Tensions, parallèles et interférences entre texte et musique. Le cas de Pierrot lunaire d’Arnold Schoenberg.

Cet article vise un double objectif. Il propose d’abord un examen détaillé des interférences entre le texte (forme et sémantique) et les structures musicales dans Pierrot lunaire d’Arnold Schoenberg. Les résultats de cette analyse suggèrent que le rapport texte-musique de cette oeuvre ne se conçoit que sur un mode hétérogène et extrêmement ambigu. Le deuxième objectif est de montrer que l’examen des exemples doit être étayé par une réflexion théorique sur les conditions de possibilité des interférences musico-textuelles, et sur les outils de description dont l’analyste dispose pour les mettre à jour.This article has two goals. First, it proposes a detailed analysis of the interference between the text (in its formal and semantic aspects) and the musical structures in Arnold Schoenberg’s Pierrot lunaire. The results suggest that the text-music relation in this work must be conceived of as heterogeneous and extremely ambivalent. The second goal is to show that such an analysis needs to be elaborated within a more general theoretical reflection about, on the one hand, the very conditions of possibility of the musical-textual interference and, on the other hand, the descriptive tools the researcher has at his disposition to reveal them

Text as a crutch in Arnold Schoenberg's Pierrot lunaire op. 21: an analytic study of the relationship between textual aspects and musical structure in free atonality

nrpages: VII, 443status: publishe

Trompe l’oreille. Researching innovative strategies towards “illusive” sound-process composition

A composer’s imagination reaches beyond ‘realistic’ physical laws, and aims at illusory, groundbreaking sound creations and sensations. An illusory sound process (‘trompe l’oreille’ effect, literally, ear-deceiving) can be created by breaking apart the unambiguous coherence between different musical parameters (pitch, duration, timbre, dynamic, etc.), and, consequently, rendering it diffuse, asynchronous, ambiguous, indistinct. This publication explains 'acoustic illusion' as a phenomenon and focuses on a number of experiments of the past decades. It further comments on examples from the composition practice and music literature, and suggests — through ‘hands-on’ templates — a number of strategies pertaining the use of acoustic illusion in contemporary composition.edition: 1st editionnrpages: 66status: publishe