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Abstract Faced with the growing success of discourses that make climate change the driving force behind the successes and (above all) the failures of ancient societies, we need to give a voice to the actors -   humans and non-humans alike   - of …

This event is not broadcast online. The concert is open to the public by invitation or prior registration . Registration is compulsory: attendance on the day of the 23 rd does not guarantee a place. Program Presentation by Jean-Louis Leleu, Professor …

Hosted by Nicolas Donin …

Abstract It's hardly surprising that a man who built his career on disobedience and refusal of authority should have seen his own authority challenged early on. The virulence of opposition to Boulez was commensurate with the man's intransigence and the …

Abstract Throughout Pierre Boulez's career, his creative activity was matched by complementary professional roles designed first and foremost to promote the dissemination of his work and the modern works he supported: founder and director of institutions, …

Abstract Long before 1977 marked the inauguration of Ircam and the start of his lectures at the Collège de France, Pierre Boulez had laid the foundations for his public activities. He had even done so by stirring up resounding polemics that left little …

Conference in English. Abstract Pierre Boulez reminds us that one of the sources of the form of Anthèmes 1 is the plainchant Lamentations of Jeremiah , which he sang in his youth during the First Nocturne service on Holy Thursday. The most striking …

Abstract "Music doesn't need a laboratory". With these words, the famous physicist and Nobel Prize winner Werner Heisenberg at the Max Planck Institute rejected Pierre Boulez's project for collaboration between science and music in 1970. Did Werner …

Abstract In November 1970, at the request of President Georges Pompidou, Pierre Boulez began work on a project to integrate a music research institute into the future Beaubourg Plateau art center. Over the next three years, Boulez consulted and assembled …

Abstract It has long been recognized that sign language (i) uses the same logical structures as oral language (sometimes bringing out its abstract components), and at the same time (ii) makes more systematic use of iconicity. But the articulation between …

Abstract Syntactic structures are complex objects. Obviously, there is no upper limit to the length of a sentence (we can't identify "   the longest sentence in French   "), but it's not simply a question of linear length (number of words). It's also, and …

Résumé La conférence portera sur le milieu d'origine de Julius Oppert, ses modèles convertis ou non et son arrivée en France ou comment un professeur d'allemand de province devient le fondateur d'une nouvelle discipline. Elle tentera de montrer les enjeux …

This event is not broadcast online. Program Presentation by Nicolas Donin and Jonathan Goldman Pierre Boulez Dérive  1 , for six   instruments (the work will be performed twice) Répons , for six   soloists, ensemble and electronics (excerpt) Tristan …

Abstract The main part of Boulez's last lecture at the Collège de France - "L'œuvre: tout ou fragment" (The work: whole or fragment) - deals with the different types of relationship that the fragment and the whole can have within the work , depending on …

Abstract Pierre Boulez has a unique relationship with archives and libraries. The composer, who wanted to "burn libraries" and made them the site of the tension between memory and creation, was himself interested in the archives of others, and took care …

Abstract A landmark work, Pierre Boulez's Répons (1980-82) was written to showcase the technological potential of IRCAM, the Parisian Institute for Research and Coordination in Acoustics/Music that Boulez founded in 1977. This piece, like many others, was …

Abstract In 1986, Pierre Boulez signed a contract to donate his musical manuscripts to the Swiss conductor and patron Paul Sacher, a friend of many years. The collection was the cornerstone of the musical holdings that have since been preserved and …

Abstract Pierre Boulez has written and spoken surprisingly little about composers active in the second half of the twentieth century. A prolific author and passionate commentator on composers such as Webern, Schoenberg and Debussy, whom he integrated into …

Abstract The topic of musical material features prominently throughout Boulez's College de France lectures, and in this paper I set out to establish some of the principal elements of its elaboration. Boulez spoke of the dissatisfaction experienced by …