pela mesma pianista (a primeira autora deste artigo), com diferentes e contrastantes decisoes performaticas, e as gravacoes destas; (2) entao, a peca foi dividida em unidades sonoras homogeneas, sempre tendo as decisoes perfor...
Considerando a hipotese que o intervalo de quarta funciona, no Etude pour les Quartes de Debussy, como celula estruturante em todos os niveis, este artigo propoe uma analise harmonica em que todos os acordes se encontram incluidos em um... more
Considerando a hipotese que o intervalo de quarta funciona, no Etude pour les Quartes de Debussy, como celula estruturante em todos os niveis, este artigo propoe uma analise harmonica em que todos os acordes se encontram incluidos em um espaco quartal de doze sons. A hipotese e que Debussy pode ter desejado testar a capacidade da matriz quartal em superar a harmonia triadica convencional. Por outro lado, por causa deste novo networking , a articulacao macro-formal demanda recursos complementares para se tornar mais efetiva, no que diz respeito, especialmente, a percepcao. Por esta razao e que, numa segunda etapa, fazemos uma analise de algumas das dimensoes secundarias, tal como a densidade e o ambito relativo , em uma tentativa de realcar a sua funcao. A conclusao aponta para interacoes "nao resolvidas" entre o sistema harmonico de nivel inferior, e uma superficie que evita sensacoes de continuidade e causalidade.
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Abstract Segmentation is one of the main tasks within the musical analysis. We can say that segmentation is the partition of a musical flow into homogeneous segments, accordingly to certain criteria. These criteria are particular to each... more
Abstract Segmentation is one of the main tasks within the musical analysis. We can say that segmentation is the partition of a musical flow into homogeneous segments, accordingly to certain criteria. These criteria are particular to each analytical model. This paper discusses ...
Résumé de la thèse, avec liens vers les lieux ou elle est disponible pour la consultation ou l'achat.
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A short summary of ten years of research activities at the GMT/Mus3, including the history of research projects, a selected bibliography and a list of members.
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Por constituírem uma longa série composta durante considerável parte de sua trajetória artística, os Momentos de Almeida Prado se tornam a priori um testemunho privilegiado de sua estética e técnica composicional, inclusive,... more
Por constituírem uma longa série composta durante considerável parte de sua trajetória artística, os Momentos de Almeida Prado se tornam a priori um testemunho privilegiado de sua estética e técnica composicional, inclusive, possivelmente, da sua evolução no tempo. Investigamos este corpus (assim como, pontualmente, outras obras pianísticas significativas) com o intuito de identificar denominadores estilísticos ou técnicos. Nosso objetivo é realizar, até onde for possível, uma síntese cuja função é, em última análise, de fundamentar a inserção do compositor como uma figura atualmente predominante no grande eixo estético que começa com Debussy e passa por Villa-Lobos, Messiaen e, ainda que tangencialmente, por Boulez, Stockhausen e Murail. Objetos sonoros que se articulam em classes organizadas sintagmaticamente, ou que se ramificam a partir de uma matriz, ou ainda estruturas espectrais manipuladas para gerar dinâmicas formais, são as principais estratégias composicionais que identif...
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Segmentation is a central task in Musical Analysis. We can say that it is the partition of a musical flow, usually following some set of criteria, into homogeneous segments. This paper introduces the Sonic Object Segmentator (SOS), a... more
Segmentation is a central task in Musical Analysis. We can say that it is the partition of a musical flow, usually following some set of criteria, into homogeneous segments. This paper introduces the Sonic Object Segmentator (SOS), a computer tool designed for this task. The theoretical model SOS is based on is Sonic Object Oriented Analysis. It considers the sonic
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Research Interests: Music Theory, Musicology, Atonal Music, Contemporary Music, Avant-Garde, and 13 moreMusic analysis, 20th century Avant-Garde, Timbre, Tone Colour Training, Contemporary Classical Music, Counterpoint, Avant Garde Music, 20th Century Avantgarde, Analytical Musicology, Chords in Atonal Music, Harmony Classical, Modern Orchestral Music, and Modern harmony
In this paper we present three artists of Brazilian experimental music scene, working with women's inclusion in the field. Natacha Maurer and Renata Roman produce, since December 2015, a series of concerts called Dissonant, where female... more
In this paper we present three artists of
Brazilian experimental music scene, working with women's
inclusion in the field. Natacha Maurer and Renata
Roman produce, since December 2015, a series of
concerts called Dissonant, where female participation
has to be at least fifty per cent of all artists. Vanessa de
Michelis ministers since 2013 workshops for "stage assembly
do-it-yourself" for women and lesbians. We try
to point the profile of this field, demonstrating the importance
of the work that these three artists / composers
have developed especially through the launch of
other women in this, but also for its own artistic and
pedagogical work (in the case of Vanessa), mainly in the
present political moment in Brazil, characterized by an
institutional coup that was forged from old marks that
are still very current in Brazilian society such as misogyny,
sexism, elitism and racism. We use the notion of
field developed by Pierre Bourdieu, and references as
Georgina Born and Rosane Borges. For writing the paper
we interviewed the composers/creators and important
producers in the field. We also analysed documental
sources like concert programs, CD's inserts and concerts
calls on the internet.
