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Entretien avec Simone Rist
Rue Pierre Larousse
8.12.2022
Entretien avec Simone Rist.pdf
Nach ihrem Studium Gesangsstudium (Koloratursopran) am Konservatorium in Paris arbeitet Simone Rist als Assistenin im GRM unter der Leitung von Pierre Schaeffer.
Wer hat Zugang zur musique concrète? : « C’est une question d’ouverture de l’esprit, on l’a ou on ne l’a pas. » Sie findet immer die Mittel eine Partitur umzusetzen. Einzige Voraussetzung die Musik muss interessant sein. « J’ai toujours considéré que c’était difficile, mais qu’il fallait travailler. » Sie arbeitet gleichzeitig an einem Repertoir mit klassicher Musik : « je chantais dans les concerts à la radio, des concerts de musique classique. Donc ça n’avait rien à voir avec Pierre Schaeffer. » Keinen Widerspruch für sie zwischen Alter und Neuer Musik «comment est-ce que je peux faire les deux ? parce que c’est tous les deux, c’est de la musique. »
Es war eine aufregende Zeit : « C’était le début de la musique électronique, c’était le début de la musique avec les disques […], des appareils avec plusieurs étages, pour pouvoir faire des choses à plusieurs voies. C’était passionnant parce que c’était une découverte. Ça n’avait jamais été fait. Et ça, c’étaient les inventions de Schaeffer. » Sie vertritt die GRM in Montréal (Kanada): « comme je parlais de l’anglais, ils m’ont envoyé là-bas pour représenter la France et la musique contemporaine en France ». Sie sang zahlreiche Uraufführungen von John Cage in Frankreich, des öftern zusammen mit Cathy Berberian. Cage hat ihr und Cathy Berberian sein Song Book Vol II (solos for voice 59-92) gewidmet. (1)
Katalog INA
Institut national de l’audiovisuel (INA): Simone Rist
Spezifische Angaben zum Aufenthalt von Simone Rist in Kanada fehlen
The Canadian Encyclopedia: Electroacoustic Music
Computer music is the application of digital technology to musical activity, such as computer-assisted composition, digital sound synthesis and, most recently, live performance with digital synthesizers using the MIDI (Musical Instrument Digital Interface) communications scheme. Computer music differs from other forms by using programs or software to control the process, and by representing sound as a series of numbers called samples. Some early computer-music systems in Canada were developed by Ken Pulfer of the National Research Council in 1969, Gustav Ciamaga and William Buxton at the University of Toronto, and Barry Truax at Simon Fraser University.
Since the mid-1980s, electroacoustic music production has increasingly utilized commercially produced hardware and software, including digital synthesizers and samplers controlled by the Musical Instrument Digital Interface (MIDI), communication protocol, and personal computers (PCs) equipped with sound cards and specialized software for assembling, processing and mixing sounds. Concert performance of elctroacoustic music may involve any of these devices interacting with live performers and visual elements, with the music projected into the space via multiple loudspeakers, a technique called sound diffusion. CD distribution of this type of music is generally on independent or private labels, Canadian examples being Empreintes Digitales in Montréal and Cambridge Street Records in Vancouver, who publish this music exclusively.
Electroacoustic techniques are used for both commercial and artistic types of music, the former usually associated with multi-track recording studios, and the latter with university and private studios as well as national radio networks in Europe. The first Canadian studios were established at the University of Toronto (1959) by Myron Schaeffer and at McGill University (1964) by Istvan Anhalt, and now are found in almost every university music faculty. Hugh Le Caine of the NRC was the most significant pioneer of electronic music in Canada through his design and construction of many specialized devices for composers and performers, including the first synthesizer, the Sackbut, in 1945.
Apart from universities, electroacoustic music is promoted in many Canadian centres by groups such as the Association pour la création et la recherche Électroacoustiques du Québec (ACREQ) in Montréal, the Music Gallery and Canadian Electronic Ensemble (CEE) in Toronto, Vancouver New Music and the Western Front Lodge in Vancouver, as well as by numerous composers, performers, the CBC and community radio stations. In 1986, a national association called the Canadian Electroacoustic Community (CEC) was formed to promote this music via festivals, a newsletter, recordings and the Internet. The International Computer Music Association (ICMA) has held three of its annual conferences in Canada, at Simon Fraser University in 1985, at McGill in 1991 and at the Banff Centre in 1995, and Canadian composers are frequent recipients of international awards. Today, electroacoustic music, despite the public’s lack of familiarity with its artistic forms, is an important aspect of musical life.
New Music: from Canada’s first electronic music studio to today’s New Music Festival
Posted by Tyler Greenleaf
January 17, 2019
Marcel Duchamp and John Cage «Reunion»
by Macauley Peterson
Siehe:
075 Log 230124 Simone Rist