\r\nLa première génération qui entre de plein droit dans la base est donc celle constituée par John Cage, Olivier Messiaen ou encore Elliott Carter.\r\n\u003C/p>\r\n\r\n\u003Ch3>Contenus\u003C/h3>\r\n\r\n\u003Cp style=\"text-align: justify;\">\r\nLes données sont progressivement mises à jour depuis juillet 2007, en remplacement de celles de l’ancienne version de la base, développée entre 1996 et 2001 par Marc Texier. L’information peut donc être incomplète pour certains compositeurs non encore traités : dans ce cas l’indication « ! Informations antérieures à 2002 » apparaît en haut de page. Pour tous les autres documents, la date de dernière mise à jour est indiquée en haut de page.\r\n\u003C/p>\r\n\r\n\u003Ch3>Mises à jour et nouvelles entrées\u003C/h3>\r\n\r\n\r\n\u003Cp style=\"text-align: justify;\">Les mises à jour se font compositeur par compositeur. Pour un compositeur donné, sont systématiquement revus ou créés les documents suivants :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>la biographie\u003C/li>\r\n \u003Cli>le catalogue exhaustif de ses œuvres (y compris, si possible, les œuvres disparues, retirées ou posthumes)\u003C/li>\r\n \u003Cli>une liste de ressources bibliographiques, discographiques et internet,\u003C/li>\r\n \u003Cli>des éventuels documents attachés (Parcours de l’œuvre, interviews, analyses, notes de programme etc.)\u003C/li>\r\n\u003C/ul>\r\n\u003Cp style=\"text-align: justify;\">\r\nLa définition des priorités de mises à jour et nouvelles entrées des compositeurs s’opèrent suivant une méthodologie basée sur l’observation de la vie culturelle européenne :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>Avant chaque saison, nous relevons les programmations à venir des principaux festivals, institutions et ensembles musicaux européens investis dans le domaine de la création musicale. Cette observation s’opère par cercles concentriques en partant de l’activité propre de l’Ircam (année n-2), puis de celle des partenaires privilégiés (année n-1) jusqu’aux grandes institutions et festivals européens de création (année n) ;\u003C/li>\r\n \u003Cli>Chaque compositeur est crédité de points en fonction de l’importance et de l’intensité de l’activité musicale le concernant. Ce classement permet de définir les priorités pour chaque trimestre ;\u003C/li>\r\n \u003Cli>Si un compositeur n’a pas obtenu assez de points pour figurer dans les priorités, il cumule ceux-ci sur le trimestre suivant ; et ainsi remonte progressivement dans la liste des priorités.\u003C/li>\r\n \u003Cli>Une fois mis à jour, les documents attachés à un compositeur sont valables trois ans, après lesquels le processus décrit ci-dessus reprend.\u003C/li>\r\n\u003C/ul>\t\r\n\r\n\u003Ch3>Erreurs ou omissions\u003C/h3>\t\r\n\t\t\t\t\r\n\u003Cp style=\"text-align: justify;\">\r\nSi la mise à jour est déjà effectuée (date postérieure à juin 2007) : nous invitons les musicologues, les compositeurs (ou leur éditeur) à nous signaler toute erreur ou omission importante. Elle sera corrigée, dans la mesure du possible, au cours du trimestre suivant. De même, nous les invitons à nous faire connaître leurs œuvres nouvelles, en mentionnant tous les éléments nécessaires à la création d’une fiche œuvre nouvelle.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\t\t\r\nSi la mise à jour n’est pas encore effectuée (indication : « mise à jour à venir ») : Les compositeurs peuvent nous signaler des erreurs ou omissions importantes. Ces indications seront prises en compte au moment de la mise à jour à venir. Un compositeur peut également demander le retrait de sa biographie dans l’attente de la mise à jour.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\r\nPour cela : \u003Ca href=\"mailto:brahms-contenu[at]ircam[dot]fr\">écrire\u003C/a> à l’administrateur de publication\r\n\u003C/p>\r\n",{"id":14,"url":15,"titleFr":16,"titleEn":11,"contentFr":17,"contentEn":11},"a3cd05aa-3447-487a-b4fc-213ba0f77e6b","/copyrights/","Mention Légale","La reproduction de contenus de ce site Web, en tout ou partie, est formellement interdite sans la permission écrite de l'Ircam. Les textes, images, logos, codes sources sont la propriété de l'Ircam, ou de détenteurs avec lesquels l'Ircam a négocié les droits de reproduction à sa seule fin d'utilisation dans le cadre du site Brahms. Tout contrevenant s'expose à des poursuites judiciaires. ",{"id":19,"url":20,"titleFr":21,"titleEn":11,"contentFr":22,"contentEn":11},"9162642e-ea99-48c3-8d3b-2dc2a3f8ba45","/repertoire/about/","Projet Répertoire Ircam","\u003Cp>Le Projet Répertoire Ircam est une collection d’analyses musicales en ligne d’environ 70 œuvres crées à l’Ircam et considérées comme représentatives de la culture de l’institut tant sur le plan artistique que technologique.\u003C/p>\r\n\r\n\u003Cp>Ce projet a débuté en 2006-2008 avec la création d’outils auteurs mises en œuvre par le département Interfaces Recherche/Création en collaboration avec le secteur recherche de l’institut. Les premières analyses ont été mises en ligne fin 2010 et il est prévu que la collection s’élargisse à un rythme de deux ou trois nouvelles analyse par an.