This would have to be one of the few contemporary classical music comment sections with no one complaining about how this isn't "real" music because it doesn't have any counterpoint in it. At least people respect Grisey...
Itis the exploration of a new world, or to be more precise a new exploration of phenomena that have always exsited "hidden" in the classical sounds ( = music).
you probably dont give a damn but does anybody know of a tool to log back into an instagram account? I was stupid forgot the password. I would appreciate any tricks you can give me
@Michael Cason Thanks so much for your reply. I found the site thru google and Im in the hacking process now. Looks like it's gonna take a while so I will reply here later with my results.
Right, so when Grisey writes microtonal music it's "revolutionary" and "a masterpiece" but when I do it it's "impractical" Seriously though, this is incredible.
@@DJAnthrocide I was initially making a joke, but your response intrigues me, so... What was different 50 years ago that made his music any more beloved and revered? Also, there is literally a half-sharp at the top of the first page. And numerous half-sharps and arrow-downs on the second, third, fourth- I could go on but you get my point. Not to mention spectral music is usually largely microtonal. I honestly don't see how you could think this isn't.
@@oscargill423 I think it’s about relevance. Times change. Beethoven wouldn’t have been revolutionary today, since he wouldn’t add anything new to the “discourse”
For the love of me, I love to laugh at the myriads of uninitiated people who would claim this sounds like Debussy or Varese. Pathetic... What a great composition by Gérard!
Arturo Senni As long as Peter likes it, who cares. I do agree though that it's very far from Debussy and Varese, but they both where composers that have their place in the evolution of music.
Grisey drew massively from both Debussy and Varese. Pretty much all of his aesthetic ideas can trace their roots through varese back to Debussy; the only important difference is that Grisey is operating with a scientifically-informed understanding of acoustics and psychoacoustics.
No melodies here. The spectra are analysed and the orchestration is supposed to produce a similar/identical spectrum to the desired one. Not exactly sure how it's done here in particular, but that's the (very broadly-explained) principle behind spectralism
two pitches sounding simultaneously creates a difference tone, which is known as beating. 440Hz played alongside 439Hz will create a rhythmic beating of 1 beat per second. the colored sections show the relationships between the rhythms and intervals being played
This would have to be one of the few contemporary classical music comment sections with no one complaining about how this isn't "real" music because it doesn't have any counterpoint in it. At least people respect Grisey...
Itis the exploration of a new world, or to be more precise a new exploration of phenomena that have always exsited "hidden" in the classical sounds ( = music).
If composed a few years earlier, I bet "Partiels" would have been a good candidate for the "2001: A Space Odyssey" soundtrack.
l'importance artistique de cette pièce est incalculable
One of the greatest masterpieces of the 2nd half of the XXth century, without any doubt.
you probably dont give a damn but does anybody know of a tool to log back into an instagram account?
I was stupid forgot the password. I would appreciate any tricks you can give me
@Davian Abel Instablaster =)
@Michael Cason Thanks so much for your reply. I found the site thru google and Im in the hacking process now.
Looks like it's gonna take a while so I will reply here later with my results.
@Michael Cason it did the trick and I finally got access to my account again. I am so happy!
Thanks so much, you really help me out!
@Davian Abel Glad I could help :)
Замечательная музыка. Спасибо!
Simply one of the most beautiful things I've heard in a while
It is the greatest example of the potencial that physic and music can have together
You should look up Xenakis
I have heard it several times and each time it amazes me.
Incredible. Just been recently introduced to electroacoustic composition and spectral music.
Now, that was a wild ride.
one of the more important pieces of the postwar period.
Almost sounds like a synth, but it's all made with "traditional", "acoustic" instruments.
thanks for highliting. it helps me to understand grisey's intention.
Right, so when Grisey writes microtonal music it's "revolutionary" and "a masterpiece" but when I do it it's "impractical"
Seriously though, this is incredible.
He did it 50 years ago, hoss. Sorry. And this isn't microtonal...
@@DJAnthrocide I was initially making a joke, but your response intrigues me, so... What was different 50 years ago that made his music any more beloved and revered?
Also, there is literally a half-sharp at the top of the first page. And numerous half-sharps and arrow-downs on the second, third, fourth- I could go on but you get my point. Not to mention spectral music is usually largely microtonal. I honestly don't see how you could think this isn't.
@@DJAnthrocide it literally is microtonal dude
@@oscargill423 :D
@@oscargill423 I think it’s about relevance. Times change. Beethoven wouldn’t have been revolutionary today, since he wouldn’t add anything new to the “discourse”
Sounds great when tripping tho
hauntingly beautiful
CLASSIC -- ALWAYS GRISEY
Amazing composition!
That is amazing.
I am physicist and I like it
Me too.
4:30 Esa risa
so good...
Look who it is again
@@ICanPickLocks Grisey
magistral
For some reason the opening note reminds me of Elgar's Cello Concerto.
the Elgar is in E minor, and the opening is based on the overtone series of a low E
French COLOR. I do hear the influence of both Debussy and Varese
For the love of me, I love to laugh at the myriads of uninitiated people who would claim this sounds like Debussy or Varese.
Pathetic... What a great composition by Gérard!
Arturo Senni not helping. Then suggest links and explanation instead of mocking?
Arturo Senni As long as Peter likes it, who cares. I do agree though that it's very far from Debussy and Varese, but they both where composers that have their place in the evolution of music.
Grisey drew massively from both Debussy and Varese. Pretty much all of his aesthetic ideas can trace their roots through varese back to Debussy; the only important difference is that Grisey is operating with a scientifically-informed understanding of acoustics and psychoacoustics.
@@jazzupthattriad1257 Douchebags like you make people afraid to explore classical music. Don't be a jerk
On 2:51 I have realized of a creepy smiley in the right
i like it !
3:08 ding dong
quite good...
Very nice!
WTH did I just listened to? I'm new to lack of tones. This music really paint a portrait. Still I miss my chords.
It's spectral music. The partials of fundament become the harmonic language on it's own
NICE!!
CZY ISTNIEJE COŚ GENIALNIEJSZEGO??!
Tak. Twoja stara
I don't really get how are the the variables in the spectrum used to create a melody?
No melodies here.
The spectra are analysed and the orchestration is supposed to produce a similar/identical spectrum to the desired one. Not exactly sure how it's done here in particular, but that's the (very broadly-explained) principle behind spectralism
15'00 mark
15:00
mantap
Só de olhar essa partitura já me dá medo...
Sasha king crimson ₪₪₪₪
Insanity
4'55 R14
Please fix the title :)
What's the actual title?
it is played by the Asko ensemble
9:09
5'00
x
Sa
Swans lol
Amys presente:3
Why do you coloured some parts?
two pitches sounding simultaneously creates a difference tone, which is known as beating. 440Hz played alongside 439Hz will create a rhythmic beating of 1 beat per second. the colored sections show the relationships between the rhythms and intervals being played
Great! How did you find it out? Do you know any references?
@Joshua Sanchez ive read this and i still feel stupid about spectralism lol
@Joshua Sanchez What the HELL is a formant and how are they finding the precise decimal points of the amplitude and frequency of the partials
3:56
9:30
14:17