Seguindo os rastros da musica espectral: analise genetica dos modelos compositivos em Periodes, de Gerard Grisey Francois-Xavier Feron
Bibliographic record
Abstract
First developed in the mid-1970s, spectral music represents one of the main genres of contemporary French music. In Periodes (1974) for 7 instruments, Gerard Grisey (1946-1998) sets the foundation of this new approach to music composition, which explores both the acoustical properties of sound and specific features of the auditory system. Gerard Grisey’s archives at the Paul Sacher Foundation in Basel contain, among other things, musical manuscripts (drafts, autograph notes, drawings, etc.) of each of the composer’s works, as well as manuscripts of his writings, lesson notes, and books from his library. An examination of these documents, in addition to information gained from interviews with some of the composer’s close friends, allow us to understand better how Grisey imagined, developed, and brought to fruition his spectral approach to composition. In this paper, we begin by describing the composer’s education and explore his particular investigation of musical acoustics between 1972 and 1974 by studying the work of Emile Leipp and Fritz Winckel. We then look closely at two models (the respiratory cycle and the harmonic spectrum built on an E1 fundamental) that lie at the heart of the piece and underscore both their structural and auditory influence. Finally, after conducting a detailed analysis of the last section of the piece where Grisey uses instruments to recreate a sound spectrum, we question the existence of a trombone’s spectrogram that the composer himself claims to have used as a model. Through this genetic study of Periodes, we seek, in general, to document the construction of the cycle entitled Les espaces acoustiques (1974-1985) considered emblematic of the spectral aesthetic.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.005 | 0.010 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.003 | 0.003 |
| Science and technology studies | 0.002 | 0.003 |
| Scholarly communication | 0.004 | 0.003 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
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.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".