20,498 research outputs found
À propos de Echo de Jean-Pascal Chaigne, oeuvre créée dans le cadre du projet de recherche « Perspectives actuelles de la musique polychorale »
No full textLe 22 janvier 2020 s’est tenu à Genève le premier laboratoire du projet de recherche en création « Perspectives actuelles de la musique polychorale », réunissant notamment des étudiants de la Haute école de musique (hem) de Genève et l’ensemble Contrechamps. Jean-Pascal Chaigne, compositeur, professeur à la hem et responsable du projet, présente les résultats de sa recherche tels qu’ils se concrétisent dans sa pièce Echo, composée à cette occasion. Après avoir expliqué en quoi l’écriture polyphonique de Giovanni Gabrieli et son rapport spécifique au timbre ont inspiré un tel projet, il détaille les procédés de sa partition qui trouvent leur origine dans la musique polychorale vénitienne du xvie siècle : en l’occurrence, les propositions de diminutions ainsi que les différentes formes de polychoralité que l’on rencontre dans Echo.On January 22, 2020, the first workshop of the research-creation project “Perspectives actuelles de la musique polychorale” (“Current Outlooks of Polychoral Music”) was held in Geneva, bringing together students from the Haute école de musique (hem) de Genève and the Ensemble Contrechamps. Project leader Jean-Pascal Chaigne, composer and hem professor, presents the results of his research as they are applied in his piece Echo, composed for the occasion. After explaining how Giovanni Gabrieli’s polyphonic writing and its specific relationship to timbre inspired such a project, he details his musical means, which originate in 16th century Venetian polychoral music: namely, the rhythmic diminutions as well as the different forms of polychorality that we encounter in Echo
Samuel Beckett and the Writers of Port-Royal
No full textIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
Christine Chaigne, Catherine Paix et Chantai Zheng éds., Taiwan : enquête sur une identité
No full textMargolin Jean-Louis. Christine Chaigne, Catherine Paix et Chantai Zheng éds., Taiwan : enquête sur une identité. In: Perspectives chinoises, n°66, 2001. pp. 83-85
Organisation temporelle, écriture rythmique et polychoralité dans "Écho" (2019-2020), œuvre pour trois ensembles de Jean-Pascal Chaigne
No full text"Écho" è un'opera di Jean-Pascal Chaigne per tre ensemble SATB, che possono essere distribuiti nello spazio performativo in base alle possibilità offerte dal luogo. L'organico è aperto, e ogni parte ha quattro versioni completamente scritte: una ‘originale’ e tre varianti o ‘diminuzioni’. Ogni esecutore stabilisce il proprio testo musicale performativo, suonando una singola versione della sua parte o passando da una versione all'altra. Basandosi sull'interpretazione degli schizzi e delle bozze del compositore, questo articolo si concentra particolarmente su quegli aspetti di "Écho" e del suo processo compositivo che sono responsabili dei diversi tipi di policoralità realizzati: in primo luogo, il disegno formale e temporale del brano; poi, l'organizzazione e l'elaborazione ritmica. Lo studio porta all'analisi di un passaggio rappresentativo, che prende in considerazione anche le altre dimensioni musicali (ad es. armonia, dinamica, spazio), così come la revisione che "Écho" ha subito dopo le sue prime due esecuzioni. Vengono forniti gli elementi fondamentali per collocare l'opera all'interno della musica d'arte occidentale contemporanea, in particolare in relazione ai derivati del serialismo e del post-serialismo, oltre a contribuire allo sviluppo di altri due argomenti strettamente legati alla concezione di "Écho": la ricezione creativa della ‘musica antica’ e la pratica strumentale e l'accessibilità performativa, per gli ensemble musicali, del repertorio musicale contemporaneo."Écho" is a work by Jean-Pascal Chaigne for three SATB ensembles, which can be distributed in the performative space according to the possibilities offered by the venue. The instrumentation is open, and each part has four entirely written versions: one ‘original’ and three variants or ‘diminutions’. Each performer establishes his or her own performative musical text, either playing a single version of his/her part or moving from one version to another.
Based on the interpretation of the composer’s sketches and drafts, this article particularly focuses on those aspects of "Écho" and its compositional process responsible for the different types of polychorality realized: first, the formal and temporal design of the piece; then, the organization and rhythmic working out. The study leads to the analysis of a representative passage, which also considers the other musical dimensions (i.e. harmony, dynamics, space) as well as the revision that "Écho" underwent after its first two performances.
