Pierre Boulez

An insurance man, a rocker, a partisan, a deportee, a bandoneonist.... What can such different figures have in common? Very little, you might say, apart from the fact that they are among the main protagonists of "contemporary music", a world from which people generally prefer to keep away because it seems distant, complicated and incomprehensible. But is it really so?
The exciting story proposed in the book intends to bring contemporary music closer to its potential listeners through the stories of people such as Stockhausen, Gershwin, Berio, Xenakis, Takemitsu, Piazzolla or Sofija Gubajdulina who, in their variety, give an idea of the exceptional richness of the musical languages of the 20th and 21st centuries and their closeness to the human condition of our time.

Lange Zeit hat die Idee eines musikalischen Fortschritts gleichermaßen fasziniert und polarisiert. Als zentraler Bestandteil der Diskurse um die Neue Musik verlangt sie nach einer differenzierten historischen Betrachtung. In diesem Sinne widmet sich Julia Freunds Studie dem Fortschrittsdenken im Musikleben der jungen Bundesrepublik. Anhand des reichhaltigen Textmaterials analysiert sie die zentralen Konzepte und Argumentationslinien und entwirft ein vielfältiges Panorama der Debatten der 1950er Jahre.
Ausgangspunkt ist ein close reading der Schriften und Vorlesungen Theodor W. Adornos, dessen Fortschrittsbegriff im Rahmen seines philosophischen Projekts der Aufklärungskritik greifbar wird. In einem zweiten und dritten Schritt nimmt die Autorin die Denkfiguren und Narrative der seriellen Komponisten (darunter K. Stockhausen und P. Boulez) sowie die Gegenentwürfe ihrer Kritiker (wie P. Hindemith oder Fr. Blume) in den Blick. Dabei werden die inhärenten Paradoxien und Dynamiken, die politischen Dimensionen und ideengeschichtlichen Kontexte des Fortschrittsbegriffs ebenso freigelegt wie die Berührungspunkte der divergierenden Vorstellungen.

https://www.fink.de/view/title/56146

This dissertation examines the nearly complete German, English and French secondary literature on, and the composers’ commentary on, three renowned works of the European postwar avant-garde. With the aid of the software MAXQDA, I undertook a meta-analysis combining qualitative and quantitative methods to discover what the texts address and in which amounts, which terms play important roles in them, and what they say about subjects like perception and meaning. I analyse individual terms and topics and interpret their significance based on how often or how seldom each of them arises in the texts in relation to specific works over time. For example, terms or semantic fields such as complexity, extremes, violence and power continuously play a prominent role, while others like world or beauty are rarely used or not used at all during some decades. I discuss the discourses and their arguments - including several so far unknown sources -, which extend over sixty years now, based on analysis producing some surprising results – both for the single works and ultimately across works.

Cet ouvrage explore les démarches d’artistes qui ne recourent jamais au hasard « par hasard ». Ils le pratiquent et le pensent au contraire à travers des méthodes rigoureuses où l’activité artistique croise la philosophie et les sciences. Le hasard est appréhendé en situation, dans sa dimension opératoire, à travers l’analyse des oeuvres, des méthodes et des textes d’une dizaine d’artistes et de musiciens dont les figures principales sont André
Breton, Max Ernst, Marcel Duchamp, Pierre Boulez, John Cage et François Morellet. Distinct de l’accident et de l’informe, le hasard comme méthode se définit comme un exercice d’attention, une discipline qui interroge les limites de l’invention, le goût, la mémoire et l’oubli, les conditions de la perception. Comprendre ce qui est en jeu lorsque Cage assimile le hasard au silence,
lorsque Duchamp le met « en conserve » ou que Breton cherche à « l’objectiver » conduit, dans chaque cas, à restituer un champ théorique spécifique qui permet à cette question de se déployer en dehors des oppositions classiques de l’ordre et du désordre, du contrôle et de la déprise, de la forme et de l’accident.

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ABSTRACT
This research discusses the musical texture on the work by Pierre Boulez on three different  periods of his career based on the analysis of three of his chamber works, having, at the end of this study, three pieces composed by the author of the present research establishing a dialogue with the outcome and methodological tools of the study. For such purpose, the research is separated initially in two great axes: first, a reflection on the role of musical texture as structural parameter of the composition in the 20th Century after a bibliographical revision on the theme. As main theoretical-methodological tools, it was carried out a detailed review of the main aspects of the textural theory of Wallace Berry (1987). Beside that, it was exposed some of the theoretical and analytical tools of Partitional Analysis, developed by Pauxy Gentil- Nunes (2009). In the second axis, it was developed a critical review of key theoretical and aesthetic concepts proposed by Boulez (1963, 2008) and an analysis of his intellectual output, having Nicolas (2013), Goldman (2007), Deliège (2003) and Bayer (1987) as the main critical counterpoints. Finally, as a result of these two initial axes, the last two parts of the study were carried out: 1) a textural analysis of three chamber pieces by Boulez,
Sonatine  pour flute et piano
(1946),
Le Maitre sans Marteau
(1954) and
Dérives 1
(1984), using on one hand the concepts of Berry, and on the other, the partitional analysis by Gentil-Nunes; and 2) the description of the compositional process of three original works by the author of this research, in which Partitional Analysis tools were used for texture and form design as well as the
GR
System, conceived by Carlos Almada (2014), to produce and develop melodic materials, pursuing to establish a dialogue with the works by Boulez previously analyzed, from which materials of pitch and rhythm and general notions of form design were extracted

