Access the full text.
Sign up today, get DeepDyve free for 14 days.
Philippe Albéra (2003)
Pli selon Pli de Pierre Boulez : Entretiens et études
E. Campbell (2010)
Boulez, Music and Philosophy
Jonathan Goldman (2008)
ChartingMémoriale: Paradigmatic Analysis and Harmonic Schemata in Boulez's ... explosante-fixe ...Music Analysis, 27
Jean-Louis Leleu, Pascal Decroupet (2006)
Pierre Boulez : techniques d'écriture et enjeux esthétiques
David Schiff, P. Boulez, Paule Thévenin, S. Walsh (1991)
Stocktakings from an apprenticeship
Jonathan Goldman (2011)
Structuralists contra Serialists? Claude Lévi-Strauss and Pierre Boulez on Avant-Garde MusicInformation Systems, 30
Jonathan Goldman, J. Nattiez, N. François (2010)
La pensée de Pierre Boulez à travers ses écrits : actes du colloque tenu à l'École normale supérieure les 4 et 5 mars 2005, à l'occasion du quatre-vingtième anniversaire de Pierre Boulez
Peter O’Hagan (2007)
PIERRE BOULEZ AND THE PROJECT OF ‘L'ORESTIE’Tempo, 61
J. Nattiez, A. Barry (1982)
Varese's 'Density 21.5': A Study in Semiological AnalysisMusic Analysis, 1
J. Nattiez (2010)
Quelques problèmes de la musicologie critique selon Deliège, 16
J. Nattiez (1991)
Music and Discourse: Toward a Semiology of MusicThe Journal of Aesthetics and Art Criticism, 51
Robert Piencikowski (1993)
«Assez lent, suspendu, comme imprévisible » : quelques aperçus sur les travaux d'approche d'ÉclatGenesis, 4
1 Of course, a tremendous amount of published material exists on Boulez as a writer, conductor, composer, teacher, mentor, and interpreter. Taking Jonathan Goldman's lead, here I mainly consider peer-reviewed scholarship on Boulez's published writings and compositions. 57:2, Fall 2013 DOI 10.1215/00222909-2323533 © 2013 by Yale University and works. It is this assessment of the field that motivated Jonathan Goldman to write The Musical Language of Pierre Boulez (MLPB). He writes in his preface: I felt that, more often than not, the reservations--even hostility--expressed by some critics and musicologists in the first decade of the twenty-first century were partially the result of an unjust portrayal of Boulez as a pointillistic serialist, whose aesthetic ideals could be entirely circumscribed by his works from the 1950s . . . as well as the corresponding polemical writings from the same period. . . . These judgements seemed particularly unfair in light of the major aesthetic shift which Boulez's art had undergone beginning in the 1970s, audible in musical works from Rituel in memoriam Maderna (19745) onwards, and "legible" in the mostly untranslated writings from his years lecturing at the Collège de France. (xv) Goldman's assessment of recent scholarship is appropriate for
Journal of Music Theory – Duke University Press
Published: Sep 21, 2013
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.