Christopher Murray The Timbres of Timbres-dures: Between Note and Objet Musical EMS08 Ele troa oa ousti Musi

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The Timbres of Timbres-dures : between note and objet musical

Christopher Murray
Timbres-dures, Olivier Messiaen and Pierre Henrys collaboration in musique concrte from the spring of 195 , is generally considered an e!ception in the former composers output of traditional acoustic music, and an early footnote in the latters long career in musique concrte" #t is one of the earliest e!amples of musique concrte for tape $as opposed to phonograph%, and &as one of the first e!periments in spatiali'ing electroacoustic music" Timbres-dures &as also one of Messiaens last short e!perimental pieces using serial techni(ues to generate rhythmic structures and form" My past &ritings have sho&n that these symmetrical combinations and permutations of note lengths and rhythmic motives are e!tremely similar to those used by Messiaen in his better )no&n Livre dorgue and Quatres tudes rythmiques"1 Concentrating on the sounds chosen by Messiaen, this study e!plores the role of timbre in this little*)no&n rhythmic +tude, &hile also considering the &or) as an episode in the development of Messiaens musical language" , &ide range of sources from the period of Timbres-dures creation &ere consulted for this article" Pierre Henry very graciously shared his copies of the scores of Timbres-dures including Messiaens manuscript in traditional notation, and his o&n scores sho&ing tape lengths instead of note lengths" ,lso from Henrys archive came a Repertoire et analyse de sons describing the sounds chosen by Messiaen" Henry most li)ely created this list as a pedagogical document for use at -.MC concerts and in promotional lectures on musique concrte in 195 and 195/" ,nother copy of this document &ith the addition of hand&ritten e!amples in traditional notation &as found in the archives of ,ntoine -ol+a, &ho &rote and lectured on both musique concrte and Messiaens music in the 1950s" # also ma)e reference to radio intervie&s, articles and program notes by Messiaen, 1chaeffer, Henry, and -ol+a" 2inally, the recording of Timbres-dures released by the -.M in 003 &as essential to my analysis and is the source of the follo&ing commentary"2 Messiaen &as already familiar &ith the innovations of 1chaeffers studio &hen he began &or)ing &ith his former student, Pierre Henry, in 2ebruary 195 " He had attended the concert at the 4h+5tre de l6mpire in 1950 and participated in radio broadcasts discussing the ne& musique concrte, giving his opinion on Henrys Musique sans titre"3 #n an intervie& &ith 7ean 8oivin, Henry reported that it &as the studios conversion to tape technology that attracted Messiaens active participation"4 #n a little*)no&n 195 radio intervie& &ith -ol+a, Messiaen further e!plained that he &as interested in tape as a medium because 9"""it has the potential to reali'e e!tremely complicated rhythms in a rigourously mathematical manner: rhythms that &ould not be possible &ith instruments and human performers"""95 ;espite comments by both Messiaen and 1chaeffer concerning the similarity of their respective interest in natural sounds, $9<e are people &ho &or) from nature,9 as 1chaeffer put it 6%, from the beginning, Messiaen seems to have been more interested in using tape as a precise means of measuring time than as a medium for capturing ne& timbres"7 4hat said, the recorded sounds Messiaen chose for Timbres-dures &ere clearly not an afterthought" .ather, they &ere intended to be subordinate, secondary to his rhythmic plan" =i)e his later orchestral &or), Chronochromie, the title of Timbres-dures refers to Messiaens notion that timbre colors lengths of time that &ould other&ise be silent" 4hough his ideas &ould evolve, in 195 Messiaen &as still distinguishing bet&een timbres that &ere 9noise9 and timbres that &ere 9musical"9 His program note tellingly describes Timbres-dures as, 9a rhythmic &or) &ith no musical sounds"98 #n the previously cited 195 -ol+a intervie&, Messiaen e!plains that he hoped that taped sounds &ould reali'e his theoretical rhythms more abstractly than the familiar timbres of traditional acoustic music" 9# tried to ma)e only ma)e only the note*lengths themselves audible, abstract note*lengths, that &ere almost inaudible and only thin)able" # didnt accompany them &ith musical sounds, >ust noises, timbres, li)e the title says" 4he timbres &ere meant to bring out, to emphasi'e the durations 99 Messiaen believed