Die Kulturgeschichte liefert zahlreiche Beispiele für eine scheinbar paradoxe Situation, dass nämlich manche Künstler, die zu ihren Lebzeiten großes Ansehen genießen, nach ihrem Tode rasch in Vergessenheit geraten, während andere, die zu Lebzeiten verschmäht wurden, erst Jahrzehnte nach ihrem Ableben in ihrer wahrer Bedeutung erkannt werden. Gustav Mahler zum Beispiel wurde zu Lebzeiten als Dirigent sowohl in Hamburg und in Wien als auch in Amerika gefeiert, war aber als Komponist umstritten.

　Cette recherche de thèse vise à reconstruire des éléments de genèse de la composition électroacoustique de Pierre Boulez dans les années cinquante à travers l’étude d’esquisses et de manuscrits conservés au Paul Sacher Stiftung. Notre thèse s’est fondée sur deux approches complémentaires : la reconstitution du contexte musical, esthétique et historique et l’étude des esquisses. Dans la Partie I, nous avons tout d’abord examiné les Fonds Pierre Schaeffer afin de retracer le déroulement du premier stage de musique concrète au GRMC. La réorganisation des esquisses et la reconstitution du processus de montage sonore nous ont permis de souligner que la composition des deux études de musique concrète (1951-52) était une étape indispensable pour le développement de la pensée sérielle de Boulez dans le sérialisme intégral.
　Dans la Partie II, nous avons mis en
relation la composition de Symphonie mécanique (1955) et Poésie pour pouvoir (1958) avec le concept de « sons organisés » dans Déserts (1954) d’Edgard Varèse en traçant la transition de la musique concrète à la musique mixte. Boulez y a développé la notion de « blocs sonores » originairement exploitée dans l’écriture instrumentale et orchestrale. Notre étude a éclairé que Boulez avait procédé par tâtonnements de façon cohérente et développée afin de réaliser l’intégration des mondes instrumentaux et électroacoustiques. En ce sens, il est raisonnable que Poésie pour pouvoir soit considérée comme l’origine de la « musique mixte » chez Pierre Boulez. Par ailleurs, cette tentative de confrontation était inévitable pour Boulez afin de réaliser la transmutation musicale de l’exorcisme corporel du poème de Henri Michaux.

This study seeks to determine the extent to which selected works by Olivier Messiaen (1908-1992), Pierre Boulez (1925-2016), and Tristan Murail (b. 1947) support or contradict the notion of “rupture” in the Parisian musical establishment during the twentieth century. Aesthetic and political considerations of the historical narrative frame comparative analyses of Murail’s Territoires de l’oubli (1977) to the ethos of Messiaen’s Sept haïkaï (1962) and Couleurs de la cité celeste (1963), and to the technique of Boulez’s Structures II for two pianos (1956-61). It is concluded that Messiaen’s influence on Murail was largely one of ethos and not technique. It is determined that Boulez and Murail share similarities in their approaches to form and the manipulation of piano sonority and resonance. It is thus considered that their aesthetic divide is of little substance to the content of their music.

Sur Incises, first performed in 1998, is the most recent major work by Pierre Boulez, but there has been very little published writing discussing it, although Boulez himself discussed the piece in a lecture released on DVD. Like many of his recent works, Sur Incises reworks exist- ing material – taking the short piano piece Incises and expanding it into a large-scale work for three pianos, three harps and three percussionists. This article examines how the gestures, har- monies and even the instrumentation of the earlier piece are ‘refracted’ – presented in multiple overlaid versions as if a prism had revealed the possibilities inherent in the original material. Sur Incises is discussed with reference to common concerns in Boulez’s work since the 1970s – its use of quasi-thematic ‘signals’ to mark structure, its use of luxurious harmonic fields and chord mul- tiplication, its virtuosic toccata material, and its use of the SACHER hexachord.

