Gérard Grisey and the ‘Nature’of Harmony
Identifieur interne : 000794 ( Istex/Corpus ); précédent : 000793; suivant : 000795Gérard Grisey and the ‘Nature’of Harmony
Auteurs : Robert HasegawaSource :
- Music Analysis [ 0262-5245 ] ; 2009-07.
English descriptors
- Teeft :
- Acoustical society, Atonal, Auditory, Auditory scene analysis, Aural, Aural perception, Blackwell, Blackwell publishing, Cartesian distance, Chord, Clarence barlow, Complex harmonies, Compositional, Compositional procedure, Compositional techniques, Contemporary music review, Corps sonore, Distinct sources, Equal temperament, Fourier analysis, Frequency ratios, Fundamental bass, Fundamental pitch, Gerard, Gerard grisey, Grisey, Harmonic, Harmonic distance, Harmonic meaning, Harmonic series, Harmonic space, Harmonic spectra, Harmonic spectrum, Harmonic tone, Hasegawa, Higher primes, Important role, Inharmonic spectra, Instrumental synthesis, Internal nature, Interval simplicity, James tenney, Klumpenhouwer networks, Least retuning, Many partials, Minor triad, Music analysis, Music theory, Musical contexts, Musical effect, Musical examples, Musical surface, Natural origins, Nearest quarter tone, Overtone, Overtone series, Partial, Partial number, Physical properties, Piano piece, Piano tone, Pitch, Pitch class, Pitch collection, Plausible tone representations, Pragmatic approach, Preference rule, Preference rules, Quarter tone, Representation, Riemann, Robert hasegawa, Salient pitches, Same time, Schoenberg, Serial music, Shepard tone, Simpler interpretation, Simplest interval, Sonority, Spectral composers, Spectral music, Spectrum, Temporum, Tenney, Tolerance range, Tone representation, Tone representations, Trombone, Trombone sound, Twentieth century, Vertical spacing, Virtual pitch, Vortex, Vortex temporum, Whole tone.
Abstract
Gérard Grisey (1946–1998) was a founder of the influential ‘spectral’ movement. Reacting against the abstractions of serialism, spectral composers derived their musical material from the physics of sound and the mechanisms of aural perception. The present study explores the tensions between Grisey's natural sonic models and their alterations and distortions in his music. One common spectral technique is ‘instrumental synthesis’– the scoring for instrumental ensemble of the partials of a complex natural sound. Instrumental synthesis creates a musical effect which is neither atonal nor tonal in the traditional sense – rather, we can best understand this music as exhibiting an extended tonality based on the upper overtones of the harmonic series. The analysis of this extended tonality calls for new theoretical tools which can account for the complex harmonic relationships between high overtones. I propose a modification of Hugo Riemann's theory of Tonvorstellung (tone representation): the idea that, given a collection of pitches, we will understand them as connected by the simplest possible just intervals. As a model of harmonicmeaning based on our processes of auditory cognition, tone representation can illuminate the way we hear and understand harmony in a wide variety of works. The theory is demonstrated in a discussion of Sehoenberg's Piano Piece, Op. 11 No. 2, then applied in an analysis of Grisey's Vortex Temporum (1994–6). Sketches for the piece indicate Grisey's use of distorted –‘stretched’ and ‘compressed’– spectra in addition to the familiar harmonic series. Applying my theory of tone representation makes possible a sensitive description of the aural effect of such distorted spectra, rather than the interpretations we frequently find of these sonorities which contradict their natural origins in Grisey's sketches.
