Didier Guigue
A French-born, Didier Guigue lives in Brazil. Senior Researcher at CNPq, Fellow Researcher at NICS/Unicamp and Tenured Teacher at the Universidade Federal da Paraíba. His academic production, research, lectionning and lecturing activities are mainly in the fields of XXth/XXIth Century Music Theory, History & Aesthetics, and Computing Applied to Music. "Docteur en Musicologie du Xxe Siècle" by the E.H.E.S.S., Paris (France) under the directon of philosopher and composer Hugues Dufourt, he is since 1997 the founder and director of the Mus3 Research Group , a IRCAM associated partner, founder of Compomus (www.ccta.ufpb.br/compomus) , and member of other research groups or laboratories in Brazil and France.
Have a consistent number of publications, in Brazil and Europe, among them outstands the book "Esthétique de la Sonorité" (Paris: L'Harmattan, 2009), translated to portuguese in 2011.
His concern as a composer is about digital music and multimedia art. (See more on this point at his Facebook music page, bandcamp , soundcloud and Youtube pages.)
Address: João Pessoa (Paraíba) - Brazil.
Have a consistent number of publications, in Brazil and Europe, among them outstands the book "Esthétique de la Sonorité" (Paris: L'Harmattan, 2009), translated to portuguese in 2011.
His concern as a composer is about digital music and multimedia art. (See more on this point at his Facebook music page, bandcamp , soundcloud and Youtube pages.)
Address: João Pessoa (Paraíba) - Brazil.
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Papers (pt.) by Didier Guigue
Neste artigo será apresentada uma análise da sonoridade na peça Ressonâncias (1983), de Marisa Rezende, onde o objetivo central foi a inserção de elementos advindos da performance na análise. Em um primeiro momento, foram identificados os elementos essenciais para a construção da sonoridade nesta interpretação da peça, sendo eles: uso dos pedais, utilização dos registros e toque pianístico. Vistos estes elementos centrais, segue a análise propriamente dita, onde, a partir dos conceitos de Guigue (2011) a respeito da análise da sonoridade, tais elementos serão verificados através de dados obtidos a partir de uma gravação da peça, executada pela pianista e primeira autora deste artigo. O material analisado consiste em dados MIDI e áudio, dos quais informações sobre velocity, valor Q, centroide espectral e espectrograma foram extraídas. Os resultados preliminares mostraram esta metodologia experimental como uma possibilidade válida na inserção da performance na análise musical.
Abstract
After a short evocation of the frequent tension observed between the artwork and the artist's discourse, I will focus my lecture from the point of view of Kofi Agawu, who rather points, in his '96 paper « Music Analysis Versus Musical Hermeneutics », on a tension between a theory-based analysis and a musical hermeneutics. I comment some of his ideas, starting from the hypothesis that it would not exist de facto tension with both type of discourses, but rather, instead, idiosyncrasies which are no more than the result of different approaches of the same object. To illustrate these questions, I present two composers' "discourses" where analysis and hermeneutics interact in a variety of forms: Messiaen's and Lachenmann's.
Resumo
Após uma breve evocação da frequente tensão observada entre a obra e o discurso do artista acerca da mesma, centro a minha intervenção nesta discussão a partir do ponto de vista de Kofi Agawu, que fala, antes, no artigo « Music Analysis Versus Musical Hermeneutics » de 1996, de tensão entre a análise musical fundada numa teoria e a hermenéutica musical. Pretendo comentar as suas idéias, partindo da hipótese de que não haveria de fato tensão entre os dois tipos de discurso, mas sim, idiossincrasias que não são nada mais de que a resultante de abordagens divergentes de um mesmo objeto. Para ilustrar essas colocações, apresento dois "discursos" de compositores onde a análise técnica e a hermenéutica interagem de forma variada: o de Messiaen e o de Lachenmann.
Co
A obra Echo-Andante deste compositor é utilizada como exemplo para ilustrar como os dados sobre o processamento do tempo são obtidos – por meio do auxílio de um programa computacional – e interpretadas para produzir conhecimento sobre estrutura, forma e estética.