Книга посвящена анализу понятия «театр» в ряде важнейших эстетический теорий, в которых театр определяет горизонт не только художественных практик, но и самой философии – он задает и регулирует методы философской гносеологии и онтологии и превращает само мышление в своеобразную перформативную топологию. Автор предлагает рассмотреть театр и современное искусство как два разных художественно-политических проекта современности. В работе исследуется антропология исполнительских практик, рассматриваются различные режимы «повторения» в процессуальности исполнения. Одним из главных контекстов книги является философская топология театральности Жиля Делеза, а также осмысление им категории различия, повторения и события. Помимо Делеза в книге рассматриваются теории перформативности Ф. Ницше, Р. Вагнера, Ч.С. Пирса, Ж. Деррида, М. Хайдеггера, Ж.Ф. Лиотара, Дж. Агамбена, В. Подороги.

As of today, Pierre Boulez's post-serial compositions are little known to audiences and theory students in the United States. Most scholarly attention in the English-speaking world has been paid to his short-lived experiments with total serialism in the early 50's.

Aleatorik ist ein oft und oftmals sehr verschieden verwendeter Begriff. Der Text gibt einen Überblick über das semantische Feld und unterbreitet einen Vorschlag für eine umfassende Definition, die Aleatorik und Zufallsprozesse voneinander abgrenzt.

This paper will examine Arnold Schönberg’s influence on modern jazz through the teachings of one of its most respected theorists and pedagogues Dennis Sandole, mentor to John Coltrane, James Moody, Art Farmer, Randy Brecker, Jim Hall, Rufus Harley, Pat Martino, and many other important jazz artists.

Through the analysis of musical examples, this paper proposes that important conceptual links exist between some of Schönberg’s key compositional concepts and Sandole’s pedagogical literature and practice which would go on to influence John Coltrane and many other jazz practitioners for decades to follow helping to solidify Schönbergian ideas and concepts within the syntax of modern jazz. Schönberg’s utilisation of various segmentation schemes such as trichords, tetrachords and hexachords, use of interval cycles particularly that of interval cycle 4 or major thirds, and the compositional practice of stating the complete chromatic collection within a relatively short musical space have provided jazz practitioners such as Sandole and Coltrane with a new conceptual framework for employing the total chromatic harmonically and melodically in modern jazz practice.

Theories of musical syntax have rarely relied on simple music-language analogies but were rather conceived music-specifically. As in Hugo Riemann’s »Musikalische Syntaxis«, they often tried to systematize all feasible combinations of elementary musical components, e.g. triads or four-part chords. In contrast to these poietic accounts, the cognitive turn in music theory placed the conceptualization of a listener at the core of an understanding of musical syntax. Theories emerging from this background such as Lerdahl’s and Jackendoff’s »Generative Theory of Tonal Music«, however, are often limited by their simplistic separation of syntax and semantics and their nativist underpinnings, sometimes linked to mis-leading aesthetic judgements of post-tonal music.
The present essay aims to develop a perception-based, anti-essentialist theory of musical syntax, reacting to Albrecht Wellmer’s discussion of the syntax concept in music. Three aspects challenge the idea of a generalized syntax of music, in particular of post-tonal music: (1) The innovations of twentieth-century music have sensitised us to the contingency of musical progressions to the point where any two subsequent sound events can be perceived as syntactically meaningful. (2) Serial music and John Cage’s aesthetics have placed a dissolution of any pre-conceived kind of coherence at the centre of their attention, resulting in an emancipation of sound and musical presence from syntactic process. (3) The high degree of diversification of musical styles seems to undermine the idea of generalisable syntactic principles.
In response to this bold challenge of the syntax concept, the morphosyntactic model of musical syntax discussed here elaborates ideas from Albert Bergman’s »auditory scene analysis« and traces music-syntactic experience back to elemen-tary perception modes in everyday life, namely causal or categorical contiguity, equivalence, and similarity between sound events. These modes constantly switch between metaphorical and sensual-sonorous fields of auditory experience, a tension that is also traced in a number of musical examples. Although the three excerpts from works by Johann Sebastian Bach, Wolfgang Amadeus Mozart and Arnold Schönberg share a common contrapuntal-harmonic model or schema (the »secunda syncopata«), interactions between relationships of contiguity and similarity, and a medium-scale tonic-dominant relationship, their enactment as represented by salient »surface« events is highly idiosyncratic and essential to the experience of syntax. In turn, three examples from post-tonal music (Schönberg: Piano Piece op. 11,3, Pierre Boulez: Structures Ia, Brian Ferney¬hough: Funérailles) demonstrate an increasing emancipation from tonal phrase structure and harmonic centrism, but nonetheless retain or even gain morphological profile through their reinventions of musical structure. Contour- and gestalt-based analyses make it clear that a morphosyntactically oriented perception of such works does manifoldly connect to elementary modes of everyday and tonal listening, suggesting a new model of post-tonal listening that ultimately frees itself from an author- and analysis-centred structuralist approach.