Url:
DOI: 10.1111/j.1468-2249.2011.00294.x
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ISTEX:8CA1438EFC89CAFE82919509E4A351ED61E8199FLe document en format XML
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Reacting against the abstractions of serialism, spectral composers derived their musical material from the physics of sound and the mechanisms of aural perception. The present study explores the tensions between Grisey's natural sonic models and their alterations and distortions in his music. One common spectral technique is ‘instrumental synthesis’– the scoring for instrumental ensemble of the partials of a complex natural sound. Instrumental synthesis creates a musical effect which is neither atonal nor tonal in the traditional sense – rather, we can best understand this music as exhibiting an extended tonality based on the upper overtones of the harmonic series. The analysis of this extended tonality calls for new theoretical tools which can account for the complex harmonic relationships between high overtones. I propose a modification of Hugo Riemann's theory of Tonvorstellung (tone representation): the idea that, given a collection of pitches, we will understand them as connected by the simplest possible just intervals. As a model of harmonicmeaning based on our processes of auditory cognition, tone representation can illuminate the way we hear and understand harmony in a wide variety of works. The theory is demonstrated in a discussion of Sehoenberg's Piano Piece, Op. 11 No. 2, then applied in an analysis of Grisey's Vortex Temporum (1994–6). Sketches for the piece indicate Grisey's use of distorted –‘stretched’ and ‘compressed’– spectra in addition to the familiar harmonic series. Applying my theory of tone representation makes possible a sensitive description of the aural effect of such distorted spectra, rather than the interpretations we frequently find of these sonorities which contradict their natural origins in Grisey's sketches.</div></front></TEI><istex><corpusName>wiley</corpusName><keywords><teeft><json:string>music analysis</json:string><json:string>tone representation</json:string><json:string>grisey</json:string><json:string>blackwell publishing</json:string><json:string>temporum</json:string><json:string>overtone</json:string><json:string>hasegawa</json:string><json:string>gerard</json:string><json:string>vortex temporum</json:string><json:string>atonal</json:string><json:string>gerard grisey</json:string><json:string>harmonic</json:string><json:string>tenney</json:string><json:string>auditory</json:string><json:string>instrumental synthesis</json:string><json:string>vortex</json:string><json:string>equal temperament</json:string><json:string>trombone</json:string><json:string>robert hasegawa</json:string><json:string>tone representations</json:string><json:string>schoenberg</json:string><json:string>preference rule</json:string><json:string>aural</json:string><json:string>spectral composers</json:string><json:string>compositional</json:string><json:string>sonority</json:string><json:string>preference rules</json:string><json:string>music theory</json:string><json:string>overtone series</json:string><json:string>harmonic distance</json:string><json:string>virtual pitch</json:string><json:string>aural perception</json:string><json:string>inharmonic spectra</json:string><json:string>quarter tone</json:string><json:string>riemann</json:string><json:string>same time</json:string><json:string>harmonic spectrum</json:string><json:string>piano tone</json:string><json:string>musical surface</json:string><json:string>nearest quarter tone</json:string><json:string>acoustical society</json:string><json:string>partial number</json:string><json:string>harmonic spectra</json:string><json:string>corps sonore</json:string><json:string>contemporary music review</json:string><json:string>harmonic space</json:string><json:string>simpler interpretation</json:string><json:string>james tenney</json:string><json:string>serial music</json:string><json:string>auditory scene analysis</json:string><json:string>fundamental bass</json:string><json:string>harmonic meaning</json:string><json:string>plausible tone representations</json:string><json:string>trombone sound</json:string><json:string>blackwell</json:string><json:string>chord</json:string><json:string>harmonic series</json:string><json:string>frequency ratios</json:string><json:string>simplest interval</json:string><json:string>tolerance range</json:string><json:string>physical properties</json:string><json:string>distinct sources</json:string><json:string>minor triad</json:string><json:string>natural origins</json:string><json:string>twentieth century</json:string><json:string>musical contexts</json:string><json:string>compositional techniques</json:string><json:string>many partials</json:string><json:string>least retuning</json:string><json:string>cartesian distance</json:string><json:string>pitch collection</json:string><json:string>fourier analysis</json:string><json:string>clarence barlow</json:string><json:string>spectral music</json:string><json:string>whole tone</json:string><json:string>harmonic tone</json:string><json:string>higher