Ecritureand perception
OnMessagesquisseby Pierre Boulez
Bibliographic Data
| ID | 3858854 |
|---|---|
| Authors | Antoine Bonnet (corresponding author) |
| Year | 1987 |
| Volume | 2 |
| Issue | 1 |
| Pages | 173-209 |
| Publication date | 1987-01-01 |
| Peer Reviewed | Yes |
| 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 | 10.1080/07494468708567058 |
| OpenAlex | W2006694546 |
| Language | EN |
| Citations received | 4 |
Today contemporary music must assume the divorce of compositional procedures and perception due to the loss of the principle of identification upon which tonal music was based. Hereafter, in the absence of any system of reference, the composer himself formalizes his material before realizing the score by figuration. The operations which underly the work are not necessarily audible and, above all, constitute a practical means by which the work is invented and structured. There is thus an excess of the written to which responds, moreover, an excess of the perceived: perception realizing the fusion of elements that the score can only present discontinuously. As such, Messagesquisse plays upon “timbre effects” that are reinforced by 6 secondary cellists whose role is to modify the timbre of the cello soloist
Art · Cognitive science · Epistemology · Linguistics · Musical · Painting · Perception · Timbre · Visual arts · Computer Science · Cultural Insights and Digital Impacts · Literature, Musicology, and Cultural Analysis · Musicology and Musical Analysis · Philosophy · Psychology
| Unique citing works | 4 |
|---|---|
| Citations per year | 0.21 |
| Citation span | 2007 - 2022 (16) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 4 |