N 1976, IRCAM (Institut de recherche et de coordination acoustique/ musique) opened its doors. The famous Parisian institute founded by Pierre Boulez was to be devoted to building bridges between the science of acoustics and musical art, facilitated through the burgeoning field of computer music. It was natural for its directors to call upon the young members of the Ensemble Itinéraire, who would later become associated with the so-called 'spectral' school, to collaborate on its projects. Indeed, members of this collective of composers and performers (formed in Paris in 1973) went through IRCAM over the following decade. Many of the composers among them participated in workshops on computer-assisted composition, and most composed at least one I

Paul Klee is not only one of the most important paintesr  of the 20th century, but also had a strong affinity for music. He wrote music reviews, played the violin excellently as an amateur and was in contact with many composers. With his works and his theoretical writings, such as the teaching materials at the Bauhaus, he still inspires numerous composers today. This volume presents texts on Klee's musically influenced and music-influencing works, in particular his preoccupation with Johann Sebastian Bach and the reception of his creative thinking in contemporary music from Pierre Boulez to Harrison Birtwistle. Previously unknown sources, numerous illustrations and reinterpretations help to provide new perspectives.

Este projeto de investigação foca a análise das diversas problemáticas no domínio da redução para piano suscitadas por linguagens e por obras emblemáticas do repertório musical contemporâneo. O estudo teve como principal objetivo compreender realizar uma redução para piano, tendo como base os estudos que se debruçam sobre questões de orquestração, transcrição, acompanhamento, bem como inúmeros exemplos de reduções existentes. São realizados estudos sobre as diferenças entre redução e transcrição para piano, sobre os critérios de escolha de material musical, sobre a reorquestração da conteúdo nas reduções, sobre a problemática de execução das reduções ao piano, sobre questões de leitura à primeira vista e, finalmente, sobre aspetos de apresentação. O conteúdo de investigação é dividido de acordo com três especificidades das reduções para piano. Como exemplo de cada uma delas foram realizadas novas reduções das seguintes obras: Concerto da Camera col Violoncello Obbligato de Lopes-Graça; Pli selon pli de Boulez e ópera Lady Sarashina de Eötvös. A génese destas obras e os procedimentos necessários à sua redução foram também objeto de estudo nesta dissertação. Todas as reduções foram apresentadas publicamente e preparadas para edição. O estudo aqui realizado pretende contribuir para a melhoria do conhecimento sobre as reduções para piano, procurando definir ou ajudar à compreensão das soluções viáveis pianisticamente e facilmente aplicáveis na prática. This research project focuses on the analysis of various problems in the field of piano reduction that are caused by languages and emblematic works of contemporary repertoire. This work aims to understand how to make a piano reduction and is based on studies that address various issues in orchestration, transcription, accompaniment and numerous examples of existing piano reductions. Studies were made on the difference between piano reduction and transcription, on the selection criteria of musical material, on re-orchestration of content in piano reduction, and on issues related with performance of reduction at the piano, sight-reading and aspects of score presentation. The content of this research is divided into three specifications of piano reductions. For each section an example was done of each of these works: Lopes-Graça´s Concerto da Camera col Violoncello Obbligato; Boulez´s Pli selon pli and Eötvös´s opera Lady Sarashina. The genesis of these works and their related process of reduction was also studied in this dissertation. All reductions were prepared for edition and presentation to the public. This study aims to contribute to the knowledge on piano reduction, seeking for viable pianistic solutions which can be easily applied in practice.

Wagner ainsi ouvre le drame à une toute autre dimension qu’il n’avait jamais vraiment eu avant. Il n’est plus un exploit ou une geste de la libération de l’humanité d’un mal et de l’apport à l’humanité d’un bien, mais la fable d’un adolescent orphelin dans sa quête de la liberté, de l’autonomie, de la gloire et de l’amour. Il s’agit donc en définitive d’un drame parfaitement romantique où l’épée n’est que l’outil de cette maturité d’homme conquise à sa pointe. La dramatisation de l’enlèvement du plastron de l’armure de Brünnhilde, justement à la pointe de l’épée de Siegfried, de Notung devient une forme symbolique clairement identifiée comme un viol, une perte de virginité, de valeur féminine et montre combien on est près à ce moment là de ne considérer Notung que comme un symbole de la masculinité sexuelle (je ne dirai pas phallique car en fait il s’agit du pénis de l’homme et Lacan a toujours clairement déclaré que même les femme ont un phallus puisque le phallus n’est que l’Idéal du Moi).
Nous avons vu au début comment le mythe nous fait passer d’une société matriarcale à une société patriarcale avec un questionnement sur la libération des eaux, de la mer, des rivières. Ici nous approfondissons ce passage et nous atteignons une société de domination sexuelle mâle que seul l’amour permet de dépasser. On entre là dans une vision quasi matrimoniale (ou ne devrions-nous pas dire patrimoniale) de la société dont l’épée est le symbole direct.
On est loin de la mère de Grendel et de ses épées de géants