O relatório está dividido em três partes (três links).
http://www.rem.ufpr.br/_REM/REMv4/vol4/artigo_Guigue/artigo_guigue.htm
Neste artigo será apresentada uma análise da sonoridade na peça Ressonâncias (1983), de Marisa Rezende, onde o objetivo central foi a inserção de elementos advindos da performance na análise. Em um primeiro momento, foram identificados os elementos essenciais para a construção da sonoridade nesta interpretação da peça, sendo eles: uso dos pedais, utilização dos registros e toque pianístico. Vistos estes elementos centrais, segue a análise propriamente dita, onde, a partir dos conceitos de Guigue (2011) a respeito da análise da sonoridade, tais elementos serão verificados através de dados obtidos a partir de uma gravação da peça, executada pela pianista e primeira autora deste artigo. O material analisado consiste em dados MIDI e áudio, dos quais informações sobre velocity, valor Q, centroide espectral e espectrograma foram extraídas. Os resultados preliminares mostraram esta metodologia experimental como uma possibilidade válida na inserção da performance na análise musical.
Abstract
After a short evocation of the frequent tension observed between the artwork and the artist's discourse, I will focus my lecture from the point of view of Kofi Agawu, who rather points, in his '96 paper « Music Analysis Versus Musical Hermeneutics », on a tension between a theory-based analysis and a musical hermeneutics. I comment some of his ideas, starting from the hypothesis that it would not exist de facto tension with both type of discourses, but rather, instead, idiosyncrasies which are no more than the result of different approaches of the same object. To illustrate these questions, I present two composers' "discourses" where analysis and hermeneutics interact in a variety of forms: Messiaen's and Lachenmann's.
Resumo
Após uma breve evocação da frequente tensão observada entre a obra e o discurso do artista acerca da mesma, centro a minha intervenção nesta discussão a partir do ponto de vista de Kofi Agawu, que fala, antes, no artigo « Music Analysis Versus Musical Hermeneutics » de 1996, de tensão entre a análise musical fundada numa teoria e a hermenéutica musical. Pretendo comentar as suas idéias, partindo da hipótese de que não haveria de fato tensão entre os dois tipos de discurso, mas sim, idiossincrasias que não são nada mais de que a resultante de abordagens divergentes de um mesmo objeto. Para ilustrar essas colocações, apresento dois "discursos" de compositores onde a análise técnica e a hermenéutica interagem de forma variada: o de Messiaen e o de Lachenmann.
Co
A obra Echo-Andante deste compositor é utilizada como exemplo para ilustrar como os dados sobre o processamento do tempo são obtidos – por meio do auxílio de um programa computacional – e interpretadas para produzir conhecimento sobre estrutura, forma e estética.
O relatório está dividido em três partes (três links).
http://www.rem.ufpr.br/_REM/REMv4/vol4/artigo_Guigue/artigo_guigue.htm
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Abstract: Webern’s Variationen op. 30 constituted a well-known milestone in the consolidation of serialism as a compositional technique. It has been the target of a large number of investigations focused on the way the composer developed a broader concept. As could it not be otherwise, his orchestral design is also closely tied to his structural concerns. However, it appears to lack a systematization of the composer’s orchestration principles. Thus, to propose an analysis of Webern’s orchestration, one need to elaborate an ad hoc method, virtually starting from scratch. This paper aims to describe the main points of this method in its current experimental stage. At the same time, we point to some conclusions about Webern’s orchestration according to his aesthetics.
Direct link:
https://musmat.org/wp-content/uploads/2018/06/07-Didier.pdf
Lists composers and some of their relevant symphonic works, besides samples of their sacred music and dramatic output, as long as they may also have contributed to a progressive conception of orchestration.
Blue: French composers or French-related music; Red: German composers or German-related music. Glück get both colors.
The analysis of Ressonâncias will focus on one specific performance, that made by the pianist and author of this paper. The interpretation of the piece will prioritize mainly the manipulation of sonority, bringing up aspects of piano timbre that can be manipulated by the performer. As methodological support, this analysis will use records of the piece in public performances and in private study sessions and also a study diary that will bring information about the development of the piece, since the first reading of the score until the moment of its public performances. The sonority in the piece will be analyzed through the recordings made in the process of learning and performing the piece. In a first moment, the performance cues related to timbre used in performance (and noted in the study diary) will serve to separate the piece into sonority units. Done this identification, the main aspect of the sonority in each one of these units will be analyzed adopting Guigue’s method for the analysis of sonority (Guigue, 2012). It is important to reinforce that in this analysis, both the division into sonority units and the identification of the main aspect of the sonority in each unit will be done based on the practical relation with the piece, taking into account this relation as a performer, not only as an analyst.