primes</json:string><json:string>interval simplicity</json:string><json:string>fundamental pitch</json:string><json:string>compositional procedure</json:string><json:string>internal nature</json:string><json:string>vertical spacing</json:string><json:string>piano piece</json:string><json:string>klumpenhouwer networks</json:string><json:string>important role</json:string><json:string>musical examples</json:string><json:string>pitch class</json:string><json:string>musical effect</json:string><json:string>shepard tone</json:string><json:string>salient pitches</json:string><json:string>pragmatic approach</json:string><json:string>complex harmonies</json:string><json:string>partial</json:string><json:string>spectrum</json:string><json:string>pitch</json:string><json:string>representation</json:string></teeft></keywords><author><json:item><name>ROBERT HASEGAWA</name><affiliations><json:string>University of Rochester</json:string></affiliations></json:item></author><articleId><json:string>MUSA294</json:string></articleId><arkIstex>ark:/67375/WNG-R1LG8WMF-G</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>article</json:string></originalGenre><abstract>Gérard Grisey (1946–1998) was a founder of the influential ‘spectral’ movement. Reacting against the abstractions of serialism, spectral composers derived their musical material from the physics of sound and the mechanisms of aural perception. The present study explores the tensions between Grisey's natural sonic models and their alterations and distortions in his music. One common spectral technique is ‘instrumental synthesis’– the scoring for instrumental ensemble of the partials of a complex natural sound. Instrumental synthesis creates a musical effect which is neither atonal nor tonal in the traditional sense – rather, we can best understand this music as exhibiting an extended tonality based on the upper overtones of the harmonic series. The analysis of this extended tonality calls for new theoretical tools which can account for the complex harmonic relationships between high overtones. I propose a modification of Hugo Riemann's theory of Tonvorstellung (tone representation): the idea that, given a collection of pitches, we will understand them as connected by the simplest possible just intervals. As a model of harmonicmeaning based on our processes of auditory cognition, tone representation can illuminate the way we hear and understand harmony in a wide variety of works. The theory is demonstrated in a discussion of Sehoenberg's Piano Piece, Op. 11 No. 2, then applied in an analysis of Grisey's Vortex Temporum (1994–6). Sketches for the piece indicate Grisey's use of distorted –‘stretched’ and ‘compressed’– spectra in addition to the familiar harmonic series. 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Music Analysis © 2011 Blackwell Publishing Ltd</licence></availability><date type="published" when="2009-07"></date></publicationStmt><notesStmt><note type="content-type" subtype="article" source="article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</note><note type="publication-type" subtype="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="article"><analytic><title level="a" type="main">G<hi rend="smallCaps">érard</hi> G<hi rend="smallCaps">risey and the </hi>‘N<hi rend="smallCaps">ature</hi>’<hi rend="smallCaps">of</hi> H<hi rend="smallCaps">armony</hi></title><title level="a" type="short">Gérard Grisey and the‘Nature’of Harmony</title><author xml:id="author-0000"><persName><forename type="first">ROBERT</forename><surname>HASEGAWA</surname></persName><affiliation><orgName type="institution">University of Rochester</orgName></affiliation></author><idno type="istex">8CA1438EFC89CAFE82919509E4A351ED61E8199F</idno><idno type="ark">ark:/67375/WNG-R1LG8WMF-G</idno><idno type="DOI">10.1111/j.1468-2249.2011.00294.x</idno><idno type="unit">MUSA294</idno><idno type="toTypesetVersion">file:MUSA.MUSA294.pdf</idno></analytic><monogr><title level="j" type="main">Music Analysis</title><title level="j" type="alt">MUSIC ANALYSIS</title><idno type="pISSN">0262-5245</idno><idno type="eISSN">1468-2249</idno><idno type="book-DOI">10.1111/(ISSN)1468-2249</idno><idno type="book-part-DOI">10.1111/musa.2009.28.issue-2-3</idno><idno type="product">MUSA</idno><idno type="publisherDivision">ST</idno><imprint><biblScope unit="vol">28</biblScope><biblScope unit="issue">2‐3</biblScope><biblScope unit="page" from="349">349</biblScope><biblScope unit="page" to="371">371</biblScope><biblScope unit="page-count">23</biblScope><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2009-07"></date></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><abstract xml:lang="en" style="main"><head>ABSTRACT</head><p>Gérard Grisey (1946–1998) was a founder of the influential ‘spectral’ movement. Reacting against the abstractions of serialism, spectral composers derived their musical material from the physics of sound and the mechanisms of aural perception. The present study explores the tensions between Grisey's natural sonic models and their alterations and distortions in his music. One common spectral technique is ‘instrumental synthesis’– the scoring for instrumental ensemble of the partials of a complex natural sound. Instrumental synthesis creates a musical effect which is neither atonal nor tonal in the traditional sense – rather, we can best understand this music as exhibiting an extended tonality based on the upper overtones of the harmonic series. The analysis of this extended tonality calls for new theoretical tools which can account for the complex harmonic relationships between high overtones.