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An investigation of the Jeux de timbres in Claude Vivier’s Orion and his other instrumental works of 1979-80 Braes, Ross
Abstract
In 1979-80 Claude Vivier wrote four essentially instrumental works which comprise an important phase in his compositional oeuvre—after completion of his only opera Kopernikus (14 May 1979), and before his trip to Europe in November 1980. During these 18 months Vivier strove to devise a new musical language of chord-colours ("couleurs"), based on a compositional substratum ("jeux de timbres") in three wholly instrumental works: Orion (6 October 1979) for orchestra; Zipangu (13 August 1980) for string orchestra; and Cinq chansons pour percussion (26 September 1980) for percussion group. In contrast, Lonely Child (5 March 1980) for soprano and orchestra introduces a modified version of frequency modulation (which I call additive synthesis) to produce couleurs, eliminating the jeux de timbres stage entirely. After his return to Montreal in early 1981, Vivier's musical language embraced additive synthesis as a way of producing chord-colours, beginning with Prologue pour un Marco Polo (1 March 1981). The /
Item Metadata
Title |
An investigation of the Jeux de timbres in Claude Vivier’s Orion and his other instrumental works of 1979-80
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Creator | |
Publisher |
University of British Columbia
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Date Issued |
2003
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Description |
In 1979-80 Claude Vivier wrote four essentially instrumental works which comprise
an important phase in his compositional oeuvre—after completion of his only opera
Kopernikus (14 May 1979), and before his trip to Europe in November 1980. During these
18 months Vivier strove to devise a new musical language of chord-colours ("couleurs"),
based on a compositional substratum ("jeux de timbres") in three wholly instrumental works:
Orion (6 October 1979) for orchestra; Zipangu (13 August 1980) for string orchestra; and
Cinq chansons pour percussion (26 September 1980) for percussion group. In contrast,
Lonely Child (5 March 1980) for soprano and orchestra introduces a modified version of
frequency modulation (which I call additive synthesis) to produce couleurs, eliminating the
jeux de timbres stage entirely. After his return to Montreal in early 1981, Vivier's musical
language embraced additive synthesis as a way of producing chord-colours, beginning with
Prologue pour un Marco Polo (1 March 1981).
The /
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Extent |
12176640 bytes
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Genre | |
Type | |
File Format |
application/pdf
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Language |
eng
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Date Available |
2009-11-11
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Provider |
Vancouver : University of British Columbia Library
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Rights |
For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use.
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DOI |
10.14288/1.0099723
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URI | |
Degree | |
Program | |
Affiliation | |
Degree Grantor |
University of British Columbia
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Graduation Date |
2003-05
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Campus | |
Scholarly Level |
Graduate
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Aggregated Source Repository |
DSpace
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Item Media
Item Citations and Data
Rights
For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use.