De l’intuition à la formalisation de la pensée musicale : retour sur 11 œuvres composées dans le cadre du doctorat = From intuition to formalization of musical thought : a look back at 11 works within a doctoral framework
This thesis returns to the eleven musical works that marked my compositional journey as well as my development as an artist. I divided the production of these seven years of doctoral studies into three sections, corresponding to three distinct phases of the evolution of my language. This journey is a gradual transition from an intuitive approach to musical writing to a more structured approach. Bailo, String Quartet no.1, and Con fuoco were composed in the first phase. The second phase led to two pieces in which instrumental music and electroacoustic music were juxtaposed: the Concerto pour clarinette et bande and Impressions for bassoon and tape. In order to bridge the gap between these two distinct worlds, intuition gradually gave way to a better organization of parameters through the introduction of formalization. The third phase corresponds to a more rigorous exploration of formalization through the use of models. Four models are addressed in this thesis; the sound object model, the linguistics model, the timbre model and the visual arts model. In the sound object model, used in the Nevaliashka piece, formalization is built around an object of everyday life from which a maximum of information is extracted and analyzed. Used in the operas Les bottes jaunes and The Feast of Nemesis, the linguistics model incorporates the semantics and phonetics of different languages into the compositional process. The timbre model, found in FLAW/LESS and Transition, focuses on the corporeality of traditional instruments and their acoustic potential. Instrumental writing is thought of as a sculpture of timbres and follows the methodology generally used in electroacoustic music composition. Finally, with the visual arts model, highlighted in the Galženjaki piece, I analyze the interactions between visual arts and literature and attempt to translate this dialogue into music.
composition intuition timbre composition instrumental music electroacoustic music mixed music intuition formalization model sound object literature linguistics timbre visual arts