Je considère donc que l’opéra dans sa dimension musicale est le média dramatique suprême car il fait de la musique le média dominant, ce qui crée une hiérarchie médiatique et donc pour nous une hiérarchie sensorielle qui ne prend sens d’un média sur l’autre que par l’intervention du spirituel, donc de la culture, de l’intelligence, de la réflexion. Peut-on simplement jouir d’un opéra ? Je ne le pense pas, du moisn au niveau des simples cinq sens de base. Si certains ne font que cela, ils réduisent l’opéra à n’être qu’une musique d’environnement pour ne pas dire d’arrière-fond circonstanciel, et ils réduisent l’opéra à pas grand-chose. Les formes modernes d’opéra qui ont émergées à partir de Wagner vont résolument en sens inverse de cette réduction. Alban Berg est un des fleurons de cette dimension spirituelle de l’opéra dans sa sémiologie médiatique même et Lulu est la plus parfaite réalisation de cette transformation.
Est-ce à dire que l’opéra ne peut pas être populaire ? Permettez-moi de ne pas répondre à la question et donc de rester moi-même une pièce dans la pièce de cet article.

Статья является новой редакцией предисловия к книге Адорно "Философия новой музыки" (2001). В трех ее подглавах 1. "Немецкий 'дух' (Шенберг) и романская 'форма' (Cтравинский), 2. "Мистическая поэтика Веберна" и 3. "Делез: Додекафония как шизофрения" проанализированы мотивы Теодора Адорно, заставившие его столь резко противопоставить две эстетические стратегии, которые сформировали  музыкальную композицию XX века: нововенскую (Шёнберг, Берг и Веберн) и неоклассицистическую в лице Стравинского. И хотя формально Адорно не отдает предпочтения ни одной из них, он, безусловно, выступает в роли апологета австро-немецкой традиции. Обе эти альтернативы наследуют кризису, в котором оказалась постромантическая музыка к началу XX века.  В статье демонстрируется как, несмотря на радикальность нового метода додекафонии, новым венцам (Шенбергу, Бергу, Веберну) удается сохранить основу австро-немецкого музыкального стиля - запрос на идею и возвышенное, в эпоху когда идеократичность в музыке и поэзии уступила место работе с медиумом и формализму.

Die oft hochgradige Technizität von Strukturanalyse im Bereich neuer Musik hat dazu geführt, dass gerade hier die Analysekritik besonders produktiv wurde und immer wieder eine (Re-)Fokussierung auf die Wahrnehmungsrelevanz analytischer Befunde eingefordert hat. Auch Entwicklungen in der wissenschaftlich fundierten Musikanalyse haben zunehmend strukturalistische Analyse und ‚klassische‘ Forschungsmethoden wie Skizzenforschung mit wahrnehmungsbezogenen Befunden verbunden, u.a. durch Einbeziehung musikpsychologischer, empirischer und aufführungsanalytischer Dimensionen und Methoden. Vor diesem Hintergrund wird in diesem Beitrag eine im Rahmen mehrjähriger Forschung entwickelte Methodik »performativer Analyse« auf zwei zentrale Werke von Pierre Boulez angewendet, die in der Literatur oft als Paradigma serieller Musik gelten. Grundlage der Analyse ist ein emergenter Strukturbegriff, der davon ausgeht, dass kompositorisch gesetzte und wahrgenommene Klangstrukturen in ihrem Wechselspiel ein Feld potenzieller, divergierender Hörweisen entfalten, das die Analyse nicht nur dokumentieren, sondern auch ihrerseits produktiv erweitern und vertiefen kann. Im Vergleich von serieller Struktur, aufführungspraktischer Umsetzung und performativem Hören der Structures Ia (1951) für zwei Klaviere bestätigt sich dabei zum einen die These Martin Zencks, dass der »performative Subtext den ‚Text‘ der Partituren […] neu figuriert«, aber auch, dass die serielle Struktur keineswegs irrelevant ist oder durch eine beliebig andere ersetzt werden könnte. In diesem Sinn werden abschließend auch Kriterien für eine Interpretationsanalyse der beiden bislang vorliegenden Einspielungen von Boulezʼ Polyphonie X für 18 Instrumente (1951) formuliert, dessen Partitur vom Komponisten zurückgezogen wurde.