Brazilian experimental music scene, working with women's
inclusion in the field. Natacha Maurer and Renata
Roman produce, since December 2015, a series of
concerts called Dissonant, where female participation
has to be at least fifty per cent of all artists. Vanessa de
Michelis ministers since 2013 workshops for "stage assembly
do-it-yourself" for women and lesbians. We try
to point the profile of this field, demonstrating the importance
of the work that these three artists / composers
have developed especially through the launch of
other women in this, but also for its own artistic and
pedagogical work (in the case of Vanessa), mainly in the
present political moment in Brazil, characterized by an
institutional coup that was forged from old marks that
are still very current in Brazilian society such as misogyny,
sexism, elitism and racism. We use the notion of
field developed by Pierre Bourdieu, and references as
Georgina Born and Rosane Borges. For writing the paper
we interviewed the composers/creators and important
producers in the field. We also analysed documental
sources like concert programs, CD's inserts and concerts
calls on the internet.
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Várias abordagens da obra de Villa-Lobos, desde a sua atividade como educador, compositor, orquestrador, etc.
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Resumo: Partimos do conceito de invariância definido por Costa (2016) para compreendermos até que ponto a duração das 31 (trinta e uma) seções da Sinfonia em Quadrinhos (1986) de Hermeto Pascoal (1934) mantém certa estabilidade em 03... more
Resumo: Partimos do conceito de invariância definido por Costa (2016) para compreendermos até que ponto a duração das 31 (trinta e uma) seções da Sinfonia em Quadrinhos (1986) de Hermeto Pascoal (1934) mantém certa estabilidade em 03 (três) amostras da peça: a partitura e duas gravações. Constatamos que apesar das diferenças de tempo das performances em relação à notação, os desvios são pouco significativos e as seções funcionam como estruturas fixas para criações espontâneas do próprio compositor no ato de sua execução. Palavras-chave: Hermeto Pascoal. Sinfonia em Quadrinhos. Invariância. Time as a Factor of Invariance in Performances of The Comic Strip Symphony by Brazilian Composer Hermeto Pascoal Abstract: We start from the concept of invariance defined by Costa (2016) to understand to what extent the duration of the 31 (thirty-one) sections of The Comic Strip Symphony (1986) by Brazilian composer Hermeto Pascoal (1936) maintains some stability in 03 (three) samples of the music: the score and two recordings. We found that despite the time differences of the performances in relation to the notation, the deviations are insignificant and the sections function as fixed structures for spontaneous creations of the composer himself in the act of his execution. Em Beyond the Score, Cook (2014) argumenta que a ênfase do texto na academia tem dificultado a compreensão da música enquanto ato performático, colocando o(a) intérprete numa espécie de "camisa de força textual", desqualificando à noção de que o significado musical é produzido em tempo real (ou seja, na performance). O fato do musicólogo explorar novas perspectivas analíticas por meio da etnografia, da análise de gravações utilizando ferramentas computacionais e das relações sociais construídas entre performance e ouvinte aparenta-nos um interesse conciliativo de reconsiderar o ato performático como instância efetiva do fazer musical propondo estratégias investigativas que não necessariamente sejam dependentes do texto musical 1. Entrementes, entendemos a partitura como uma técnica de invenção auxiliada por uma representação gráfica, um lugar de especulação, um código que, dando forma, com mais
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Posto que a entropia (SHANNON, 1948) nos permite mensurar o quão preditiva é a informação musical, investigamos dados sobre a progressão ou recessão das texturas rítmicas (GENTIL-NUNES; CARVALHO, 2003) − calculadas a partir das relações... more
Posto que a entropia (SHANNON, 1948) nos permite mensurar o quão preditiva é a informação musical, investigamos dados sobre a progressão ou recessão das texturas rítmicas (GENTIL-NUNES; CARVALHO, 2003) − calculadas a partir das relações de contraste e redundância ocasionadas pela simultaneidade dos eventos sonoros – incorporando-os à noção de
Unidade Sonora Composta (GUIGUE, 2011) com o propósito de compreendermos o impacto da tensão textural à elevação ou decréscimo do conteúdo informacional da peça Sinfonia em Quadrinhos (1986) do compositor Hermeto Pascoal (1936). Constatamos que tanto a entropia
quanto as texturas rítmicas contribuem para a estruturação da complexidade sonora a partir de contrastes locais gerados pelos dois parâmetros nos trechos analisados.