\u003C/p>\r\n\r\n\u003Cp>Plusieurs objectifs sont poursuivis par ce projet :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>faire connaître les œuvres produites à l’Ircam à un public plus large,\u003C/li>\r\n\t\u003Cli>montrer la relation entre l’idée musicale et les technologies utilisés,\u003C/li>\r\n\t\u003Cli>identifier les nouveaux éléments du vocabulaire musical qui émergent à travers ces œuvres,\u003C/li>\r\n\t\u003Cli>offrir un support d’information aux interprètes.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>Chaque analyse est structurée en trois parties :\u003C/p>\r\n\r\n\u003Col>\r\n\t\u003Cli>description générale de l’œuvre,\u003C/li>\r\n\t\u003Cli>analyse des extraits de l’œuvre avec mise en relation de l’idée musicale et de l’écriture électronique,\u003C/li>\r\n\t\u003Cli>la liste de ressources spécifiques (type de problème musical abordé, technologies utilisées, œuvres abordant le même type de problématique) et générales (biographique, historique, technique).\u003C/li>\r\n\u003C/ol>\r\n\r\n\u003Cp>Les analyses seront également mises en relation avec :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>Brahms : une base de données encyclopédique en ligne de compositeurs de musique contemporaine de toutes les nationalités dont les œuvres ont été créées après 1945. Cette base contient actuellement environ 600 références. Pour chaque compositeur, il y a une partie biographique accompagnée des sources d’information, et une autre partie qui situe l’orientation esthétique, les phases principales et le contexte historique de l’œuvre.\u003C/li>\r\n\t\u003Cli>Images d’une œuvre : une collection des interviews filmés des compositeurs.\u003C/li>\r\n\t\u003Cli>Sidney : une base de données qui contient les éléments techniques (programmes informatiques, sons etc. ) nécessaires pour l’exécution de l’œuvre.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>A plus long terme, les analyses des nouvelles œuvres créés à l’Ircam viendront se rajouter au corpus donné dans l’annexe citée ci-dessus.\u003C/p>",{"data":24},{"personBySlug":25},{"firstName":26,"lastName":27,"privateState":28,"biographyDate":29,"resume":30,"resumeEn":31,"resources":32,"catalogueSource":33,"manualUpdateDate":34,"documents":11,"photo":35,"copyrights":37,"slug":38,"hasArticles":39,"type":40,"hasWorks":41,"works":42,"hasBiography":41,"hasWorkcourse":41,"hasAnalyses":39,"hasBooks":39,"hasMonographs":39,"hasPartitions":39,"hasFloraAudios":39,"hasAudios":41,"hasVideos":39},"Horacio","Vaggione","valid","2021-04-06T00:00:00.000Z","Compositeur argentin né le 21 janvier 1943 à Córdoba.","Argentine composer born 21 January 1943 in Córdoba.","\u003Ch4 id=\"bibliographie\">Bibliographie\u003C/h4>\n\u003Ch5 id=\"textes-d-horacio-vaggione-s-lection-\">Textes d’Horacio Vaggione (sélection)\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>Horacio VAGGIONE, « Koenig’s Actuality », préface au livre de G.M. Koenig: \u003Cem>Process and Form: Select Writings on Music\u003C/em>, Hofheim, Wolke Verlag, 2018.\u003C/li>\u003Cli>Horacio VAGGIONE, « Composer des situations multi-locales », Colloque Musique et écologie des sons, Université de Paris VIII, 2013.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Manières de faire des sons\u003C/em> (avec Antonia Soulez), Paris, L'Harmattan, Collection Musique et Philosophie, 2010.\u003C/li>\u003Cli>Horacio VAGGIONE, « Composing Electroacoustic Music with Networks of Objects », \u003Cem>Musik der Zeit\u003C/em>, Universität zu Köln, Signale, 2009.\u003C/li>\u003Cli>Horacio VAGGIONE, « Composition musicale : représentations, granularités, émergences », In A. Sedes (éd.), \u003Cem>Musique et cognition\u003C/em>, Intellectica, revue de l’Association pour la recherche cognitive, Paris, 2009.\u003C/li>\u003Cli>Horacio VAGGIONE, « Notes on \u003Cem>Atem\u003C/em> », in M. Solomos (éd.), \u003Cem>Horacio Vaggione : Composition Theory. Contemporary Music Review\u003C/em> vol. 24 n° 4/5. Londres, Routledge, 2015. Version française : « Notes sur \u003Cem>Atem\u003C/em> », in M. Solomos (éd.) : \u003Cem>Espaces composables. Sur la musique et la pensée musicale d’Horacio Vaggione\u003C/em>, Paris, l’Harmattan, 2007. Version espagnole : « Notas sobre \u003Cem>Atem\u003C/em> », \u003Cem>Ciclo Espirales, Dialogos España-Francia\u003C/em>, Instituto Cervantes, Madrid, 2005.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Formel-informel : musique et philosophie\u003C/em> (livre en collaboration avec M. Solomos et A. Soulez), Paris, L’Harmattan, 2003, 261 p. (comprend l’article « Composition musicale et moyens informatiques : question d’approche » ainsi que des entretiens avec les deux autres auteurs).\u003C/li>\u003Cli>Horacio VAGGIONE, « Interaction et intégration des sources sonores dans \u003Cem>Atem\u003C/em> », \u003Cem>Journées d’études Manières de faire des sons 2\u003C/em>, Collège international de philosophie, Paris, 2003.