L’analisi della musica è una disciplina intermedia tra l’estetica musicale e la teoria della composizione. Rispetto a quest’ultima l’analisi è strumento utile per estrapolare i processi compositivi e trarne un possibile algoritmo. Questo articolo propone, senza pretesa di esaustività, degli esempi applicativi con PWGL, passando in rassegna alcune delle tecniche del Novecento. Le conseguenze e gli ulteriori possibili sviluppi di un lavoro qui appena impostato possono essere molteplici: la conservazione e la trasmissione di un patrimonio storico e musicale che in alcuni casi potrebbe non avere la diffusione che merita o addirittura andare perso; un diverso approccio alla didattica della composizione; una maggiore consapevolezza dell’evoluzione del pensiero e delle tecniche compositive dell’ultimo secolo; un potenziamento del fare compositivo individuale, con maggiore possibilit`a di concentrazione sui processi; l’interazione, attraverso opportune librerie e patch, con altri software.

Che la musica, nella sua dimensione di teoria e di pensiero, abbia avuto forti implicazioni con la politica è cosa ben nota. Potremmo tornare indietro ad uno dei maggiori pensatori dell'antichità, Platone, che intrecciò la musica con la politiche e la cosa pubblica. Ma senza andare troppo indietro possiamo partire dall'eloquente analogia che un teorico tedesco del XVII secolo, Joseph Riepel, immaginò tra l'assetto gerarchico della struttura tonale e quello insito nella società del suo tempo. La tonica veniva assimilata al proprietario terriero (Meyer), la dominante al servitore principale (Oberknecht), il VI grado alla domestica principale (Obermagd), il III a una domestica di secondo livello (Untermagd), il IV a un lavoratore alla giornata (Taglohner), il II a una donna faccendiera di bassa lega (Unterläufferin) e il I minore, infine, alla schwarze Gredel (la nera) 1 .

Deleuze ve Guattari Bin Yayla'da eserlerini gündeme getirdikleri kompozitörlerin en erken örneği olarak karşımıza Johann Sebastian Bach çıkmakta ve aslında şaşırılmayacak biçimde kendi iç tutarlılığından kesin bir biçimde bahsedebileceğimiz bir örnek biçiminde kitabın en sonunda, 15. bölümde "Sonuç: Somut Kurallar ve Soyut Makineler"de yer almakta. Deleuze ve Guattari burada Bach'ın müziğini bir tekillik, yaratıcılık, süreklilik ve tutarlılık örneği olarak incelemekte ve eserlerini soyut makineler olarak tanımlamakta. Ludwig Von Beethoven ve Anton Webern ise Bach'ın yanı sıra diğer soyut makinelere sahip kompozitörler olarak karşımıza çıkmaktadır. Bu kompozitörlerin metinde parantez içinde verilen örneklerde bir araya Deleuze ve Guattari tarafından tesadüfi olarak getirilmediği ve formun çeşitli öğelerinin onların sanatları içinde birbirleriyle ayrılamaz hale geldiği tekillikler olarak ele alındığını görmekteyiz. Deleuze ve Guattari'nin metnine dışarıdan baktığımızda ancak son derece sofistike bir gözün kendi dönemlerinin en önemli etkilenimlerini yaratmış olan kompozitörler olarak ikinci bir alternatife yer vermeden düşüneceği bu kompozitörler (Geç Barok, Geç Klasik ve Erken Modern Dönemlerde), Deleuze ve Guattari'nin kavramsallaştırması ile soyut makinelere sahipler. Deleuze ve Guattari'ye göre sosyal ya da diğer bütün yönelimler ile tanımlanıp kabul edilen doğabilime ilişkin katmanların ya da biraraya gelişlerin tersine soyut makineler, form ve kendine özgü maddeler hakkındaki içkin bilginin farkındalığına sahip olmaya ihtiyacı olmayacak kadar tutarlıdır ve kendi kendini sürdürmeye haizdir. Bu nitelik, onları soyut yapan şeydir ancak aynı nitelik bunun yanı sıra ciddi anlamda 'makine' kavramını da tanımlar. Her tür mekaniği aşacak biçimde… Aslında paradoksal bir biçimde sıradan bir kullanım içinde bu makineler soyut kavramının tam karşısında konumlanırlar. Soyut makineler formlaşmamış maddelerden ve formu olmayan işlevlerden ayrılmaz bir bileşik olarak meydana gelirler. Her soyut makine; maddeler-fonksiyonların (phylum ve diagram) kapsanmış ayrılmaz yığınları halindedir. Bu nitelik, teknolojik düzlem üzerinde öyle bir örnektir ki bu düzlem üzerinde basitçe formlaşmış maddelerin tözlerinden (alüminyum, plastik, elektrik kablosu vs.) ya da örgütleyici formlardan (program prototipleri, yazılım arayüzleri vs.) oluşmaz. Fakat sadece yoğunluğunun derecesi ile sergilenebilen şekilsiz maddelerin bileşiğinden (direnç, iletkenlik, ısınma, gerilme, hız ya da gecikme, başlangıç, dönüşme…) 4 ya da birbirlerine olan farklılıkların aynılaşması ile kendini gösteren 'diagrammatic'ler 1 Bu yazı, Bin Yayla'da müzikal eserler ile ilişkilendirilebilecek kapsamlı çalışmalar için metin üzerinde çalışmaya devam ettiğim bir sırada ancak metinde üzerine spesifik olarak çalıştığım kavramlara değinmeden yazıldı. Tersi, hem bu formata sığdıramayacağım bir niceliği gerekserdi hem de zamanından önce, bitmemiş bir çalışmayı paylaşmanın özensizliğine sebep olurdu. Bu yüzden yazı, bu konuda halen yazılmakta olan ve bitmemiş metinleri kullanmadığım; Deleuze ve Guattari'nin kitapta konu ettiği müzik örnekleri üzerinden ilerlemeye çalıştığım ve müzik için daha genel bir referans derlemesi içeren, metne değin bir tür haritalama çabasına bir giriş olması umuduyla kaleme alındı. 2 Yazı içinde müzikal örnekler üzerinden ilerlediğim için Deleuze ve Guattari'nin Bin Yayla'da konu ettiği kavramsallaştırmalarda kitaptaki sırayı izlemedim. Hatta bir sonuca bağlansa da kısmen kitabın sonundan başına yolculuk ettim. Ne var ki kitap bu biçimde bir karışık okumayı mümkün kılmakta: "Soyut Makineler", "Linguistiğin Postülaları", "Oluş" ve "Ritournelle". 3 M.A., M.Ed. 4 Bu kavramların hemen hepsi fiziğin alanından alınmışsa da aslında kimi elektriğin kimi müziği oluşturan ögeler olan sese de ilişkin parametreleri doğrudan barındırmakta.

