The Influence of Text—Present or Absent—in my Music
Bibliographic Data
| ID | 14809776 |
|---|---|
| Authors | Jean-Claude Risset, Jean‐Claude Risset (corresponding author) |
| Year | 2015 |
| Volume | 34 |
| Issue | 5-6 |
| Pages | 395-405 |
| Publication date | 2015-11-02 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494467.2016.1150556 |
| OpenAlex | W2336992100 |
| Language | EN |
| References cited | 4 |
In this article I discuss the influence of text—in a broad sense—on my music. Careful elaboration of the written text (le travail d’écriture), made possible by musical notation, can be amplified in the context of computer music, where structural representations may suggest specific transformations of motives or intimate mutations of the sound itself. Certain texts have been influential to my musical options, especially the play Little Boy by Pierre Halet. The computer imposes complex mediations, whereas the voice is the closest sound source to the body: their confrontation brings a theatrical aspect, obvious in my composition Inharmonique. When texts are set to music, intelligibility is an issue. In Oscura, I introduce the spoken text in counterpoint with the song to preserve the poem's intelligibility. Words, poetic fragments, texts affect the mood of the music in L'autre face, Aventure de ligne, La Nouvelle Atlantide, Une aube sans soleil, Invisible, Mokee, The Other Isherwood
Art · Counterpoint · Epistemology · Linguistics · Literature · Musical · Musical composition · Poetry · Polyphony · French Literature and Poetry · Philosophy · Psychology
| Highly cited | No |
|---|