\u003C/li>\u003Cli>Horacio VAGGIONE, « Décorrélation microtemporelle, morphologies et figurations spatiales », \u003Cem>Actes des Journées d’Informatique musicale (JIM) 2002\u003C/em>, Marseille, GMEM, 2002. Repris in A. Sedes (éd.), \u003Cem>Espaces sonores. Actes de recherche\u003C/em>, Paris, Éditions transatlantiques, 2003, pp. 17-30.\u003C/li>\u003Cli>Horacio VAGGIONE, « Composing Musical Spaces by Means of Decorrelation of Audio Signals », \u003Cem>Proceedings of the European Digital Audio Effects Conference (DAFx) 2001\u003C/em>, University of Limerick (Ireland), 2001, 8 p.\u003C/li>\u003Cli>Horacio VAGGIONE, « Some Ontological Remarks about Music Composition Processes », \u003Cem>Computer Music Journal\u003C/em> vol. 25 n° 1, Cambridge, Mass., MIT Press, 2001, pp. 54-61. Traduction française : « Quelques remarques ontologiques sur les processus de composition musicale », in R. Barbanti, E. Lynch, C. Pardo, M. Solomos (éd.), \u003Cem>Musiques, arts, technologies. Pour une approche critique\u003C/em>, Paris, L’Harmattan, 2004, p. 332-346.\u003C/li>\u003Cli>Horacio VAGGIONE, « Transformations morphologiques et échelles temporelles », in \u003Cem>Le temps en musique électroacoustique\u003C/em>, Actes de l’Académie Internationale de musique électroacoustique, vol. V, Éditions Mnémosyne, 2001, pp. 187-194.\u003C/li>\u003Cli>Horacio VAGGIONE, « La composizione musicale e i mezzi informatici : problematiche di approccio », in L. Pestalozza, F. Galante (éd.), \u003Cem>Actes du Colloque International Musica e Tecnologia Domani\u003C/em>, Teatro Alla Scala / Musica-Realtá, Milan, Libreria Musicale Italiana, 2000, pp. 181-207. Version française : « Composition musicale et moyens informatiques : questions d’approche », \u003Cem>Formel-informel...\u003C/em> (cf. infra), pp. 91-118.\u003C/li>\u003Cli>Horacio VAGGIONE, « Transformations morphologiques : quelques exemples », \u003Cem>Actes des Journées d’Informatique Musicale (JIM) 1998\u003C/em>, Marseille, LMA-CNRS, 1998, pp. G1-1 – G1-10.\u003C/li>\u003Cli>Horacio VAGGIONE, « Son, temps, objet, syntaxe. Vers une approche multi-échelle dans la composition assistée par ordinateur », in \u003Cem>Musique, rationalité, langage\u003C/em>, revue \u003Cem>Cahiers de philosophie du langage n° 3\u003C/em>, Paris, L’Harmattan, 1998, pp. 169- 202. Version italienne : « Suono tempo oggetto sintassi », \u003Cem>Musica/Realtà\u003C/em> n° 60, Milan 1999, pp. 234-239.\u003C/li>\u003Cli>Horacio VAGGIONE, « L’espace composable : sur quelques catégories opératoires dans la musique électroacoustique », in J.-M. Chouvel, M. Solomos (éd.), \u003Cem>L’espace : musique-philosophie\u003C/em>, Paris, L’Harmattan, 1998, pp. 153-166.\u003C/li>\u003Cli>Horacio VAGGIONE, « Vers une approche transformationnelle en CAO », \u003Cem>Actes des Journées d’Informatique Musicale (JIM) 1996\u003C/em>, revue \u003Cem>Les cahiers du GREYC\u003C/em>, CNRS-Université de Caen, 1996, pp. 24-34.\u003C/li>\u003Cli>Horacio VAGGIONE, « Articulating Micro-Time », \u003Cem>Computer Music Journal\u003C/em> vol. 20 n° 1, Cambridge, Mass., MIT Press, 1996, pp. 33-38.\u003C/li>\u003Cli>Horacio VAGGIONE, « Objets, représentations, opérations », \u003Cem>Ars Sonora Revue\u003C/em> n° 3, Paris, 1995, pp. 33-51.\u003C/li>\u003Cli>Horacio VAGGIONE, « Autour de l’approche électroacoustique : situations, perspectives », in \u003Cem>Esthétique et Musique Électroacoustique, Actes de l’Académie Internationale de musique électroacoustique\u003C/em>, vol. I, Bourges, Éditions Mnémosyne, 1995, pp. 101-108. Traduction anglaise : « About the Electroacoustic approach: situations, perspectives », in ibid., pp. 99-106. Nouvelle version française : « Perspectives de l’électroacoustique », Chimères n° 40, 2002, pp. 57-67.\u003C/li>\u003Cli>Horacio VAGGIONE, « Timbre as Syntax: a Spectral Modeling Approach », in S. Emmerson (éd.), \u003Cem>Timbre in Electroacoustic Music, Contemporary Music Review\u003C/em>, vol. 11 n° 1, Londres, 1994, pp. 73-83.\u003C/li>\u003Cli>Horacio VAGGIONE, « Determinism and the False Collective. About Models of Time in Early Computer Aided Composition », in J. Kramer (éd.), \u003Cem>Time in Contemporary Music Thought, Contemporary Music Review\u003C/em> vol. 7 n° 2, Londres, 1992, pp. 91-104.\u003C/li>\u003Cli>Horacio VAGGIONE, « A Note on Object-based Composition », in O. Laske (éd.), \u003Cem>Composition Theory\u003C/em>, revue \u003Cem>Interface\u003C/em> vol. 20 n° 3-4, Amsterdam, 1991, pp. 209-216.\u003C/li>\u003Cli>« Modelle der Unvollkommenheit in der Computer Musik », Symposium Chaos und Ordnung, Steirischer Akademie, Graz, 1989.\u003C/li>\u003Cli>Horacio VAGGIONE, « Polifonias temporales », In \u003Cem>Escritos sobre Luis de Pablo\u003C/em>, Madrid, Alianza Editorial, 1987, pp. 267-280.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Computerunterstütze Musikstrukturierung\u003C/em>, matériel de cours, Technische Universität Berlin, 1987.