Pierre Boulez: Polyphonie X (1951)

Zenck, Martin

doi:10.25162/afmw-2015-0015

afmw

2015

DOI: 10.25162/afmw-2015-0015

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Pierre Boulez: Polyphonie X (1951)

Martin Zenck¹

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Cited by 2 publications

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‘Out of the Air’: Judith Weir’s Emergence in 1970s Britain, or Interpreting Creative Self-Censorship

Beard

2019

Music and Letters

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Most accounts of Judith Weir’s music focus on her mature, apparently postmodern approach. By contrast, my analysis of the early withdrawn works highlights a series of creative dialogues with some of Weir’s older British and Continental contemporaries, and more historical models. These interactions reveal that modernism and the avant-garde were essential to the evolution of Weir’s musical language—a formative experience that has been downplayed in attempts by critics to distance Weir from modernism. The gendered reception of Weir’s music is also noted, in which her natural modesty and withdrawal of early works have been portrayed as symptoms of feminine uncertainty, self-criticism, and anxiety. This discourse is recalibrated by relating it first to creativity theories, in which dialogue, uncertainty, and serendipity are valued, and second to the more widespread practice of withdrawing works, which illustrates how self-censorship is a common and vital part of creative practice, irrespective of gender.

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‘Out of the Air’: Judith Weir’s Emergence in 1970s Britain, or Interpreting Creative Self-Censorship

Beard

2019

Music and Letters

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Pitch Registration and Harmonic Fields in Works of Pierre Boulez, Marco Stroppa, and Yukiko Watanabe

Tönies

2024

MTO

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This paper discusses a method for harmonic field analysis of serial and post-serial music. The method is informed by perception-oriented considerations and was specifically designed for an analysis of Pierre Boulez’s early serial music. It is therefore exemplified by his 1951 composition Polyphonie X. Harmonic field analysis can however be applied to any music where pitch registration plays an important role. Accordingly, I will provide a brief overview of harmonic relations in two more recent compositions by Marco Stroppa and Yukiko Watanabe, demonstrating that harmonic fields have been used by composers to mediate between the generative layers of pitch organization and the sounding surface.

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Pierre Boulez: Polyphonie X (1951)

Cited by 2 publications

References 0 publications

‘Out of the Air’: Judith Weir’s Emergence in 1970s Britain, or Interpreting Creative Self-Censorship

‘Out of the Air’: Judith Weir’s Emergence in 1970s Britain, or Interpreting Creative Self-Censorship

Pitch Registration and Harmonic Fields in Works of Pierre Boulez, Marco Stroppa, and Yukiko Watanabe

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