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Record W1539457794 · doi:10.7202/1027609ar

La saturation, métaphore pour la composition ?

2014· article· fr· W1539457794 on OpenAlex

Why this work is in the frame

A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.

venuePublished in a venue whose home country is Canada.
no affNo Canadian affiliation: this work is invisible to an affiliation-only frame.
No Canadian affiliation. An affiliation-only frame, the usual design, would never have seen this work. It is one of the works that make the case for inverting the frame.

Bibliographic record

VenueCircuit Musiques contemporaines · 2014
Typearticle
Languagefr
FieldSocial Sciences
TopicLiterature, Musicology, and Cultural Analysis
Canadian institutionsnot available
Fundersnot available
KeywordsHumanitiesArtPhilosophy

Abstract

fetched live from OpenAlex

L’exploration par les compositeurs du courant spectral ou par Helmut Lachenmann de la face inharmonique du son aura assurément joué un rôle crucial dans l’acceptation par les générations suivantes de la composante acoustique bruiteuse comme un matériau entièrement légitime pour la composition. Pour des compositeurs comme Franck Bedrossian, Raphaël Cendo et Yann Robin, il ne s’agissait plus d’envisager le son saturé comme un son poussé dans ses derniers retranchements, ou comme l’outil d’une critique du « beau son » hérité du romantisme, mais bel et bien d’en faire la matière d’un discours articulé. Composer l’excès – de son, d’énergie – devenait pour eux un défi qu’il fallait relever par l’écriture. Constituer une palette de modes de jeu et de timbres était une chose, en assurer la dynamique et la cohérence en était une autre. L’une des visées principales de cet article est de montrer comment, sur la base d’un vocabulaire en grande partie commun, les trois compositeurs « saturationnistes » ont élaboré une grammaire qui les différencie aujourd’hui de façon manifeste.

Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.

Full frame distilled prediction

Teacher imitation

Not calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.

metaresearch head score (Codex)0.001
metaresearch head score (Gemma)0.000
Version: codex-gemma-dda1882f352aValidation status: machine_predicted_unvalidated
Candidate categoriesMeta-epidemiology (narrow)
Consensus categoriesnone
DomainCandidate signal: none · Consensus signal: none
Study designCandidate signal: Theoretical or conceptual · Consensus signal: none
GenreCandidate signal: Empirical · Consensus signal: none
Teacher disagreement score0.839
Threshold uncertainty score1.000

Codex and Gemma teacher scores by category

CategoryCodexGemma
Metaresearch0.0010.000
Meta-epidemiology (narrow)0.0000.000
Meta-epidemiology (broad)0.0010.000
Bibliometrics0.0000.001
Science and technology studies0.0010.001
Scholarly communication0.0010.001
Open science0.0000.000
Research integrity0.0010.000
Insufficient payload (model declined to judge)0.0000.000

Machine scores (provisional)

The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.

Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.

Opus teacher head0.031
GPT teacher head0.280
Teacher spread0.250 · how far apart the two teachers sit on this one work
Validation statusscore_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it