\u003C/li>\u003Cli>Horacio VAGGIONE, « Computer Music Composition », C. Roads (éd.), \u003Cem>Computer Music Journal\u003C/em> vol. 10 n° 2, Cambridge, Mass., MIT Press, 1985. pp. 8-18.\u003C/li>\u003Cli>Horacio VAGGIONE, « The Making of Octuor », \u003Cem>Computer Music Journal\u003C/em> vol. 8 n° 2, Cambridge, Mass., MIT Press, 1984, pp. 149-155. Repris in C. Roads (éd.), \u003Cem>The Music Machine. Selected readings from the Computer Music Journal\u003C/em>, Cambridge, Mass., MIT Press, 1989, pp. 149-155.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Poly-phonies : critique des relations et processus compositionnels\u003C/em>, thèse de doctorat sous la dir. de Daniel Charles, Université Paris VIII, 1983, 277 p.\u003C/li>\u003Cli>Horacio VAGGIONE, « Le courant et le maintenu », Revue d’Esthétique n° 4, Paris 1982, pp. 132-137.\u003C/li>\u003Cli>Horacio VAGGIONE, « Poly-phonies », Traverses n° 20, Paris, Centre Georges Pompidou, 1980, pp. 99-101.\u003C/li>\u003C/ul>\n\u003Ch5 id=\"entretiens-avec-horacio-vaggione-s-lection-\">Entretiens avec Horacio Vaggione (sélection)\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>Osvaldo BUDON, « Composing with Networks, Objects and Time-scales: An Interview with Horacio Vaggione », \u003Cem>Computer Music Journal\u003C/em> vol. 24 n° 3, Cambridge, Ma., MIT Press, 2000, \u003Ca href=\"https://www.jstor.org/stable/3681734\" title=\"lire ici\">lire ici\u003C/a>.\u003C/li>\u003Cli>Pascale CRITON, Paul MÉFANO, Makis SOLOMOS, Horacio VAGGIONE, « Entretien autour d’\u003Cem>Atem\u003C/em> », in (éd.), préface de Jean-Claude RISSET, \u003Cem>Espaces composables : essais sur la musique et la pensée musicale d'Horacio Vaggione\u003C/em>, 2007, p. 135-153.\u003C/li>\u003C/ul>\n\u003Ch5 id=\"textes-sur-horacio-vaggione-s-lection-\">Textes sur Horacio Vaggione (sélection)\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>Lucas BENNETT, « Notation : Horacio Vaggione : \u003Cem>Shifting Mirrors\u003C/em>, \u003Cem>Ein Schattenspiel\u003C/em> » \u003Cem>Analysis-Documentation : Performing Live Electronic Music\u003C/em>, ICST, Zürich University of the Arts, 2020.\u003C/li>\u003Cli>Kevin DAHAN, « A Temporal Framework for Electroacoustic Music Exploration ». \u003Cem>Organised Sound\u003C/em>, Cambridge University Press, vol. 25, 2, August 2020, \u003Ca href=\"https://doi.org/10.1017/S1355771820000151\" title=\"lire ici\">lire ici\u003C/a>.\u003C/li>\u003Cli>Arturo FUENTES (éd.), \u003Cem>Una generacion con Horacio Vaggione\u003C/em>. Textes (en espagnol et portugais) de A. Fuentes, P. Bittencourt, C. Caires, M. Lorenzo, I. Peres, J. M. Lopez Lopez. Revue \u003Cem>Ideas Sonicas\u003C/em> n° 20, CMMAS, Mexique, 2019, \u003Ca href=\"https://cmmas.org/store/products/product_detail/2055\" title=\"lire ici\">lire ici\u003C/a>.\u003C/li>\u003Cli>Ipek GORGUN, « Exploring Temporality in Horacio Vaggione’s Compositional Thought ». \u003Cem>Organised Sound\u003C/em>, Cambridge University Press, vol. 25, 2, August 2020, \u003Ca href=\"https://doi.org/10.1017/S1355771820000072\" title=\"lire ici\">lire ici\u003C/a>.\u003C/li>\u003Cli>Bjarni GUNNARSSON, \u003Cem>Processes and Potentials. Composing through objects, networks and interactions\u003C/em>, Institut of Sonology, The Hague, 2012, \u003Ca href=\"http://sonology.org/wp-content/uploads/2019/10/Bjarni-Gunnarsson.pdf\" title=\"lire ici\">lire ici\u003C/a>.\u003C/li>\u003Cli>Myriam KITROSER et Marisa RESTIFFO, « Ni ruptura ni vanguardia. El Centro de Música Experimental de la Escuela de Artes, 1965-1970 », \u003Cem>Revista del Instituto de Investigación Musicológica “Carlos Vega”\u003C/em>, Año XXIII, No 23, Universidad Católica de Buenos Aires, 2009.\u003C/li>\u003Cli>Maxence LARRIEU, « Consideration of the Code of Computer Music as Writing, and Some Thinking on Analytical Theories », \u003Cem>Organised Sound\u003C/em>, Cambridge University Press, vol. 24, 2019, \u003Ca href=\"https://hal.archives-ouvertes.fr/hal-02386818/document\" title=\"lire ici\">lire ici\u003C/a>.\u003C/li>\u003Cli>Kenn MOURITZEN & Germán TORO PEREZ, « Über die Mannigfaltigkeit der Rinde : „24 Variations“ von Horacio Vaggione im Kontext einer Wahrnehmungsinformierten Analyse Elektroakustischer Musik ». In Benjamin Lang (éd.), \u003Cem>Lost in Contemporary Music? Neue Musik analysieren\u003C/em>, ConBrio, Regensburg, 2017.\u003C/li>\u003Cli>Erik NYSTRÖM, « Texton Mirrors: Live Texture Montage Using Machine Learning ». Proceedings NIME (New Interfaces for Musical Expression) 2018.\u003C/li>\u003Cli>Jean-Claude RISSET, « Horacio Vaggione : vers une syntaxe du sonore », \u003Cem>Composer le son. Écrits\u003C/em>, vol. 1, chapitre X. Paris, Hermann, 2014, \u003Ca href=\"https://hal.archives-ouvertes.fr/hal-00096673/document\" title=\"lire ici\">lire ici\u003C/a>.\u003C/li>\u003Cli>Curtis ROADS, \u003Cem>Microsound\u003C/em>, Cambridge, Ma., MIT Press, 2001\u003C/li>\u003Cli>Makis SOLOMOS (éd.), \u003Cem>Horacio Vaggione: Composition Theory\u003C/em>. Textes (en anglais) de J.C Risset, M. Solomos, C. Roads, P. Criton, M. Laliberté, Ph. Mead, A. Di Scipio, H. Rubio, H. Vaggione. \u003Cem>Contemporary Music Review\u003C/em> vol. 24 part 4+5, 2005, 305 pp, \u003Ca href=\"https://www.tandfonline.com/toc/gcmr20/24/4-5\" title=\"lire ici\">lire ici\u003C/a>.