Le 29 juin 2017
de 11h30 à 12h00
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
amphithéâtre 6
Séance - The Second Twentieth Century: Between Italy and France
Pré-acte / Acte
Auteur : Julie Delisle
Composed in 1979, Gérard Grisey’s Jour, contre jour, for 13 instruments, electronic organ and tape, is one of his few works that include electroacoustic elements. The use of instrumental extended techniques, of a tape, and of live audio effects such as a phase shifter and a ring modulator makes it difficult to apprehend this work only from the original score, which is often more prescriptive than descriptive. For this reason, the aim of this paper is to present a perceptual analysis of Jour, contre jour based on the adaptation of two major approaches to electroacoustic music analysis : Dennis Smalley’s spectromorphology and Stéphane Roy’s functional analysis.
Our work starts from the analysis of Jour, contre jour by Jérôme Baillet, exposed in his book Gérard Grisey – Fondement d’une écriture (2000), which we will try to validate by our approach. A graphical listening score has been written, according to the original score and to a recording of Jour, contre jour by Ensemble Itinéraire, conducted by Pascal Rophé (1993), and then combined to sonograms corresponding to each page of the original score. When comparing this data to Baillet’s analysis, it seems that the sections and subsections of the piece are aurally recognizable, thank to the strategic presence of distinctive morphological elements. It is also possible to demonstrate that Gérard Grisey have found various strategies to amplify the perception of temporality through the piece, especially in the case of accelerations and decelerations.
