Texte cité dans

The Doctrine of Similarity

Amphibolies I (Walk slowly)Walk slowlyand jump quicklyoverthe paths intotheBriar. Thepricks are points on amapthat takeyou back behind the stareswhere shadows arethickest atnoon.

(variations)

Fault not leaseadd thump whimsyavera sash ontoamire. Thesticks are loins on agapenot fakerude facts remind a feartear tallow marmissed ease atloom.

Balk sulkyant hump prick feecloveran ash injureattire. Theflicks are joints on anap(nutmeg)glue's knack refines the darenear fallow barsquickest latchgone.

Dusk to Dusk

The heavens turn dark before the trees are shot with light.

Cannot Cross

When winds of change are goneBlats for fear take holdDon't want consolationJust a ticket home.

It's been so longWords cannot console usWhere there is sorrowWe cannot crossKnew a man onceHad to tongueWalked in fogTill the fog was gone

It's been so longWords cannot console usWhere there is sorrowWe cannot crossOur souls are not for hireOur loss is not for saleWe'll build a palace of tears and bloodOn the fields of on enduring pain.

Our souls are not for hireOur loss is not for saleWe'll build a palace tears and bloodOn the fields of our enduring pain

A song is comingCan find no restWe cannot crossGive us the wordsToo long, it's beenAnd the noise breaksToo long is sorrowCannot crossIt's been so longWords cannot console usWhere there is sorrowWe cannot crossA song is comingCan find no restWe cannot crossGive us the wordsSong is comingFind no wordsCannot crossCannot cross

Indissolubility

There's no solution to the question if the question becomes the solution.Long walks deride the obvious intractability of any mimesis.When answers present themselves as this or thatIt does not follow that the next step is to say both/and or either/or.Don't just rethink the problem rethink what precludes the question.It is never just a matter of identification but of recognition as refiguration.It is never just a matter of recognition as refiguration but redemptionthrough resistance.

Tears sole dilution chews the winsome imp's affection's freedom'ssheer incursionWrong quakes deprive the odious retractability of aging oasisBent and swerded resent sham shelves at switch or swatIll dots jog fallow tab dud vexed wept into weight sloth and pour eatsher loreFunk dusk hijinks tea probe fend be link shot deludes the jest doneLit hiss ever just a bladder of recuperation as infantilization gutsexcemption through insistence.

Amphibolies II (Noon)

noonat thickestare shadows wherestares the behind back youtake that map a on points are pricksthe briarthe the paths into over quickly jump and slowly walk.

Sometimes

Sometimes you burn a book because it is cold and you need the fire to keep warm and sometimes you read abook for the same reason.This is not a theory of reading this is about staying alive in a particular place andin a particular time.This is notbecause you are weary of learning but what it means to diein a particular moment anda particular space.

[variations]

you are weary of learninga particular timea particular spaceit is coldthis is about staying aliveyou read ain a particular place andthis is not a theory of readingbut what it means to dieand you need the firebook for the same reasonin a particular moment andThis is notto keep warmbecausesometimesyou burn a book becauseandsometimes.

Dusts to Dusks

The heavens turn dark before the trees are shot full of light.

Salute

The blank sail of our soul [toll]The blank toil of our sail [veil]The blank soul of our toil [soil]


  1. Il nous semble important de faire une distinction entre le Réalisateur en Informatique Musicale (RIM) qui contribue à la confection de la partie électronique d’une œuvre et le Musicien en charge de l’Électronique Live (MEL) qui n’a pas nécessairement participé à l’élaboration de cette partie électronique mais qui doit s’assurer de sa mise à jour et de son bon fonctionnement lors d’une performance (lire à ce sujet Plessas et Boutard, 2015). 

  2. Par convention, l’harmonique 1 (fréquence f0) correspond à la fondamentale du spectre. Pour un spectre harmonique, la fréquence de chaque composante spectrale vérifie la relation suivante: fn = n x f0. 

  3. Grisey a commis une erreur au niveau du premier intervalle: l’écart entre la fondamentale (mi0) et le second harmonique (mi1) est une octave, soit 24 quarts de ton et non 22 comme il est indiqué. 

  4. CAUSSÉ, Réné, SLUCHIN, Benny, Sourdines des cuivres, Paris : Editions de la Maison des sciences de l'homme, 1991. 

  5. Yan Maresz, cité par Bruno Heuzé, dans HEUZÉ, Bruno, « Yan Maresz, Portrait », Résonance, Ircam/Centre Georges Pompidou, n° 14, septembre 1998, page 16. 

  6. SAARIAHO, Kaija, « Timbre et harmonie », dans Le timbre, métaphore pour la composition, Jean-Baptiste Barrière, éd., Paris, Ircam - Christian Bourgois, 1991, p. 412-453. 

  7. GRABOCZ, Martha, « La musique contemporaine finlandaise : conception gestuelle de la macrostucture / Saariaho et Lindberg », Cahiers du CIREM, Musique et geste, n ° 26-27, décembre 1992-mars 1993, p. 158. 

  8. BATTIER, Marc, NOUNO, Gilbert, « L'électronique dans l'opéra de Kaija Saariaho, L'Amour de loin », in Carlos AGON, Gérard ASSAYAG, Jean BRESSON, The OM Composer's Book, coll. Musique et sciences, Ircam, Centre Georges-Pompidou, 2006, p. 21-30.  

  9. Whittall, Arnold, Jonathan Harvey, Londres, Faber and Faber, 1999. Traduction française sous le même titre par Eric de Visscher, L’Harmattan, Ircam-Centre Georges Pompidou, 2000, p. 44. 

  10. Harvey, Jonathan, « Le Miroir de l’ambiguïté », Le Timbre, métaphore pour la composition, recueil de textes réunis par Jean-Baptiste Barrière, Paris, Ircam, Christian Bourgois, 1991, p. 454-466.