\u003C/li>\u003Cli>Makis SOLOMOS (éd.), préface de Jean-Claude RISSET, \u003Cem>Espaces composables : essais sur la musique et la pensée musicale d'Horacio Vaggione\u003C/em>. Textes (en français) de J.C Risset, M. Solomos, C. Roads, P. Criton, P. Méfano, O. Budon, M. Laliberté, Ph. Mead, H. Rubio, E. Justel, A. Di Scipio, A. Soulez, H. Vaggione, Paris, L'Harmattan, 2007, 352 pp, \u003Ca href=\"https://hal.archives-ouvertes.fr/hal-00770209/\" title=\"lire ici\">lire ici\u003C/a>.\u003C/li>\u003Cli>Makis SOLOMOS, \u003Cem>De la musique au son. L'émergence du son dans la musique des XXe et XXIe siècles\u003C/em>, Presses universitaires de Rennes, 2013. Version anglaise : \u003Cem>From Music to Sound. The Emergence of Sound in 20th and 21st-Century Music\u003C/em>, Londres, Routledge, 2019, p. 192-197.\u003C/li>\u003Cli>João SVIDZINSKI, Alain BONARDI, « Vers une theorie de la composition musicale numerique fondee sur des reseaux d’objets », \u003Cem>Journées d’Informatique Musicale 2015\u003C/em>, May 2015, Montréal, \u003Ca href=\"https://hal.archives-ouvertes.fr/hal-01661109/document\" title=\"lire ici\">lire ici\u003C/a>.\u003C/li>\u003C/ul>\n\u003Cp>(\u003Cem>liens vérifiés en avril 2021\u003C/em>).\u003C/p>\n\u003Ch4 id=\"discographie\">Discographie\u003C/h4>\n\u003Cul class=\"list-disc\">\u003Cli>Horacio VAGGIONE, \u003Cem>Thema\u003C/em>, Daniel Kientzy, saxophone basse et dispositif électroacoustique, CD ADDA (AD 581047), Paris, 1987.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Thema\u003C/em>, Daniel Kientzy, saxophone basse et dispositif électroacoustique., CD WERGO (WER 2026 2) (Computer Music Currents n° 6), Mainz, 1989.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Tar\u003C/em>, Harry Sparnaay, clarinette basse et dispositif électroacoustique, CD Le Chant du Monde (LDC 278046/47), (Cultures électroniques n° 3), Paris, 1988\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Tar\u003C/em>, Tomy Lunberg, clarinette basse et dispositif électroacoustique, CD Fylkingen, Stockholm, 1990\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Kitab\u003C/em>, Andy Connel, clarinette ; Christy Crews, contrebasse ; Dolores Duran, piano ; Pablo Furman, direction, CD CDCM vol. 21, Centaur Records (CRC 2255), New York, 1993.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Till\u003C/em>, \u003Cem>Tahil\u003C/em>, \u003Cem>Leph\u003C/em>, \u003Cem>Myr\u003C/em>, \u003Cem>Schall\u003C/em> (« Musiques pour piano et électroacoustique »), Philip Mead, piano. Chrysopée Electronique, Le Chant du Monde (LCD 278 1102), 1995.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Sçir\u003C/em>, Beate-Gabriella Schmitt, flûte basse, CD Sonoton-ProMusica, LC6542, Münich, 1997.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Schall\u003C/em>, Sound Anthology, Computer Music Journal, MIT Press, Cambridge, 1997.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Agon\u003C/em>, Opus 30, Le chant du monde (LCD 2781117), 1999.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Agon\u003C/em>, ICMC-01, Berlin, 2000, International Computer Music Association (ICMA).\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Schall\u003C/em>, Revue Chimères-CD, n° 40, Paris, 2000.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Sçir\u003C/em>, Beate-Gabriella Schmitt, flûte basse, Zeitenwechsel, DAAD Berlin, 2001, LC0864, Bostelmann & Siebenhaar Verlag, Berlin.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>24 Variations\u003C/em>, ICMC Göteborg 2002, LJ Records, LJCD 5232, Harvendal, Suède.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>24 Variations\u003C/em>, Mnémosyne, LCD 278 11 22/23, 2002.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Harrison Variations\u003C/em>, EMF Media, EM 153, Electronic Music Fondation, Albany, New York, 2004.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Ash\u003C/em>, GRM Archive, vol. 4 (Le temps du temps réel). Ina-GRM 750 / 276542, Paris, 2004.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Myr – S\u003C/em>, Relja Lukic, violoncelle et dispositif électroacoustique. Metafonie, Teatro Alla Scala, DVD Musica/Realta, Milan, 2005.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Atem\u003C/em>, \u003Cem>Till\u003C/em>, \u003Cem>24 Variations\u003C/em>, \u003Cem>Taléas\u003C/em>, \u003Cem>Préludes Suspendus 2\u003C/em>, \u003Cem>Phases\u003C/em>. CD inclus dans Horacio Vaggione : Composition Theory, Contemporary Music Review (M. Solomos, Ed.), Vol. 24 n° 4/5. Londres, Routledge, 2005.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Atem\u003C/em>, \u003Cem>Till\u003C/em>, \u003Cem>24 Variations\u003C/em>, \u003Cem>Taléas\u003C/em>, \u003Cem>Préludes Suspendus 2\u003C/em>, \u003Cem>Phases\u003C/em>. CD inclus dans Solomos, Makis : Espaces composables. Sur la musique et la pensée musicale d’Horacio Vaggione, Paris, l’Harmattan, 2007.