“Our model is sound”: Gérard Grisey's spectralism, processes, temporalities and influences
DOI:
https://doi.org/10.33871/23179937.2023.11.3.8235Keywords:
Gérard Grisey, Síntese instrumental, Graus de mudança, Grau de previsibilidade, Tempo musicalAbstract
Spectral music, specifically that of Gérard Grisey, reveals sound universe that interweaves the small variations of its internal morphologies, the control of musical time, and the emergence of unique acoustic and psychoacoustic phenomena. In this article, we ask if spectralism is a movement that breaks with the past or it reorganizes previous compositional processes and techniques, specifically related to the Studio for Electronic Music (WDR), in Cologne. To this aim, we analyze Grisey’s notion of instrumental synthesis, degrees of change, and degree of preaudibility, and investigate if they relate to similar procedures previously developed by other composers. We also study how these notions are applied in the works Périodes (1974), Partiels (1975) and Modulations (1976-77). We conclude articulating the compositional epistemologies of the integral serialism of the 1950s and 60s and the spectralist proposal in which, despite the differences, there would be convergence on musical time, conceived as an emerging phenomenon resulting from the interaction between other musical parameters.
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