that &ith certain timbres, the lengths of the sounds $durations% &ould be more noticeable than the sounds themselves" He imagined these sounds might bring the rhythms to the foreground of the listening e!perience differently than, for e!ample, the organ and piano of his Livre dorgue and Quatre tudes" 8ut Messiaen also used timbre in Timbres-dures as he had in his other serial e!periments &ith rhythm? as a sort of mar)er, a guide for the listener" 8y lin)ing the parameters of rhythm and timbre, as he did in passages of his Livre dorgue, he effectively tags individual note values and rhythmic motives, ma)ing it easier for the listener to distinguish bet&een them" 1chaeffer himself recogni'ed that serial passages of the Livre dorgue sho&ed a treatment of pitch that anticipated the autonomy of the ob!et sonore 10 #n Timbres-dures, Messiaen lin)s duration not >ust to timbre, but to the morphology of a sound on a tape loop, a recorded event, including its attac), decay and variations of intensity" Messiaens use of &hat he imagined &ould be self*effacing sounds to highlight his rhythmic constructions disappointed both 1chaeffer and Henry, &ho felt that Timbres-dures &as too traditional, and did not sufficiently engage the ne& possibilities of tape as a medium" #ndeed, his )aleidoscopic &or)s for organ and orchestra had probably led them to believe that his pro>ect &ould ta)e an entirely different direction, and &ould e!ploit the vast timbral potential of musique concrte" ,s 1chaeffer recounted ? 9<e invited Messiaen to a feast &here &e thought everything &ould flatter his taste, but he didnt even open the cupboards" He clapped his hands and murmured, "omething li#e that$ the least sound possible 911 Henrys &or)ing notes sho& that &or) on Timbres-dures began during the first nine days of 2ebruary 195 "12 Henry recalled that Messiaens first step &as to choose the five families of percussive sounds or directions sonores that &ere to be used"13 Once Messiaen had given him some initial indications concerning his genral timbral preferences, Henry spent nearly a month recording and manipulating sounds, creating several hundred tape loops" 2rom these loops,

Messiaen made a second selection and &rote out his prescriptive manuscript score in traditional notation"14 @sing Messiaens manuscript, Henry created a monophonic concrte score on graph paper, sho&ing tape lengths instead of note lengths" 4his score, dated 15 ,pril 195 , &as probably used as an aide-mmoire during the montage of the first version of Timbres-dures" Henry finished creating the tape of this version by early May, but Messiaen &as not satisfied &ith the results" He made some cuts to his score, and agreed to Henrys innovative suggestion to spatiali'e the &or)" 4he spatiali'ed version of Timbres-dures &as performed in t&o concerts on May 1 and 5, 195 during a Parisian festival of <estern t&entieth century music organi'ed by Aicolas Aabo)ov, called L%uvre du &&e sicle"15 4he story of these concerts and Henrys spatialisation of Timbres-dures is an entire sub>ect unto itself, &hich &ill be addressed in my doctoral thesis"16 Here ho&ever, # &ill )eep the focus on timbre" Messiaens enduring interest in metallophones and &ater sounds is reflected in the timbres he chose for Timbresdures 17 4hey appear at the top of the Repertoire et analyse de sons compiled by Henry and include &ater sounds $eau%, rubbed membranophones $sons 'rottes%, the homogenous &hite sound from a Chinese cymbal $ son blanc homogne daprs un cymbale chinoise%, metallic percussion $percut mtal%, and &ooden percussion $percuts bois%" #t is interesting to note that the &hite noise cut from the reverberation of a Chinese cymbal and the >ets of &ater against gongs and buc)ets &ere not lumped &ith the metallic percussion instruments, but &ere deemed different enough to &arrant their o&n category" #t is not clear &hether Messiaen or Henry decided upon this manner of dividing up the families of timbres" #n his manuscript score, Messiaen referred to the sounds by their sources" 4he e!ceptions to this rule &ere the sounds &hich had been altered to such an e!tent that they reminded him of other events, li)e the ? 