\u003C/li>\u003Cli>Horacio VAGGIONE, Fluides : Mécaniques des Fluides, PianoHertz, Consort for Convolved Violins, Préludes Suspendus III, Fractal C. CD Empreintes Digitales, I Media, Montréal, 2017.\u003C/li>\u003Cli>Horacio VAGGIONE, \u003Cem>Arches\u003C/em>. Sound Anthology DVD, Computer Music Journal, voL 42, n° 1, MIT Press, 2018.\u003C/li>\u003C/ul>\n\u003Ch4 id=\"liens-internet\">Liens internet\u003C/h4>\n\u003Cul class=\"list-disc\">\u003Cli>Centre de documentation de la musique contemporaine, page Horacio Vaggione : \u003Ca href=\"http://www.cdmc.asso.fr/fr/ressources/compositeurs/biographies/vaggione-horacio-1943\" title=\"www.cdmc.asso.fr\">www.cdmc.asso.fr\u003C/a>\u003C/li>\u003Cli>INA – Grands Entretiens (Opus Horacio Vaggione, 1h.30) : \u003Ca href=\"https://www.ina.fr/audio/00911210\" title=\"www.ina.fr\">www.ina.fr\u003C/a>, ou bien \u003Ca href=\"https://m.ina.fr/audio/00911210/horacio-vaggione-audio.html\" title=\"ici\">ici\u003C/a>.\u003C/li>\u003Cli>ZKM Zentrum für Kunst und Medientechnologie, Karlsruhe) : \u003Ca href=\"https://zkm.de/en/person/horacio-vaggione\" title=\"www.zkm.de\">www.zkm.de\u003C/a>\u003C/li>\u003Cli>Système Universitaire Français. Horacio Vaggione, direction de thèses de doctorat : \u003Ca href=\"http://www.theses.fr/059897155\" title=\"www.theses.fr/059897155\">www.theses.fr/059897155\u003C/a>\u003C/li>\u003Cli>Empreintes digitales : \u003Ca href=\"https://electrocd.com/fr/artiste/vaggione_ho/Horacio_Vaggione\" title=\"www.electrocd.com\">www.electrocd.com\u003C/a>\u003C/li>\u003C/ul>\n\u003Cp>(\u003Cem>liens vérifiés en avril 2021\u003C/em>).\u003C/p>\n","","2021-04-08T00:00:00.000Z",{"getUrl":36},"https://storage.ressources.ircam.fr/ressources/persons/photos/a8e74d81-109a-492c-84a0-7c2ba81b6596-thumbnail.jpg?response-cache-control=public%2C%20max-age%3D31536000%2C%20immutable&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ressources%2F20250929%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250929T164059Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=41397a2fa815f38196b1884ab70bea5faec4d3e9a76d03e81957657b5ca4d2f5","Jana Kluge","horacio-vaggione",false,"COMPOSER",true,[43,59,70,82,92,104,116,125,135,145,153,164,173,182,193,202,209,221,230,241,253,262,269,280,289,299,306,313,319,326,335,345,356,366,375,383,393,402,412,419,425,432,440,447,453,464,474,481,488,499,506,515,523,532,541,547,553,561,570,575,580,590,595,602,612,621,628,633,639,649,658,664,673,681,687,700,705,714,721,727,736,744,750,759,769,775,783,792,800,811,818,827,833],{"id":44,"slug":45,"title":46,"duration":47,"publishingStartDate":48,"publishingEndDate":48,"descriptionFr":49,"descriptionEn":50,"cardDescription":49,"style":51,"styleEn":52,"editor":53,"tags":54},"a79e315e-a30a-4b70-b278-6f498d54d214","octuor-3","Octuor",10,"1982-01-01T00:00:00.000Z","pour bande huit pistes","for eight-track tape","Musique électronique / sur support / instruments mécaniques (Musique électronique / sur support / instruments mécaniques)","Electronic music / fixed media / mechanical musical instruments (Electronic music / fixed media / mechanical musical instruments)","édition du compositeur",[55,57],{"label":56},"Électronique",{"label":58},"Ircam",{"id":60,"slug":61,"title":62,"duration":63,"publishingStartDate":64,"publishingEndDate":64,"descriptionFr":65,"descriptionEn":66,"cardDescription":65,"style":51,"styleEn":52,"editor":53,"tags":67},"ca71cdb1-7fe5-4162-8752-d6d187ce486f","fractal-c","Fractal C",14,"1984-01-01T00:00:00.000Z","pour bande","for tape",[68,69],{"label":56},{"label":58},{"id":71,"slug":72,"title":73,"duration":47,"publishingStartDate":74,"publishingEndDate":74,"descriptionFr":75,"descriptionEn":76,"cardDescription":75,"style":77,"styleEn":78,"editor":53,"tags":79},"3d806fb1-b2d1-46e1-bbba-eac43528a708","thema-1","Thema","1985-01-01T00:00:00.000Z","pour saxophone basse et bande stéréo","for bass saxophone and stereo tape","Musique soliste (sauf voix) (Saxophone)","Solo (excluding voice) (Saxophone)",[80,81],{"label":56},{"label":58},{"id":83,"slug":84,"title":85,"duration":86,"publishingStartDate":87,"publishingEndDate":87,"descriptionFr":88,"descriptionEn":89,"cardDescription":88,"style":51,"styleEn":52,"editor":53,"tags":90},"225b11f8-d07f-4111-8929-581882783aa7","mecanique-des-fluides","Mécanique des fluides",19,"2014-01-01T00:00:00.000Z","musique électronique pour support vingt-quatre pistes","electronic music for twenty-four track medium",[91],{"label":56},{"id":93,"slug":94,"title":95,"duration":96,"publishingStartDate":97,"publishingEndDate":97,"descriptionFr":98,"descriptionEn":99,"cardDescription":98,"style":100,"styleEn":101,"editor":53,"tags":102},"1f666182-398e-48cb-bbe5-ef5c1a91fd1f","undicit-iv","Undicit IV",15,"2013-01-01T00:00:00.000Z","pour cinq instruments et support six pistes","for five instruments and six-track medium","Musique de chambre (Quintette à vents, clavier et cordes)","Chamber music (Wind, keyboard