This kind of analysis is also inserted in what we call artistic research (Coessens et. al., 2009), a kind of understanding that change the research focus to the performer’s view, and most commonly, in one specific performance. The main goal of the proposed analysis is to add the interaction between score and performer as a prime source of musical meaning, as something that will, in fact, determine musical structures, in this case in terms of sonority.
References
COESSENS, Kathleen; CRISPIN, Darla; DOUGLAS, Anne. The artistic turn: a manifesto. Ghent, Leuven University Press, 2009.
COSTA, Valério Fiel da. Morfologia da obra aberta. Curitiba, Prismas, 2016.
GUIGUE, Didier. Estética da Sonoridade. São Paulo, Perspectiva/CNPq/UFPB, 2011.
Full english and/or french paper on the subject is in preparation for future publication.
This one is only for archive purposes. Thanks!
Starting from the premise that Rameau uses the sound resources of the orchestra as an element that can intervene actively in the articulation of a musical dynamics towards the expression of dramatic output, we propose in this article to study the Ariette Un Horizon Serein, from the opera Les Boréades, from the perspective of its orchestration. Our goal is to elucidate how the composer manages the orchestral resources in order to make tangible to his listeners the dramatic issues exposed in the poem. After having identified the main topics related to the key words the composer retained from the poem, we describe their configurations by emphasizing the diversity of their sound presentations.
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Partant de la prémisse que Rameau pense les ressources sonores de l’orchestre comme un élément qui peut intervenir activement dans l’articulation d'une dynamique musicale mise au service de l'expression de situations dramatiques, nous nous proposons dans cet article d'étudier l'ariette Un Horizon Serein, de l'opéra Les Boréades, sous l'optique de son orchestration. Notre but est d'élucider comment le compositeur travaille les sonorités orchestrales dans le but de rendre tangibles à ses auditeurs les éléments dramatiques exposés dans le poème. Après avoir identifié les principaux topiques liés aux mot-clefs que le compositeur retient du poème, nous décrivons leurs configurations en insistant sur la diversité de leurs présentations sonores.
Sous la direction de Zélia Chueke
L'univers esthétique
L'Harmattan, 2013.
http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&no=45345&motExact=0&motcle=&mode=AND
Aussi édité comme article: LE CONTEMPORAIN. LA MODERNITÉ ET LA "BRÉSILITÉ" PERCEPTION/RÉCEPTION, PARAMÈTRES D'ÉCOUTE.
http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=article&no=30344
Access here the summary of the book and all contributions:
http://www.ashgate.com/isbn/9780754654452
Read this chapter on line :
http://books.google.com/books?id=nmA7d7kjynoC&pg=PA209&hl=pt-PT&source=gbs_toc_r&cad=0_0
Unidade Sonora Composta (GUIGUE, 2011) com o propósito de compreendermos o impacto da tensão textural à elevação ou decréscimo do conteúdo informacional da peça Sinfonia em Quadrinhos (1986) do compositor Hermeto Pascoal (1936). Constatamos que tanto a entropia
quanto as texturas rítmicas contribuem para a estruturação da complexidade sonora a partir de contrastes locais gerados pelos dois parâmetros nos trechos analisados.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Legend/material:
DB : Drum Base (Bass drum + 'snare', with short delay). DB1 and 2 have an upbeat added.
BS: Bass synth with resonance chords. A single harmonic 8-bars cycle (Em – C – Am), all music along. The difference between the 3 versions (0, 1 and 2) are essentially related to the use of the frequency filter at the end of the cycle (2 is the most opened).
ORG: an organlike sound playing the chords in the last part of the music (it gradually covers the synt).
A glissando upbeat (red oblique line), with 'strings' sound. The last one, however, in green, may have been done with the modulation wheel on the 'piano' program. Between 1'10 and 1'30 a discreet oscillation can be heard in the background (possibly a residual effect of a resonance filter or flange on the synt. This secundary sound may continue but is no more audible). A single 'plucked' sound appears around 3'.
S : the vocal line (last part is spoken).
The most opaque the color, the most complex and/or louder the sound.
Video presentation made with Eanalysis by Pierre Couprie.
https://youtu.be/H3Qv5ixfH_I
Blue: German composers or music; Red: French composers or music (Gluck get both colors).