9s(uea)ing pulley9 and 9bleating goat"9 4his practice of describing non*instrumental timbres through metaphor also riddles his birdsong cahiers &hich too) on a ne& importance shortly after Messiaen finished 4imbres*dur+es and visited the home of the naturalist 7ac(ues ;elamain" #n his transcriptions from ;elamains garden from 7une of 195 , he compared the timbre of a (uails call to drops of &ater, and a &oodpec)ers rapping to splashing &ater or a &oodbloc)" 4hese &ere all sounds that had been recently employed by Messiaen in Timbres-dures"18 ,ccording to Messiaens program note, Personnage ,, the first of Timbres-dures four rhythmic motives, or personnages rythmiques, 9contains eleven prime Bnote valuesC &hich are sub>ect to ne& permutations in each se(uence B"""C" 6ach duration in personnage , has its o&n timbre ? one hears a ne& version of the string drum imitating a bleating goat, sounds &hich have had filters or reverberation applied to them, and recordings of drops and >ets of &ater"9 19 #n its original order, from the first se(uence of the &or), the eleven sounds of Personnage , are presented from the shortest sound to the longest" Personnage , is a series of sounds &hich Messiaen &anted to be heard as a series of durations lin)ed to a series of timbres" ,s early as 195 , Messiaens former student 7ean*6tienne Marie noted a similarity bet&een these lin)ed parameters and Cages prepared piano * &here a pitch and the timbre of a given preparation are al&ays lin)ed" 0 Messiaen also refers to Cage as a fello& innovator in his short te!t for the programs of the 195 concerts, 9,ttendre 00 ans"9 #nterestingly, Messiaens diary from 1939, the year that 8oule' invited Cage to present his music for prepared piano at Messiaens analysis class at the Conservatoire, noted the idea for a series of timbres in an organ &or)" 1 4he subse(uent rearrangement of these sounds leads to the 9absence of continuity and ordered disparity9 a state &hich Messiaen once suggested in his early criti(ues of musi(ue concrDte as an ideal goal for the ne& art" 4he third sound of Personnage , $in its first permutation% labelled 96E9 in both Messiaen and Henrys scores, is a recording of a stream of &ater directed into a pail" On Henrys Rpertoire et analyse des sons, all of the &ater sounds are labelled 969 for eau, and seem to have been chosen from a far greater number of tape loops &hich &ere not used" $6 and 65 are drops of &ater, 69 is a stream of &ater plunged into a buc)et and gradually pulled out again, and 61 is a stream of &ater against a gong%" On his score sho&ing ho& he &anted Henry to construct his piece Messiaen also noted some other information about the sound 6E" 9;o 19 indicates the setting on the phonogne ( clavier, a machine &ith a piano )eyboard &hich allo&ed the precise transposition of tape loops" Here Messiaen noted not the original setting but the transposition setting" He also indicated that the sound is reversed, and &as recorded at or amplified to a level that can be described as me''o forte $at least in relation to the other sounds"% Most stri)ingly, and characteristic of his dependence on criture, Messiaen notes the length of the note in traditional notation" #n comparing Messiaens manuscript to Henrys concrDte score, &e remar) that in contrast, Henry noted only &hich tape loop he &ould need to use $6E%, the and the length in centimeters of tape to be produced from the loop, since the other factors Messiaen meticulously noted at each repetition, &ere of course, automatically inscribed in the tape loops themselves" Only in the first se(uence of his score did Henry note the dynamic levels * in later se(uences the dynamics remain unchanged and are not noted" 4he Repertoire et analyse de sons further clarifies the transformations that the original recording of sound 6E under&ent" 4he first part of the document describes the original unaltered sound, labelled as tape loop $ boucle% number F $abbreviated 98 F9%" ;escribed as 9, stream of &ater in an empty buc)et * a continuous and homogenous sound in a medium register, recorded at the setting 8 Bon the phonogne ( clavierC"9 On Henrys copy of the document there is a space on the page after &hich the te!t describes ho& the original recording &as manipulated for use in the &or) 9sound used ? $8 G% ,n e!tract of loop F lo&ered a ma>or seventh, played in reverse &ith pure reverberation added, /EG centimeters in length"9 #n -ol+as copy of the Repertoire et analyse de sons, the empty space left for e!amples on Henrys copy has been filled &ith a transcription in traditional notation of the altered sound, labeled 9e!ample E9 alongside the e(uivalent length in traditional note values for the /EG centimeters of tape" 4he transcription of the >et of &ater in traditional notation $a &idely spaced and trilling chord across the bass and tenor registers% is e!tremely similar to Messiaens transcriptions of