and string quintet)",[103],{"label":56},{"id":105,"slug":106,"title":107,"duration":108,"publishingStartDate":109,"publishingEndDate":109,"descriptionFr":110,"descriptionEn":111,"cardDescription":110,"style":112,"styleEn":113,"editor":53,"tags":114},"f1e7dec5-f5f4-4c69-8216-8ac46ea279ff","taleas","Taléas",11,"2004-01-01T00:00:00.000Z","pour flûte Paetzold contrebasse et électronique","for double bass Paetzold flute and electronics","Musique soliste (sauf voix) (Flûte)","Solo (excluding voice) (Flute)",[115],{"label":56},{"id":117,"slug":118,"title":119,"duration":47,"publishingStartDate":120,"publishingEndDate":120,"descriptionFr":121,"descriptionEn":122,"cardDescription":121,"style":51,"styleEn":52,"editor":53,"tags":123},"fef06247-99a3-48d7-ad61-06bc94e9349b","24-variations","24 Variations","2001-01-01T00:00:00.000Z","musique électronique pour support multipistes","electronic music for multitrack medium",[124],{"label":56},{"id":126,"slug":127,"title":128,"duration":129,"publishingStartDate":130,"publishingEndDate":130,"descriptionFr":131,"descriptionEn":132,"cardDescription":131,"style":77,"styleEn":78,"editor":53,"tags":133},"e33a93d1-ff8b-4a3e-9591-7b5e995af4cb","champs-paralleles","Champs parallèles",12,"1998-01-01T00:00:00.000Z","pour saxophone ténor et système UPIC","for tenor saxophone and UPIC system",[134],{"label":56},{"id":136,"slug":137,"title":138,"duration":139,"publishingStartDate":140,"publishingEndDate":140,"descriptionFr":141,"descriptionEn":142,"cardDescription":141,"style":51,"styleEn":52,"editor":53,"tags":143},"c1208975-73d8-446c-9d75-d5923d51bcf0","rechant-1","Rechant",16,"1995-01-01T00:00:00.000Z","musique électronique pour support huit pistes","electronic music for eight-track medium",[144],{"label":56},{"id":146,"slug":147,"title":148,"duration":149,"publishingStartDate":150,"publishingEndDate":150,"descriptionFr":141,"descriptionEn":142,"cardDescription":141,"style":51,"styleEn":52,"editor":53,"tags":151},"d879d7b3-fab7-4cb1-aeb5-8e64d53b44cb","schall","Schall",8,"1994-01-01T00:00:00.000Z",[152],{"label":56},{"id":154,"slug":155,"title":156,"duration":139,"publishingStartDate":157,"publishingEndDate":157,"descriptionFr":158,"descriptionEn":159,"cardDescription":158,"style":160,"styleEn":161,"editor":53,"tags":162},"c2f1c896-823d-43cc-93d1-9d1cad55e74d","holos","Holos","1989-01-01T00:00:00.000Z","pour percussion et dispositif électronique","for percussion and electronic device","Musique soliste (sauf voix) (Percussions solo)","Solo (excluding voice) (Solo percussion)",[163],{"label":56},{"id":165,"slug":166,"title":167,"duration":96,"publishingStartDate":168,"publishingEndDate":168,"descriptionFr":169,"descriptionEn":170,"cardDescription":169,"style":51,"styleEn":52,"editor":53,"tags":171},"2e840498-3c37-4b5d-9984-6e910117e934","daedalus-2","Daedalus","1981-01-01T00:00:00.000Z","pour ensemble électronique en direct, synthétiseurs et commande numérique","for live electronics, synthesizers and digital controls",[172],{"label":56},{"id":174,"slug":175,"title":176,"duration":47,"publishingStartDate":177,"publishingEndDate":177,"descriptionFr":178,"descriptionEn":179,"cardDescription":178,"style":51,"styleEn":52,"editor":53,"tags":180},"619a0015-0c03-4c2c-a8b9-3b870301e123","modelos-de-universo-iv","Modelos de Universo IV","1972-01-01T00:00:00.000Z","pour ordinateur IBM 7094 / bande magnétique","for IBM 7094 computer / magnetic tape",[181],{"label":56},{"id":183,"slug":184,"title":185,"duration":186,"publishingStartDate":187,"publishingEndDate":187,"descriptionFr":188,"descriptionEn":189,"cardDescription":188,"style":190,"styleEn":191,"editor":53,"tags":192},"cda9daf6-33fb-4b50-a553-f9ef55eaad0d","modelos-de-universo-i","Modelos de Universo I",20,"1967-01-01T00:00:00.000Z","pour deux pianos","for two pianos","Musique de chambre (Duo de pianos)","Chamber music (Piano duo)",[],{"id":194,"slug":195,"title":196,"duration":139,"publishingStartDate":197,"publishingEndDate":197,"descriptionFr":198,"descriptionEn":199,"cardDescription":198,"style":51,"styleEn":52,"editor":53,"tags":200},"ffc2ec18-3e4d-4cf8-a993-1151701a5e60","calimo-ii","Calimo II","1971-01-01T00:00:00.000Z","musique électronique en direct","live electronic music",[201],{"label":56},{"id":203,"slug":204,"title":205,"duration":96,"publishingStartDate":206,"publishingEndDate":206,"descriptionFr":198,"descriptionEn":199,"cardDescription":198,"style":51,"styleEn":52,"editor":53,"tags":207},"8b09600c-c2da-4e88-ba81-ec3161937030","inauguracion-de-la-conexion","Inauguracion de la conexion","1969-01-01T00:00:00.000Z",[208],{"label":56},{"id":210,"slug":211,"title":212,"duration":213,"publishingStartDate":214,"publishingEndDate":214,"descriptionFr":215,"descriptionEn":216,"cardDescription":215,"style":217,"styleEn":218,"editor":53,"tags":219},"faf0bf67-f9da-42cc-bdb3-113709cc114c","sonatas-2-3-4","Sonatas 2, 3, 4",5,"1965-01-01T00:00:00.000Z","pour piano et bande","for piano and tape","Musique soliste (sauf voix) (Piano solo)","Solo (excluding voice) (Solo