L'article :
Fille, épouse et soeur de grands industriels, Suzanne Tézenas est d'abord connue pour les amitiés qu'elle entretient autour de la NRF, notamment avec Drieu La Rochelle et Paulhan. Après la guerre, elle rencontre Pierre Boulez, qui organise chez elle l'un des tout premiers concerts parisiens de John Cage. Peu après, en 1954, elle devient la Présidente de l'association du Domaine musical. Dans son salon, elle reçoit peintres, galeries, écrivains, conservateurs, compositeurs, poètes et marchands d'art jusqu'à des heures avancées de la nuit. Femme impressionnante et discrète, Suzanne Tézenas aura donné au mot "rencontre" de se déployer en amitiés remarquables et en créations majeures. 

L'ouvrage :
Ce livre regroupe plusieurs études inédites consacrées à l'impact du rôle de l'animateur d'art dans le développement des arts. L'animateur d'art peut être défini en ces termes : il s'agit d'un acteur culturel qui participe activement à la défense des arts et à la stimulation de la création artistique d'une époque. Il est une figure clé qui se positionne comme intermédiaire entre les différents mondes de l'art ainsi qu'entre les divers agents du milieu culturel. Son travail consiste également à construire des ponts entre les artistes et son propre milieu social afin de faciliter la réception des oeuvres et promouvoir une esthétique. Les différents auteurs qui ont contribué à cet ouvrage offrent un premier portrait de cet acteur original qui influença de manière significative les scènes artistiques du XIXe siècle à nos jours.

textes de Jan Dirk Baetens, Sarah Barbedette, Victor Claass, Laurie Dahlberg, Davy Depelchin, Céline De Potter, Clément Dessy, Björn-Olav Dozo, Anaïs Feyeux, Ingrid Goodderis, Noémie Goldman, Milou Goverde, Yves Guignard, Jean-Philippe Huys, Frances Suzman Jowell, Inga Rossi-Schrimpf et Sarah Van Ooteghem

Suivre Pierre Boulez dans le cheminement de choix artistiques, musicaux, littéraires revient à appréhender, à travers des affinités électives, une vision critique de 1a modernité. Il faut souligner d'emblée que le concept de modernité comme théorie générale n'a jamais inspiré au compositeur une adhésion univoque et définitive. C'est par un réseau de références que cette pensée esthétique se forge. Le u regard sur autrui » y tient un rôle singulièrement constructif, de même une manière directe, n en ligne droite, selon le mot de Michel Foucault, de tracer les relations entre les choses.

Paul Klee is not only one of the most important paintesr  of the 20th century, but also had a strong affinity for music. He wrote music reviews, played the violin excellently as an amateur and was in contact with many composers. With his works and his theoretical writings, such as the teaching materials at the Bauhaus, he still inspires numerous composers today. This volume presents texts on Klee's musically influenced and music-influencing works, in particular his preoccupation with Johann Sebastian Bach and the reception of his creative thinking in contemporary music from Pierre Boulez to Harrison Birtwistle. Previously unknown sources, numerous illustrations and reinterpretations help to provide new perspectives.