</p><p>I propose a modification of Hugo Riemann's theory of <hi rend="italic">Tonvorstellung</hi> (tone representation): the idea that, given a collection of pitches, we will understand them as connected by the simplest possible just intervals. As a model of harmonicmeaning based on our processes of auditory cognition, tone representation can illuminate the way we hear and understand harmony in a wide variety of works. The theory is demonstrated in a discussion of Sehoenberg's Piano Piece, Op. 11 No. 2, then applied in an analysis of Grisey's <hi rend="italic">Vortex Temporum </hi>(1994–6). Sketches for the piece indicate Grisey's use of distorted –‘stretched’ and ‘compressed’– spectra in addition to the familiar harmonic series. Applying my theory of tone representation makes possible a sensitive description of the aural effect of such distorted spectra, rather than the interpretations we frequently find of these sonorities which contradict their natural origins in Grisey's sketches.</p></abstract><textClass><keywords rend="tocHeading1"><term>ORIGINAL ARTICLES</term></keywords></textClass><langUsage><language ident="en"></language></langUsage></profileDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/8CA1438EFC89CAFE82919509E4A351ED61E8199F/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Blackwell Publishing Ltd</publisherName><publisherLoc>Oxford, UK</publisherLoc></publisherInfo><doi origin="wiley" registered="yes">10.1111/(ISSN)1468-2249</doi><issn type="print">0262-5245</issn><issn type="electronic">1468-2249</issn><idGroup><id type="product" value="MUSA"></id><id type="publisherDivision" value="ST"></id></idGroup><titleGroup><title type="main" sort="MUSIC ANALYSIS">Music Analysis</title></titleGroup></publicationMeta><publicationMeta level="part" position="07102"><doi origin="wiley">10.1111/musa.2009.28.issue-2-3</doi><numberingGroup><numbering type="journalVolume" number="28">28</numbering><numbering type="journalIssue">2‐3</numbering></numberingGroup><coverDate startDate="2009-07">July‐October 2009</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="6" status="forIssue"><doi origin="wiley">10.1111/j.1468-2249.2011.00294.x</doi><idGroup><id type="unit" value="MUSA294"></id></idGroup><countGroup><count type="pageTotal" number="23"></count></countGroup><titleGroup><title type="tocHeading1">ORIGINAL ARTICLES</title></titleGroup><copyright>© 2011 The Author. Music Analysis © 2011 Blackwell Publishing Ltd</copyright><eventGroup><event type="xmlConverted" agent="Converter:BPG_TO_WML3G version:2.4.8 mode:FullText" date="2011-04-21"></event><event type="firstOnline" date="2011-04-21"></event><event type="publishedOnlineFinalForm" date="2011-04-21"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-02-03"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-10-31"></event></eventGroup><numberingGroup><numbering type="pageFirst" number="349">349</numbering><numbering type="pageLast" number="371">371</numbering></numberingGroup><linkGroup><link type="toTypesetVersion" href="file:MUSA.MUSA294.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="figureTotal" number="8"></count><count type="tableTotal" number="0"></count><count type="formulaTotal" number="0"></count><count type="referenceTotal" number="30"></count><count type="wordTotal" number="8639"></count><count type="linksPubMed" number="0"></count><count type="linksCrossRef" number="0"></count></countGroup><titleGroup><title type="main">G<sc>érard</sc> G<sc>risey and the </sc>‘N<sc>ature</sc>’<sc>of</sc> H<sc>armony</sc></title><title type="shortAuthors"><sc>robert hasegawa</sc></title><title type="short">G<sc>érard</sc> G<sc>risey and the</sc>‘N<sc>ature</sc>’<sc>of</sc> H<sc>armony</sc></title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#a1"><personName><givenNames>ROBERT</givenNames><familyName>HASEGAWA</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="a1"><unparsedAffiliation>University of Rochester</unparsedAffiliation></affiliation></affiliationGroup><abstractGroup><abstract type="main" xml:lang="en"><title type="main">ABSTRACT</title><p>Gérard Grisey (1946–1998) was a founder of the influential ‘spectral’ movement. Reacting against the abstractions of serialism, spectral composers derived their musical material from the physics of sound and the mechanisms of aural perception. The present study explores the tensions between Grisey's natural sonic models and their alterations and distortions in his music. One common spectral technique is ‘instrumental synthesis’– the scoring for instrumental ensemble of the partials of a complex natural sound. Instrumental synthesis creates a musical effect which is neither atonal nor tonal in the traditional sense – rather, we can best understand this music as exhibiting an extended tonality based on the upper overtones of the harmonic series. The analysis of this extended tonality calls for new theoretical tools which can account for the complex harmonic relationships between high overtones.