piano)",[220],{"label":56},{"id":222,"slug":223,"title":224,"duration":149,"publishingStartDate":225,"publishingEndDate":225,"descriptionFr":226,"descriptionEn":227,"cardDescription":226,"style":51,"styleEn":52,"editor":53,"tags":228},"f2e8a9c2-46d9-42c8-8180-948189c183fe","salmo-1","Salmo","1964-01-01T00:00:00.000Z","pour bande deux pistes","for two-track tape",[229],{"label":56},{"id":231,"slug":232,"title":233,"duration":234,"publishingStartDate":225,"publishingEndDate":225,"descriptionFr":235,"descriptionEn":236,"cardDescription":235,"style":237,"styleEn":238,"editor":11,"tags":239},"a5eb039f-fff6-413c-a318-ff6b6f7f716e","untitled-6","Untitled",50,"multi-media pour quatre groupes instrumentaux, transformations électroniques, mouvements, projections et lumières","multi-media for four instrumental groups, electronic transformations, movements, projections and lights","Musique instrumentale d'ensemble (Musique instrumentale d'ensemble)","Instrumental ensemble music (Instrumental ensemble music)",[240],{"label":56},{"id":242,"slug":243,"title":244,"duration":245,"publishingStartDate":246,"publishingEndDate":246,"descriptionFr":247,"descriptionEn":248,"cardDescription":247,"style":249,"styleEn":250,"editor":53,"tags":251},"4839ab95-928a-4aae-a093-002ff7cba110","el-patio","El Patio",60,"1963-01-01T00:00:00.000Z","composition audio-visuelle, orchestre de chambre et électronique","audio-visual composition, chamber orchestra and electronics","Musique vocale et instrument(s) (Voix soliste(s), instrument(s) soliste(s) et orchestre)","Vocal music and instrument(s) (Solo voice(s), solo instrument(s) and orchestra)",[252],{"label":56},{"id":254,"slug":255,"title":256,"duration":129,"publishingStartDate":246,"publishingEndDate":246,"descriptionFr":257,"descriptionEn":258,"cardDescription":257,"style":259,"styleEn":260,"editor":53,"tags":261},"b38303df-e4ca-475e-a8df-227950706255","secuencias","Secuencias","pour piano et cinq instruments","for piano and five instruments","Musique concertante (Piano et petit ensemble jusqu'à 9 instruments)","Concertant music (Piano and small ensemble up to 9 instruments)",[],{"id":263,"slug":264,"title":265,"duration":266,"publishingStartDate":267,"publishingEndDate":267,"descriptionFr":11,"descriptionEn":11,"cardDescription":33,"style":217,"styleEn":218,"editor":53,"tags":268},"7e5e84c6-39f0-407b-858a-f51ef1691eb6","sonata-para-piano","Sonata para piano",9,"1961-01-01T00:00:00.000Z",[],{"id":270,"slug":271,"title":272,"duration":108,"publishingStartDate":273,"publishingEndDate":273,"descriptionFr":274,"descriptionEn":275,"cardDescription":274,"style":276,"styleEn":277,"editor":53,"tags":278},"e77ae794-43ac-4644-8894-f449ac181241","arches-ii","Arches II","2019-01-01T00:00:00.000Z","pour guitare électrique, saxophone alto, piano, violoncelle, percussion et électronique sur support 8 pistes","for electric guitar, alto saxophone, piano, cello, percussion and electronics on 8-track support","Musique de chambre (Autre quintette de diverses familles)","Chamber music (Other quintet with diverse instrumentation)",[279],{"label":56},{"id":281,"slug":282,"title":283,"duration":129,"publishingStartDate":284,"publishingEndDate":284,"descriptionFr":285,"descriptionEn":286,"cardDescription":285,"style":51,"styleEn":52,"editor":53,"tags":287},"b03302a0-27a7-43f0-a544-3f01f6877216","gymel-ii","Gymel II","2015-01-01T00:00:00.000Z","musique électronique pour support seize pistes","electronic music for sixteen-track medium",[288],{"label":56},{"id":290,"slug":291,"title":292,"duration":293,"publishingStartDate":294,"publishingEndDate":294,"descriptionFr":295,"descriptionEn":296,"cardDescription":295,"style":51,"styleEn":52,"editor":53,"tags":297},"87082e5b-23f4-4c0b-9286-fc0c57375027","pianohertz","PianoHertz",18,"2012-01-01T00:00:00.000Z","Consort for convolved pianos, musique électronique pour support quarante-huit pistes","Consort for convolved pianos, electronic music for forty-eight track medium",[298],{"label":56},{"id":300,"slug":301,"title":302,"duration":108,"publishingStartDate":303,"publishingEndDate":303,"descriptionFr":141,"descriptionEn":142,"cardDescription":141,"style":51,"styleEn":52,"editor":53,"tags":304},"8239158a-4bf2-4ca2-befc-6b5f8a142da0","preludes-suspendus-iii","Préludes suspendus III","2009-01-01T00:00:00.000Z",[305],{"label":56},{"id":307,"slug":308,"title":309,"duration":47,"publishingStartDate":310,"publishingEndDate":310,"descriptionFr":141,"descriptionEn":142,"cardDescription":141,"style":51,"styleEn":52,"editor":53,"tags":311},"0cf1b389-1ddd-4d35-b738-9dcb280d055f","harrison-variations","Harrison Variations","2002-01-01T00:00:00.000Z",[312],{"label":56},{"id":314,"slug":315,"title":316,"duration":266,"publishingStartDate":130,"publishingEndDate":130,"descriptionFr":141,"descriptionEn":142,"cardDescription":141,"style":51,"styleEn":52,"editor":53,"tags":317},"477aeb3f-7c4c-471f-a6cf-e5a7d277e2f7","preludes-suspendus-i","Préludes suspendus 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