Unidade Sonora Composta (GUIGUE, 2011) com o propósito de compreendermos o impacto da tensão textural à elevação ou decréscimo do conteúdo informacional da peça Sinfonia em Quadrinhos (1986) do compositor Hermeto Pascoal (1936). Constatamos que tanto a entropia
quanto as texturas rítmicas contribuem para a estruturação da complexidade sonora a partir de contrastes locais gerados pelos dois parâmetros nos trechos analisados.
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The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum... more
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum pattern, a background pad repeating a three-chords harmonic cycle, an eventual glissando effect, and some semi-aleatory 'piano' sound entries. Such a minimalist ambient gives all room and freedom for the astounding vocal part. Assisted by a thrilling use of the Autotune (especially in the S1 part) and the Vocoder (S3), the singer delivers a highly sensible and poetical performance of the lyrics. The overall structure – a static repeated bass cycle which serves as background for a highly developed (and/or improvised) soloist part – refers to the ancient form of Chaconna.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
Research Interests:
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum... more
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum pattern, a background pad repeating a three-chords harmonic cycle, an eventual glissando effect, and some semi-aleatory 'piano' sound entries. Such a minimalist ambient gives all room and freedom for the astounding vocal part. Assisted by a thrilling use of the Autotune (especially in the S1 part) and the Vocoder (S3), the singer delivers a highly sensible and poetical performance of the lyrics. The overall structure – a static repeated bass cycle which serves as background for a highly developed (and/or improvised) soloist part – refers to the ancient form of Chaconna.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
Research Interests:
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum... more
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum pattern, a background pad repeating a three-chords harmonic cycle, an eventual glissando effect, and some semi-aleatory 'piano' sound entries. Such a minimalist ambient gives all room and freedom for the astounding vocal part. Assisted by a thrilling use of the Autotune (especially in the S1 part) and the Vocoder (S3), the singer delivers a highly sensible and poetical performance of the lyrics. The overall structure – a static repeated bass cycle which serves as background for a highly developed (and/or improvised) soloist part – refers to the ancient form of Chaconna.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Research Interests:
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum... more
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum pattern, a background pad repeating a three-chords harmonic cycle, an eventual glissando effect, and some semi-aleatory 'piano' sound entries. Such a minimalist ambient gives all room and freedom for the astounding vocal part. Assisted by a thrilling use of the Autotune (especially in the S1 part) and the Vocoder (S3), the singer delivers a highly sensible and poetical performance of the lyrics. The overall structure – a static repeated bass cycle which serves as background for a highly developed (and/or improvised) soloist part – refers to the ancient form of Chaconna.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Research Interests:
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum... more
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum pattern, a background pad repeating a three-chords harmonic cycle, an eventual glissando effect, and some semi-aleatory 'piano' sound entries. Such a minimalist ambient gives all room and freedom for the astounding vocal part. Assisted by a thrilling use of the Autotune (especially in the S1 part) and the Vocoder (S3), the singer delivers a highly sensible and poetical performance of the lyrics. The overall structure – a static repeated bass cycle which serves as background for a highly developed (and/or improvised) soloist part – refers to the ancient form of Chaconna.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Research Interests:
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum... more
The Youtube link below opens a graphic view of the material and structure of the song 'Human Nature' by Sevdaliza (from the CD 'The Calling' (Twisted Elegance, 2018). I'd like to stress the economy of sound materials – a single drum pattern, a background pad repeating a three-chords harmonic cycle, an eventual glissando effect, and some semi-aleatory 'piano' sound entries. Such a minimalist ambient gives all room and freedom for the astounding vocal part. Assisted by a thrilling use of the Autotune (especially in the S1 part) and the Vocoder (S3), the singer delivers a highly sensible and poetical performance of the lyrics. The overall structure – a static repeated bass cycle which serves as background for a highly developed (and/or improvised) soloist part – refers to the ancient form of Chaconna.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Research Interests:
A framework draft to understand the roots of modernism (i.e. protomodernism, proto-romantism) in XIXth Century orchestral writing, through the French/German connections. The timeline lists composers and their relevant symphonic works on... more
A framework draft to understand the roots of modernism (i.e. protomodernism, proto-romantism) in XIXth Century orchestral writing, through the French/German connections. The timeline lists composers and their relevant symphonic works on this aspect, as well as their sacred music or operas when committed with a prospective conception of orchestration.
Blue: German composers or music; Red: French composers or music (Gluck get both colors).
Blue: German composers or music; Red: French composers or music (Gluck get both colors).