natural timbres $the &ind in the trees, running &ater, and birdsong% found in his cahier de chants doiseau) from 7une of 195 "23 4he notation on -ol+as copy is (uite possibly Messiaens o&n transcription in traditional notation of the recorded and altered sound" 4he e!ercise of transcribing the &ind, gurgling &ater, or a ca&ing cro& may seem futile in the technological conte!t the electroacoustic studio &here tape could capture such sounds precisely" Het it &as this very manner of imaginative transcription that rene&ed Messiaens musical language in his subse(uent &or)s from the 1950s li)e Reveil des oiseau), and Catalogue doiseau)" .ecent studies have sho&n that he transcribed many recordings of birdsongs, both tapes and records, for use in his later &or)s I the first )no&n e!ample being the ,merican bird sounds used in *iseau) e)otiques"24 Messiaens preference for traditional notation &as a conceptual barrier that prevented him from fully e!ploiting the ne& musique concrte, yet Messiaen creatively too) advantage of this very barrier, using musical +criture, his remar)able ear, and imagination to capture natural sounds in ne& &ays that # suggest &ere informed by his encounters &ith electroacoustic music"25 4he transcription of sound 6E found in -ol+as papers is an interesting anticipation of Messiaens musical development during the 1950s" Messiaens disappointment &ith the sounds he had chosen for Timbres-dures also led to his reali'ation that timbral fluctuations are also rhythms, that rhythm and timbre are ine!tricably lin)ed" 4he composer &ould return to this idea in his e!amination of rhythm in the first volume of his Trait"26 Messiaen chose streams of &ater for the long durations of personnage ,, but ultimately found that these sustained sounds did not necessarily give an impression of unity" ,s he put it, 9# must say that # &as disappointed &ith some of the timbres # myself had chosen" #n nature there are particularly lively timbres, and those that disappointed me, &ere the streams of &ater, because # &rote long values for the streams of &ater, and in such streams, as you )no&, there is a gurgling" 6ach little gurgle is a ne& event for the ear and &here # e!pected a long value, there &ere a thousand short values stri)ing the ear one after another and leaving no impression o' a long value 927 He already hints at this in his short te!t for the May 195 concerts, 9,ttendre 00 ans9" =ater in the 1950s, at the time &hen he &as incorporating transcriptions of &ater sounds into his Chronochromie, Messiaen, a card*carrying rythmicien $scholar of rhythm% made a veiled reference to his one*time e!perience &ith the recorded &ater sounds of Timbres-dures in his preface for a special issue of the Revue musicale dedicated to musique concrte" 94hus, our old companion, 4ime, reveals to us one of his secrets ? at the interior of each e!pected note*length, changes in dynamic create thousands of une!pected short lengths, recalling the prediction of Macbeths &itches, Juntil K -reat 8irnam &ood to high ;unsinane hill K 1hall come against him"""J Het, the miracle occurs? the forest begins to marchL 4he once docile &hole and half notes begin to move, much to the rythmiciens dismayL 4here is no need to travel to the moon to learn something ne& * microphysicists have told us this already, and musique concrte confirms it"928 7ust as Messiaen &ould continue to carefully study the natural timbres li)e those he employed in Timbres-dures, he also repeatedly e!horted younger composers &riting both acoustic and electroacoustic music to turn to nature for ideas" Messiaen &as attracted to 1chaeffers studio hoping that tape &ould be the perfect medium for serial rhythmic constructions" His traditional ideas about notation and timbre conflicted &ith the ne& implications of recorded sound" 4he timbres Messiaen chose defied and surpassed the traditional notation &hich &as ine!tricably lin)ed to his ideas about rhythm" ;espite his disappointment &ith the sounds he initially thought &ould be subordinate to his rhythms, Messiaens e!perience lead him to develop his ideas concerning the nature of timbre" 4hough he &ould not continue to &or) in the medium of musique concrte &e can posit that his e!perience at the -.MC contributed to ne& developments in Messiaens musical language"