The core elements are provided to situate the work within contemporary Western art music, particularly in relation with the offshoots of serialism and post-serialism, as well as to contribute in developing two other topics, strictly related to the conception of "Écho", namely the creative reception of ‘early music’, and the instrumental practice and the performative accessibility, for music ensembles, of contemporary music repertoire
Louis-Charles Damais, un humaniste en Indonésie. Détails d'une vie à Java à travers sa correspondance
No full textJean-Pascal Elbaz
Through a reading of the excerpts of the unpublished correpondence of Louis- Charles Damais, stored in Jakarta, the author attempts to reconstitute the life of a researcher working in Indonesia at the crucial time when the country was making its transition from Dutch colonisation to independence. This short essay points up the problems, both professional and material, which Damais had to face in a country dislocated by the rapid succession of political changes. This article also considers the humanist view of a Westerner for a people trying to regain its dignity by struggling against a colonial system, which Damais himself held to be morally unjustified.Elbaz Jean-Pascal. Louis-Charles Damais, un humaniste en Indonésie. Détails d'une vie à Java à travers sa correspondance. In: Archipel, volume 54, 1997. Destins croisés entre l'Insulinde et la France. pp. 243-252
Poetry of Thoughts : Pascal writing’s voice and musicality
No full textCette thèse se propose d'écouter les "Pensées" de Pascal. Dans quelle mesure Pascal, fils d'un organiste amateur et jeune auteur d'un "Traité des sons", s'est-il approprié l'univers sonore de son époque pour composer une œuvre dont les rythmes n'ont cessé d'étonner, de réveiller et d'entraîner ses lecteurs ? Pascal écrit-il « comme un musicien », selon l'hypothèse de Jean Mesnard ? Étudier la musicalité des "Pensées" suppose, tout d'abord, l'analyse de l'énonciation : le contexte prédicatif comme les recherches en acoustique de l'âge classique sont en lien avec une écriture de l'actio, c'est-à-dire une écriture oratoire. C'est par l'ouïe qu'on convertit, rappelle Pascal en citant la "fides ex auditu" paulinienne. La démarche entreprise avec l'écriture des "Pensées" n'est pas sans rappeler les principes des traités de musique de l'époque (ceux de René Descartes, de Marin Mersenne, de Pierre Gassendi...), comme les partitions qui pouvaient être publiées chez Ballard, par exemple. Motets, airs spirituels, Tombeaux et airs de cour composent un paysage sonore encourageant à choisir et à créer des rythmes particuliers, en explorant la « disposition des matières ». La musicalité d'un texte, c'est-à-dire sa prosodie, ses mouvements, son imaginaire, ne se fonde cependant pas sur de la matière sonore en tant que telle. Parler de poésie, et notamment de « poèmes en prose », permet d'étudier le lyrisme pascalien : heurté, dissonant, voire strident, ce lyrisme peut évoquer, pour le lecteur actuel, certaines expérimentations acoustiques de musique contemporaine, par exemple celles d'Edgar Varèse. Le rapport à la voix est pourtant ancré dans les sonorités du XVIIe siècle : l'étude du gémissement et des silences nous ramène au projet de conversion. Ce projet ne peut passer par le lyrisme d'une « éloquence continue » qui resterait à la surface de l'être : les "Pensées" relèvent d'un lyrisme apophatique, engageant le lecteur comme un interprète.This thesis offers to listen to the Thoughts of Blaise Pascal. To what extent Pascal, son of an amateur organist and a young author of Traité des sons, did he identify with the universe of sound of his period to compose a work which rythms kept on astonishing, waking up and bring with them its readers ? Does Pascal write 'like a musician' according to Jean Mesnard 's assumption ? Studying musicality the Thoughts means, first of all, the analysis of announcement : the predicative context like researches in sounds of the classical age linked to the writing of the actio, that is to say , oratory writing. It's trough the ear that we convert recalls Pascal, quoting the pauline just like the thought 'fides ex auditu '. The initiative taken with the writing of the Thoughts is not without recalling the principles of the ageements of music at that period — those of René Descartes, Marin Mersenne and Pierre Gassendi...— like the score published by Ballard, for instance. Motets, spiritual melodies, tombeau, airs de cour, compose a sound landscape encouraging to chose and to create specific rythms by exploring the 'disposition des matières ' (fragment 575). The musicality of a text – its prosody, its moves, its imaginary world — however , doesn't rely on sound material in its current form. Speaking about poetry and especially, prose poetry allows to study the Pascal's lyricism : hit, dissonant, even strident, for the current reader, some sound experimentations of contemporary music, for instance, the ones of Edgar Varèse. The relation to voice is however fixed in the seventeenth century sounds : the study of whining and silence brings us back to conversion project. This project can't go with continuous eloquence (fragment 636) which would remain at the human being 's surface. The Thoughts belong to an apothatic lyricism, involving the reader like a performer
Interview with Jean Francois Revel, author
No full textJean Francois Revel, the author of Without Marx or Jesus, has been quoted as saying, "The United States is now a microcosm for all of the problems man faces." In this interview with Meredith Watts, he discusses a new kind of revolution which could produce successful change without violent upheavalGrayscaleSoun
Sabil and Wikala of Dhul Fiqar Oda Bashi
No full textinterior, courtyard, "Vue de l'Okel Zoulfiqar," color plate XLIV of Pascal Coste's "Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826", 1818-182
First person - Aude Pascal
No full textInternational audienceFirst Person is a series of interviews with the first authors of a selection of papers published in Journal of Cell Science, helping early-career researchers promote themselves alongside their papers. Aude Pascal is first author on `Annexin A2 and Ahnak control cortical NuMA-dynein localization and mitotic spindle orientation', published in JCS. Aude is a research assistant in the lab of Re ' gis Giet at University of Rennes, France, who is particularly interested in developmental biology. She has always been struck by the fact that a whole organism displaying multiple functions arises from a single cell. For this reason, she has oriented her research on mitosis and meiosis to study the different steps, components and structures involved in these processes
Pascal Tutorial, 1987
No full textThere exists a limited number of tutorials for the Pascal programming language using the Apple Computer. The demand for these tutorials exceeds the supply. In this thesis an attempt was made to rectify this shortage by designing a Pascal tutorial for the Apple computer. This Pascal tutorial is designed to assist with instructing an introductory computer programming course in Pascal, incorporating Apple Superpilot as the authoring language. Emphasis is placed on making the program "user friendly." A person with no previous programming experience should be able to easily execute this tutorial. The information presented as the subject matter of the tutorial will follow the guidelines recommended by the Association for Computing Machinery
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