The Fusion of Timbre and Pitch in the Spectral Music of Gérard Grisey
Location
Science Center, A255
Document Type
Presentation
Start Date
4-25-2014 1:30 PM
End Date
4-25-2014 2:30 PM
Abstract
In the 1970s, French composer Gérard Grisey pioneered a new form of avant-garde composition known as spectral music. In this music, Grisey creates soundscapes that obscure the distinction between pitch and timbre. The prominence of timbre in Grisey’s works challenges traditional music theorists’ treatment of pitch as the most important aspect of music. In my talk, I discuss the musical language of spectral music by analyzing Jour, Contre-Jour (1978), one of Grisey’s less well-known works. The innovations of this minimalistic composition suggest new ways to understand the relationship between pitch and timbre.
Recommended Citation
Hertafeld, Rhys, "The Fusion of Timbre and Pitch in the Spectral Music of Gérard Grisey" (04/25/14). Senior Symposium. 12.
https://digitalcommons.oberlin.edu/seniorsymp/2014/presentations/12
Major
Musical Studies
Advisor(s)
Joseph Lubben, Music Theory
Project Mentor(s)
Joseph Lubben, Music Theory
Devin Burke, Musicology
April 2014
The Fusion of Timbre and Pitch in the Spectral Music of Gérard Grisey
Science Center, A255
In the 1970s, French composer Gérard Grisey pioneered a new form of avant-garde composition known as spectral music. In this music, Grisey creates soundscapes that obscure the distinction between pitch and timbre. The prominence of timbre in Grisey’s works challenges traditional music theorists’ treatment of pitch as the most important aspect of music. In my talk, I discuss the musical language of spectral music by analyzing Jour, Contre-Jour (1978), one of Grisey’s less well-known works. The innovations of this minimalistic composition suggest new ways to understand the relationship between pitch and timbre.
Notes
Session I, Panel 4 - Aesthetics of Musical Composition
Moderator: Rebecca Leydon, Associate Professor of Music Theory