Gérard Grisey. Prologue. max6. The setup and the execution of the electroacoustic part of this work requires a Computer. in Grisey’s Prologue for Solo Viola. L-?. Jeffrey J. Hennessy. Gerard Grisey ( ) is widely considered to be one of the founders of the movement known. Prologue isn’t really meant to stand on its own. It’s the introductory movement of Grisey’s minute-long cycle Les Espaces Acoustiques.
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It has become my roast chicken, well-tied bow tie, or perfectly located fastball. We hope that over time the blog will provide useful hints and ideas about the creative processes of composition.
Gerard Grisey – Prologue | Monash Composers
As the piece continues, several processes happen at once. Well, laughs I thought it was amazing. Barros 4 The composer left a number of texts in which he describes his compositional procedures and his aesthetics preferences.
I follow the spiral until I find myself curled up in front of the television in need of a nap. He goes on to say: For these musicians, some of the scores that were composed during the preceding decades were so detached from the listening experience that they could be more meaningful as objects of discussion or research than as a work of art meant to be listened. This is an exercise I did for years, building melodies one note at a time with or without regard to harmony or rhythm; letting the shape and flow of the melody define itself based gtisey on the consideration of this lrologue That allows proposing journeys to the listener that link one state characterised by the sound matter to another for example, from consonance to noisepassing through zones from which any catalogued indicator seems abolished.
Just like any other phrase in this work, it ends. You are commenting using your WordPress. This issue started that simply; what monophonic pieces encapsulate an artist’s aesthetic and skill.
Do you think it loses anything by not having harmony? Twentieth century composers, like those of the fourteenth and fifteenth centuries, have speculated considerably about durations.
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The narrative string of one note after another has been convoluted by choice as you click from page to page. Prologue is not the only example in Grisey’s output of monophonic solo line composition: At the same time, Grisey starts distorting the timbre, first with sul ponticellothen with scratch tone and bow ricochets.
Intonation is a human experience capable of almost limitless nuance, but still very difficult to communicate with any reliability thanks to the vagaries of acoustic spaces! The end of each piece corresponds to the beginning of the next.
I hope I have succeeded here in stammering out what I believe music to be: A dialectic of harmony and fury, resonance, and the intellectual fallout of dancing with the components of that resonance. Then I finally decided to compose a complete cycle, starting with a piece for a solo instrument and ending with a large orchestra.
For some reason, I have an easier time with improvised music in that sense. And, who can speak most eloquently about them? So I can totally understand that; especially in this kind of music.
pologue I experience a touch of humor in the coda to Prologue, a somewhat unexpected element in this so-called ‘didactic’ exercise. From about that point, the music becomes less melodic and more aesthetic, giving an atmospheric idea as opposed to a melodic idea.
Grisey radicalizes the means of recontextualizing his motives — by using microtones, by ‘teasing’ the transformations in prologuf much more drawn out unwinding than early 20th century serialists would ever conceive — but the principle is still the same.
The synthesis aims, on ggrisey one hand, at developing the sound materialand on the other, the various relationships existing between the sounds forms So, in the end and after including our return of 5 Questions, this time with Kurt Gottschalk porlogue, the issue came about like the one note exercise. How high the development of spirit that could find pleasure in such subtle things!
For Grisey, this is a music that deals with changes, with the thresholds of perception between one sound and the other. The last two versions are very interesting: My complaint in this essay is as misleading a fakery along the lines of what I believe Grisey accomplishes.
We are musicians and our model is sound not literature, sound not mathematics, sound not theatre, visual arts, quantum physics, geology, astrology or acupuncture Grisey as said to be a founder of the genre of Spectral Music, where compositional decisions are often informed by the griswy of sound spectra.
These applications are much more ptologue and perceptible in Partiels and Modulations.
Prologue is a piece with more-or-less four distinct manifestations: The importance of this cycle as prologur reference in spectral music and a key work for the comprehension of some of the technical devices created by Grisey is commented by propogue composer: Which was cool, but I was also wondering why the low note was doing this fake groove The section is also reinvents the notion of duality, which I assert is central to the composition, and the cycle as a whole.