</p><p>I propose a modification of Hugo Riemann's theory of <i>Tonvorstellung</i> (tone representation): the idea that, given a collection of pitches, we will understand them as connected by the simplest possible just intervals. As a model of harmonicmeaning based on our processes of auditory cognition, tone representation can illuminate the way we hear and understand harmony in a wide variety of works. The theory is demonstrated in a discussion of Sehoenberg's Piano Piece, Op. 11 No. 2, then applied in an analysis of Grisey's <i>Vortex Temporum </i>(1994–6). Sketches for the piece indicate Grisey's use of distorted –‘stretched’ and ‘compressed’– spectra in addition to the familiar harmonic series. Applying my theory of tone representation makes possible a sensitive description of the aural effect of such distorted spectra, rather than the interpretations we frequently find of these sonorities which contradict their natural origins in Grisey's sketches.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Gérard Grisey and the ‘Nature’of Harmony</title></titleInfo><titleInfo type="abbreviated" lang="en"><title>Gérard Grisey and the‘Nature’of Harmony</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Gérard Grisey and the ‘Nature’of Harmony</title></titleInfo><name type="personal"><namePart type="given">ROBERT</namePart><namePart type="family">HASEGAWA</namePart><affiliation>University of Rochester</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">2009-07</dateIssued><copyrightDate encoding="w3cdtf">2009</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><extent unit="figures">8</extent><extent unit="tables">0</extent><extent unit="formulas">0</extent><extent unit="references">30</extent><extent unit="linksCrossRef">0</extent><extent unit="words">8639</extent></physicalDescription><abstract lang="en">Gérard Grisey (1946–1998) was a founder of the influential ‘spectral’ movement. Reacting against the abstractions of serialism, spectral composers derived their musical material from the physics of sound and the mechanisms of aural perception. The present study explores the tensions between Grisey's natural sonic models and their alterations and distortions in his music. One common spectral technique is ‘instrumental synthesis’– the scoring for instrumental ensemble of the partials of a complex natural sound. Instrumental synthesis creates a musical effect which is neither atonal nor tonal in the traditional sense – rather, we can best understand this music as exhibiting an extended tonality based on the upper overtones of the harmonic series. The analysis of this extended tonality calls for new theoretical tools which can account for the complex harmonic relationships between high overtones. I propose a modification of Hugo Riemann's theory of Tonvorstellung (tone representation): the idea that, given a collection of pitches, we will understand them as connected by the simplest possible just intervals. As a model of harmonicmeaning based on our processes of auditory cognition, tone representation can illuminate the way we hear and understand harmony in a wide variety of works. The theory is demonstrated in a discussion of Sehoenberg's Piano Piece, Op. 11 No. 2, then applied in an analysis of Grisey's Vortex Temporum (1994–6). Sketches for the piece indicate Grisey's use of distorted –‘stretched’ and ‘compressed’– spectra in addition to the familiar harmonic series. Applying my theory of tone representation makes possible a sensitive description of the aural effect of such distorted spectra, rather than the interpretations we frequently find of these sonorities which contradict their natural origins in Grisey's sketches.</abstract><relatedItem type="host"><titleInfo><title>Music Analysis</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0262-5245</identifier><identifier type="eISSN">1468-2249</identifier><identifier type="DOI">10.1111/(ISSN)1468-2249</identifier><identifier type="PublisherID">MUSA</identifier><part><date>2009</date><detail type="volume"><caption>vol.</caption><number>28</number></detail><detail type="issue"><caption>no.</caption><number>2‐3</number></detail><extent unit="pages"><start>349</start><end>371</end><total>23</total></extent></part></relatedItem><identifier type="istex">8CA1438EFC89CAFE82919509E4A351ED61E8199F</identifier><identifier type="ark">ark:/67375/WNG-R1LG8WMF-G</identifier><identifier type="DOI">10.1111/j.1468-2249.2011.00294.x</identifier><identifier type="ArticleID">MUSA294</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2011 The Author. Music Analysis © 2011 Blackwell Publishing Ltd</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-L0C46X92-X">wiley</recordContentSource><recordOrigin>Blackwell Publishing Ltd</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/8CA1438EFC89CAFE82919509E4A351ED61E8199F/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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