Tristan Murail
Biographic Data
| ID | 1379028 |
|---|---|
| NAME | Tristan Murail |
| GIVEN NAMES | Tristan |
| FAMILY NAME | Murail |
| SIGNATURE | MURAIL T |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 6 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1984 |
| LATEST PUBLICATION YEAR | 2005 |
| H-INDEX | 1 |
Scelsi and L'Itinéraire
Speaking of Scelsi's influence is difficult, but I will try to describe, in a historical or retrospective way, the encounter between Scelsi and the composers of my generation. It came about very si
Villeneuve-lès-Avignon Conferences, Centre Acanthes, 9–11 and 13 July 1992
The following conference text was created from a transcription made by Dominic Garant and revised by Pierre Michel. I would like to cordially thank both of them for having taken on this onerous and
After-thoughts
Target Practice1
Scelsi, De-composer
context). This almost ‘scientific’ approach to composition (though always with the goal of creating a rich and communicative musical discourse) may seem far removed from Scelsi’s musical aesthetic. However, ‘Scelsi’s decision, essentially, was to de-compose the sound into its spectrum, and not to compose (cum-ponere) sounds with one another’ (Castagnoli, 1987/1992, p. 259). ‘De-composing the sound into its spectrum’ is a good description of the d…
The Revolution of Complex Sounds
The most sudden and important revolution to affect the musical world during the recent past was based not on some type of reflection upon musical grammar (serial or other), but rather—more deeply—u
Spectra and Sprites1
After-thoughts
Flawed Polish
Spectra and pixies
(1984). Spectra and pixies. Contemporary Music Review: Vol. 1, Musical Thought at IRCAM, pp. 157-170
After-thoughts
Target Practice1
Scelsi, De-composer
context). This almost ‘scientific’ approach to composition (though always with the goal of creating a rich and communicative musical discourse) may seem far removed from Scelsi’s musical aesthetic. However, ‘Scelsi’s decision, essentially, was to de-compose the sound into its spectrum, and not to compose (cum-ponere) sounds with one another’ (Castagnoli, 1987/1992, p. 259). ‘De-composing the sound into its spectrum’ is a good description of the d…
The Revolution of Complex Sounds
The most sudden and important revolution to affect the musical world during the recent past was based not on some type of reflection upon musical grammar (serial or other), but rather—more deeply—u
Spectra and Sprites1
Spectra and pixies
(1984). Spectra and pixies. Contemporary Music Review: Vol. 1, Musical Thought at IRCAM, pp. 157-170
Flawed Polish
After-thoughts
Scelsi and L'Itinéraire
Speaking of Scelsi's influence is difficult, but I will try to describe, in a historical or retrospective way, the encounter between Scelsi and the composers of my generation. It came about very si
Villeneuve-lès-Avignon Conferences, Centre Acanthes, 9–11 and 13 July 1992
The following conference text was created from a transcription made by Dominic Garant and revised by Pierre Michel. I would like to cordially thank both of them for having taken on this onerous and
After-thoughts
Target Practice1
Scelsi, De-composer
context). This almost ‘scientific’ approach to composition (though always with the goal of creating a rich and communicative musical discourse) may seem far removed from Scelsi’s musical aesthetic. However, ‘Scelsi’s decision, essentially, was to de-compose the sound into its spectrum, and not to compose (cum-ponere) sounds with one another’ (Castagnoli, 1987/1992, p. 259). ‘De-composing the sound into its spectrum’ is a good description of the d…
The Revolution of Complex Sounds
The most sudden and important revolution to affect the musical world during the recent past was based not on some type of reflection upon musical grammar (serial or other), but rather—more deeply—u
Spectra and Sprites1
Art (10 works) · Visual arts (6 works) · Diverse Musicological Studies (3 works) · Music Technology and Sound Studies (3 works) · Musical (3 works) · Musicology and Musical Analysis (3 works) · Philosophy (3 works) · Sociology (3 works) · Aesthetics (2 works) · Computer Science (2 works)