{"title":"Créé dans Le Vivier","authors":"Gabrielle Blais-Sénéchal","doi":"10.7202/1042844AR","DOIUrl":"https://doi.org/10.7202/1042844AR","url":null,"abstract":"","PeriodicalId":53890,"journal":{"name":"Circuit","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80761530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction. Art + son = art sonore ?","authors":"Annelies Fryberger","doi":"10.7202/1069079ar","DOIUrl":"https://doi.org/10.7202/1069079ar","url":null,"abstract":"","PeriodicalId":53890,"journal":{"name":"Circuit","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82091854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cet article est ecrit en deux temps. Retournant au moment de l’emergence du Quatuor Bozzini au debut des annees 2000, il retrace certaines des propositions esthetiques de l’ensemble, et analyse la maniere dont elles ont participe a une certaine redefinition du mandat d’un ensemble de musique contemporaine, ainsi qu’a une nouvelle comprehension de la collaboration. L’article se tourne ensuite vers les temoignages de six collaborateur.ice.s du Quatuor, soit Eliane Radigue, Phill Niblock, Marc Boivin, Nicole Lizee, Simon Martin et James O’Callaghan. Ces six artistes soulignent, presque d’un commun effort, dirait-on, le serieux et l’immense sensibilite avec lesquels le Quatuor Bozzini traverse les differentes spheres creatrices proposees par leurs collaborateurs, ou encore initiees de leur propre chef.
{"title":"Quatuor Bozzini : de l’audace underground et upperground","authors":"Emanuelle Majeau-Bettez","doi":"10.7202/1066483AR","DOIUrl":"https://doi.org/10.7202/1066483AR","url":null,"abstract":"Cet article est ecrit en deux temps. Retournant au moment de l’emergence du Quatuor Bozzini au debut des annees 2000, il retrace certaines des propositions esthetiques de l’ensemble, et analyse la maniere dont elles ont participe a une certaine redefinition du mandat d’un ensemble de musique contemporaine, ainsi qu’a une nouvelle comprehension de la collaboration. L’article se tourne ensuite vers les temoignages de six collaborateur.ice.s du Quatuor, soit Eliane Radigue, Phill Niblock, Marc Boivin, Nicole Lizee, Simon Martin et James O’Callaghan. Ces six artistes soulignent, presque d’un commun effort, dirait-on, le serieux et l’immense sensibilite avec lesquels le Quatuor Bozzini traverse les differentes spheres creatrices proposees par leurs collaborateurs, ou encore initiees de leur propre chef.","PeriodicalId":53890,"journal":{"name":"Circuit","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78612469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Recent scholarship suggests that the music of Austrian composer Georg Friedrich Haas can be understood as a dramatic confrontation between “clashing harmonic systems” (Hasegawa, 2015). Building on this observation, the present article focuses on Haas’s recent endeavors in the genre of live electronic music, showing how the composer deploys a relatively straightforward technical procedure—the reinjection loop, or the delayed playback of recorded sound at various speeds—to juxtapose different modes of pitch organization, including twelve-tone equal temperament, ultrachromatic microtonality, and just intonation. After surveying the composer’s relationship to these historical idioms, the article presents detailed analyses of two pieces (Ein Schattenspiel and String Quartet No. 4) to illustrate how the reinjection loop operates at multiple registers simultaneously, bringing the performers into contact with their immediate past, while also bringing Haas into dialogue with the shadows of his own compositional predecessors.
{"title":"Playing with Shadows: Reinjection Loops and Historical Allusion in Georg Friedrich Haas’s Live Electronic Music","authors":"Landon Morrison","doi":"10.7202/1062568ar","DOIUrl":"https://doi.org/10.7202/1062568ar","url":null,"abstract":"Recent scholarship suggests that the music of Austrian composer Georg Friedrich Haas can be understood as a dramatic confrontation between “clashing harmonic systems” (Hasegawa, 2015). Building on this observation, the present article focuses on Haas’s recent endeavors in the genre of live electronic music, showing how the composer deploys a relatively straightforward technical procedure—the reinjection loop, or the delayed playback of recorded sound at various speeds—to juxtapose different modes of pitch organization, including twelve-tone equal temperament, ultrachromatic microtonality, and just intonation. After surveying the composer’s relationship to these historical idioms, the article presents detailed analyses of two pieces (Ein Schattenspiel and String Quartet No. 4) to illustrate how the reinjection loop operates at multiple registers simultaneously, bringing the performers into contact with their immediate past, while also bringing Haas into dialogue with the shadows of his own compositional predecessors.","PeriodicalId":53890,"journal":{"name":"Circuit","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75267195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cet article aborde la question de l’ergonomie dans l’ecriture des repertoires microtonaux au violoncelle, a travers le prisme de l’experience de l’auteure en tant que violoncelliste et compositrice. Des pistes de reflexion y sont proposees afin d’aborder cet aspect a partir de differents elements d’analyse perceptive mettant en relation le son et la physicalite de l’instrumentiste.
{"title":"Une approche ergonomique des langages microtonaux au violoncelle : perspective d’interprète-compositrice, exemples du répertoire et pistes d’analyse","authors":"Émilie Girard-Charest","doi":"10.7202/1062567ar","DOIUrl":"https://doi.org/10.7202/1062567ar","url":null,"abstract":"Cet article aborde la question de l’ergonomie dans l’ecriture des repertoires microtonaux au violoncelle, a travers le prisme de l’experience de l’auteure en tant que violoncelliste et compositrice. Des pistes de reflexion y sont proposees afin d’aborder cet aspect a partir de differents elements d’analyse perceptive mettant en relation le son et la physicalite de l’instrumentiste.","PeriodicalId":53890,"journal":{"name":"Circuit","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81774565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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