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В статье исследуются важнейшие элементы поэтики и формообразования серийной композиции, в той мере в какой в лице Пьера Булеза, в ней была  отвергнута Шенберговская додекафония (12 тоновая композицию) и установлены доселе невозможные требования как к музыкальной композиции, так и в целом к формообразованию сочинения: 1. отказ от моноритмии в пользу изоритмии 2. отказ от структуры в пользу сериации 3. Построение архитектоники звучания не на высоте и частоте, а на сонорных качествах 4. разведение ритма и тона на разные каналы 5. отказ от композиции в пользу деривации 6. переход от обращаемой повторяемости  музыкального материала к алеаторной контингентности.

This introduction to the collection of essays by Piere Boulez, titled "From a Series to the Expanding Universe" provides inquiry of the crucial aspects of the musical poetics and formation in the serial composition, as they were developed in theory and practice of P. Boulez in his rejection of the dodecaphony of A. Schoenberg (12-tone composition) and in his establishing of the requirements  to musical invention impossible before: 1.refusal of monorythmia in favor isorythmia. 2. defiance of structure in favor of seriation 3. building of architectonics of sound  on the qualitites of sonority, rather than on pitch or frequency. 4. separation of the channels of rhythm and of tone. 5. rejection of composition in favor of derivation 6. transmission from the repetition of the music material to aleatoric contingency

1974 : Wolfgang Wagner propose à Boulez la direction musicale de la tétralogie du Ring de Richard Wagner, à l’occasion du centenaire de la première production. L’enjeu est d’imposer Bayreuth dans le paysage de la modernité, par le biais d'une « interprétation véritablement nouvelle avec toutes les analyses critiques indispensables ». Boulez fait appel à Chéreau pour la mise en scène. Tous deux ont en commun une fraîcheur vis-à-vis de cette œuvre gigantesque qu’ils connaissent peu, alliée à une compréhension profonde de la culture allemande et de la société dans laquelle évoluait Wagner. En s’attachant non pas aux mises en scène récentes mais au support écrit (partition, livret), chacun parvient à revenir aux intentions initiales de Wagner – trop souvent oubliées au profit d'un décorum pompeux qui s’est imposé entretemps. Chéreau se base sur le livret, qu'il met systématiquement en regard avec de nombreux écrits : philosophes de l'Auflkärung, auteurs du Sturm und Drang, sans oublier les récits de la mythologie germanique mais aussi ceux, plus proches de lui, des penseurs de Wagner parmi lesquels Adorno.

1976 : Cris et huées perturbent les représentations, qui sont suivies de pressions économiques sur la direction et de menaces à l’encontre de Chéreau.

1980 : Après 95 minutes de rappel et 101 levers de rideau pour le dernier Crépuscule des Dieux, la collaboration Chéreau/Boulez s’achève sur un triomphe.

En retraçant et en analysant l’évolution des productions, avec les changements de mise en scène, de décors mais aussi d’interprétation musicale qui s’ensuivirent, cette communication montre comment la compréhension profonde de l’œuvre de Wagner fut à la fois la raison du scandale de 1976 et celle du triomphe de 1980, imposant désormais cette production comme « historique ».

Patrice Chéreau, Pierre Boulez : The Journey of the Ring (1976-1980)

In 1974 Wolfgang Wagner invited Boulez to conduct Richard Wagner's Ring cycle to celebrate the centenary of the first production. Bayreuth's objective was to win recognition in modernist circles by offering a "radically new interpretation with the necessary critical analysis." Boulez chose Patrice Chéreau to stage the production. Both men shared a fresh vision of Wagner's gigantic masterwork combined with a deep knowledge of German culture and of the society in which Wagner lived. Ignoring recent productions with their pompous decorum, Chéreau and Boulez returned to Wagner's original intentions as found in his score and libretto. Chéreau worked on the libretto, systematically confronting it with numerous writings: the Aufklärung philosophers, Sturm und Drang authors, not to mention Germanic mythology and Wagner theoreticians like Adorno.

In 1976, shouting and booing disturbed the performances. Economic pressure on Wolfgang Wagner and even threats against Chéreau, followed. Yet by 1980, the Boulez-Chéreau production came to a triumphant close with 95 minutes of curtain call and ovation for the last Götterdämmerung.

This communication recounts and analyzes the evolution of the productions, with their numerous changes over the years. It will show how Boulez and Chéreau's profound understanding of Wagner's operas first led to the 1976 scandal, but also to the 1980 triumph, imposing this production as "historical."