Un grand nombre des livres et d’articles ont été édités depuis des décennies sur le thème de l’espace sonore, sa perception, sa configuration fixe et mobile dans la composition de la musique acousmatique et sa projection dans l’espace d’un environnement particulier.
Dans cet article, je voudrais seulement témoigner de mon expérience en tant que compositrice de musique acousmatique, fascinée par les différentes techniques de spatialisation stéréophonique et multiphonique.
A large number of books and articles have been edited over the decades on the theme of sound space, its perception, its fixed and mobile configuration in the composition of acousmatic music, and its perception in the space of a particular environment.
In this article, I would just like to testify to my experience as a composer of acousmatic music who is fascinated by the different techniques of stereophonic and multiphonic spatialization.
In the late 1950’s and early 60’s, Xenakis worked with GRM (Groupe de recherches musicales) in Paris to produce several pieces for electromagnetic tape, including Orient-Occident, a piece often overshadowed by works like Concrete PH and Bohor, which are rightly considered more groundbreaking pieces in Xenakis’s early oeuvre, particularly Bohor, with its unique source material, […]
Asymmetry Music Magazine announces that it will be covering the classical music of the twentieth and twenty-first centuries. I know from the reactions of colleagues and from reading some on-line conversations about music, that calling the musics I intend to feature in this magazine by the word “classical” is going to puzzle some and annoy […]
For this premiere issue, it may be prudent to say a few words about how Asymmetry Music Magazine started, and why, and what you can expect from it. Back in 1972, I first heard Bartók’s Concerto for Orchestra. Although I had heard a lot of twentieth century music before that, and liked it, I had […]