Encontro com Pierre Boulez

Quando do Encontro com Pierre Boulez, realizado no auditório do Departamento de Música da ECA-USP em 23 de outubro de 1996, as respostas do compositor, intérprete e pensador francês às quatro perguntas - formuladas por: Marcos Branda Lacerda, Luís Antônio Giron, Haroldo de Campos e Décio Pignatari - foram traduzidas oralmente por Gilberto Tinetti e José Eduardo Martins. A convite do Departamento de Música, a Rádio Cultura-FM gravou o evento, tendo inclusive apresentado, no mês de dezembro de 1996, em quatro programas, parte das respostas de Pierre Boulez. A partir das gravações, preparou-se a tradução escrita, buscando-se ao máximo desvinculá-la do sentido literário, guardando sim, na medida do possível, a espontaneidade do discurso. Torna-se necessária esta colocação, pois Pierre Boulez é detentor de uma das mais claras, objetivas e elegantes penas do pensar musical. As notas fazem-se presentes a fim de simplesmente trazer subsídio complementar - sobremaneira na especificidade extramusical - ao histórico Encontro. A Revista Música agradece à Sociedade de Cultura Artística, co-realizadora do evento

Pierre Boulez – Écriture musicale et accident

La figure de Pierre Boulez, compositeur majeur de l’après-guerre, puis chef d’orchestre de dimension internationale depuis les années soixante-dix, est celle d’un créateur qui s’est toujours penché sur sa création, et la création musicale en général. L’image sommaire qu’on a longtemps présentée de lui (un musicien-mathématicien, rationaliste, théoricien du « degré zéro de l’écriture musicale », planificateur dodécaphoniste de ses œuvres) semblait ne pas laisser place à celle d’un compositeur ..

Loss of LGR4/GPR48 causes severe neonatal salt-wasting due to disrupted WNT signaling altering adrenal zonation.

Disorders of isolated mineralocorticoid deficiency causing potentially life-threatening salt-wasting crisis early in life have been associated with gene variants of aldosterone biosynthesis or resistance, but in some patients no such variants are found. WNT/β-catenin signaling is crucial for differentiation and maintenance of the aldosterone producing adrenal zona glomerulosa (zG). We describe a highly consanguineous family with multiple perinatal deaths or infants presenting at birth with failure to thrive, severe salt-wasting crises associated with isolated hypoaldosteronism, nail anomalies, short stature, and deafness. Whole exome sequencing revealed a homozygous splice variant in the R-SPONDIN receptor LGR4 gene (c.618-1G>C) regulating WNT signaling. The resulting transcripts affected protein function and stability, and resulted in loss of Wnt/β-catenin signaling in vitro. The impact of LGR4 inactivation was analyzed by adrenal cortex specific ablation of Lgr4, using Lgr4Flox/Flox mated with Sf1:Cre mice. Inactivation of Lgr4 within the adrenal cortex in the mouse model caused decreased WNT signaling, aberrant zonation with deficient zG and reduced aldosterone production. Thus, human LGR4 mutations establish a direct link between LGR4 inactivation and decreased canonical WNT signaling with abnormal zG differentiation and endocrine function. Therefore, variants in WNT signaling and its regulators should systematically be considered in familial hyperreninemic hypoaldosteronism

Comparing Notes: Recording and Criticism

This chapter charts the ways in which recording has changed the nature of music criticism. It both provides an overview of the history of recording and music criticism, from the advent of Edison’s Phonograph to the present day, and examines the issues arising from this new technology and the consequent transformation of critical thought and practice

Wider Still and Wider: British Music Criticism since the Second World War

This chapter provides the first historical examination of music criticism in Britain since the Second World War. In the process, it also challenges the simplistic prevailing view of this being a period of decline from a golden age in music criticism

Parallèles

La situation de Kandinsky peut, à plus d’un titre, se comparer à celle de Schœnberg : observation qui n’est pas, je le crois, destinée à l’usage exclusif des musiciens. Kandinsky, comme Schœnberg, représente une force de libération capitale décisive. Laquelle, d’ailleurs, ainsi que pour Schœnberg, trouvera tardivement son chemin en France, l’attention y étant alors dérivée par des phénomènes plus immédiatement frappants, ou plus superficiels. L’émancipation de la tonalité, je la mettrais volo..