De la musique au son. L'émergence du son dans la musique des XXe-XXIe siècles (introduction)
Identifieur interne : 000032 ( France/Analysis ); précédent : 000031; suivant : 000033De la musique au son. L'émergence du son dans la musique des XXe-XXIe siècles (introduction)
Auteurs : Makis Solomos [France]Source :
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Abstract
From Debussy to today's contemporary music, from rock to electronica, from the first musique concrète to nowadays electroacoustic music, from the Electronic Poem to the most recent interartistic collaborations, sound has become one major issue for music. It is as if, during about one century, music has realized a paradigmatic shift, leaving the civilisation focused on tone and developing a civilization focused on sound. This shift is probably as important as the one which, four centuries ago, gave birth to tonality. In respect to XXth century avant-garde music, we could say that its description as "atonal" corresponds only to its potential of destructing the past, while the focus on sound determines its constructive face. Understanding XXth-XXIth centuries music history means reading the history of the emergence of sound. This history is plural, because it is composed from six parallel histories: timbre, which became a central category for music composition; noise and the exploration of its musical potential; listening, the awareness of which opens to the generality of sound; more and more deeply immersion in sound; the substitution of composing the sound for composing with sounds; space, which is progressively viewed as composable. It is while crossing, combining and converging each other that these histories finally produce, inside music itself, the paradigmatic shift analyzed by this book, and which leads from music to sound. This book offers thus an original history of recent music. It illustrates it with numerous musical examples. Mixing well-know works with lesser known works, analytical with synthetic developments, it is directed at a wide as much as specialized audience.
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Hal:hal-00769893Le document en format XML
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It is as if, during about one century, music has realized a paradigmatic shift, leaving the civilisation focused on tone and developing a civilization focused on sound. This shift is probably as important as the one which, four centuries ago, gave birth to tonality. In respect to XXth century avant-garde music, we could say that its description as "atonal" corresponds only to its potential of destructing the past, while the focus on sound determines its constructive face. Understanding XXth-XXIth centuries music history means reading the history of the emergence of sound. This history is plural, because it is composed from six parallel histories: timbre, which became a central category for music composition; noise and the exploration of its musical potential; listening, the awareness of which opens to the generality of sound; more and more deeply immersion in sound; the substitution of composing the sound for composing with sounds; space, which is progressively viewed as composable. It is while crossing, combining and converging each other that these histories finally produce, inside music itself, the paradigmatic shift analyzed by this book, and which leads from music to sound. This book offers thus an original history of recent music. It illustrates it with numerous musical examples. Mixing well-know works with lesser known works, analytical with synthetic developments, it is directed at a wide as much as specialized audience.</div></front></TEI><affiliations><list><country><li>France</li></country></list><tree><country name="France"><noRegion><name sortKey="Solomos, Makis" sort="Solomos, Makis" uniqKey="Solomos M" first="Makis" last="Solomos">Makis Solomos</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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