Most notably in my 00E Masters thesis at @niversit+ =umiDre =yon , Les 4imbres*dur+es d*livier Messiaen et la relations du compositeur avec la musique concrte, dir" ,nne Penesco, and again in 9 .hythm and 2orm in Olivier Messiaens Timbres-dures9 presented 7une , 00G at the Messiaen 00G #nternational Centenary Conference at the 8irmingham Conservatoire" +rchives ,RM, Mol" 1, -.M*#A, F551 " / , radio broadcast of a conversation bet&een Pierre 1chaeffer, Olivier Messiaen, .oland*Manuel and 1erge Moreu! concerning the 1950 concert of musi(ue concrDte at the 4h+5tre de l6mpire, on the ChaNne nationale and produced by the .adiodiffusion franOaise, is conserved in #A, archives, reel 9E#A,G505P, 59" Messiaens criti(ue of Musique sans titre &as also recoreded fort the ChaNne nationale, broadcast 1 september 1951" #A, archives, reel M@0 F1E or 9F#A,G505P,1F/" 3 8oivin, 7ean, La Classe de Messiaen, Paris ? 8ourgeois, 1995, p" 11F" 5 9-epuis quelle est e)cute sur ruban$ quelle est dcoupe sur ruban$ cest la possibilit de 'aire entendre dune 'a.on rigoureusement mathmatique des dures e)tr/mement compliques qui ne seraient pas e)cutables avec des instruments et surtout des instrumentistes 9 Messiaen intervie&ed by ,ntoine -ol+a circa 195 , reused in +cousmathque on 2rance Musi(ue, 5 2ebruary 19G5, and conserved in the #A, archives, reel G5M0F019-0003" @nfortunately # have not been able to locate the original 195 reel" ,ll translations in this te!t are my o&n, unless noted other&ise" E Messiaen on the sub>ect? *livier Messiaen et les oiseau), film r+alis+ par ;enise 4ual et Michel 2ano, 19F/" 1chaeffer on the sub>ect? + la recherche de la musique concrte, p" 1G , and 0Les voi) de lavant-gardeP of 7une / 1959 rereleased in 1ierre "chae''er$ l2uvre musicale, -.M*#A, 1990, disc 3, trac) 9" #t is in this recording &here 1chaeffer proclaims, 93ous sommes des gens qui travaillent daprs nature"9 F Michel Chion &as the first to ma)e this observation in his 2ayard biography of Pierre Henry" G 9un travail de rythme sans aucun son musical"9 9 94n composant cette 2uvre$ !ai essay de 'aire entendre des dures seules$ des dures abstraites$ presque des dures qui ne sont pas audibles$ mais seulement pensables 5e ne les ai pas accompagns des sons musicau)$ mais seulement des bruits$ des timbres$ ce comme le dit le titre Les timbres qui taient destins ( les 'aire valoir$ ( les mettre en valeur 9 10 1chaeffer cited Messiaen as a precursor of musi(ue concrDte Q""" for his e!perimentations &ith symmetrical constructions &here the series is not entirely divorced from traditional language,P ma)ing reference to Messiaens e!periments in integral serialism and symmetrical permutations &here individual pitches are al&ays lin)ed to the same attac) and intensity" + la recherche dune musique concrte, Paris, 1euil, 195 , p" 1G " 11 9Messiaen$ que nous avions convi ( un 'estin de sons o6 tout$ pensions-nous devait 'latter sa gourmandise$ nouvrait m/me pas les armoires$ 'rappait dans ses mains et murmurait 7 quelques choses come cela$ le moins de son possible "9 1chaeffer continues, 9Messiaen$ restait malheureusement un peu loin du ralisateur$ laissait se produire cet tonnant 4imbres*dur+es qui demeurera sans doute ( la 'ois le plus grand succs et le plus grand chech de cette priode 9 1chaeffer, 9Mers une musi(ue e!p+riementale9, La Revue musicale, no" /E, $195F%, p" 1G" 2or Pierre Henrys reaction to Timbres-dures, see his intervie& &ith 8oivin cited in La Classe de Messiaen, pp" 11F*11G, or Michel Chions biography of Henry, published by 2ayard" Henry reiterated his vie&s in his intervie& &ith the author at 1tudio 1on.e, Paris, 2ebruary E, 00G" 1 Pierre Henrys agenda from 195 , graciously consulted for the author by M" Henry" 1/ #ntervie& &ith Pierre Henry, 2ebruary E 00G" 13 , clean version of a sample from this manuscript &as created by Messiaen for the May 195 concert programs, and has been reproduced in the 6nglish and 2rench versions of Aigel 1imeone and Peter Hills biography, Messiaen, Ae& Haven ? Hale, 005, p" 19G and Paris ? 2ayard, 00G, p" 59" ,n e!tract from a version of Henrys concrDte score, also created for the 195 programs can be seen in 6rhard Rar)osch)as 3otation in 3e8 Music, Ae& Hor), Praeger, 19EE, p" 1E3, &ith a longer e!ample found in the program conserved in the 1chaeffer archive, #M6C" 15 Timbres-dures may or may not have been played on the student concert of / May 195 " #t &as among a list of &or)s from &hich the attendees had to vote and choose from" Messiaen &as in competition against his former student 8oule' in a category comprised of serial &or)s of musi(ue concrDte" # have found no record of the &inner" , program &ith ballot is conserved in the 1chaeffer archive $#M6C%" 1E ;ir" ,nne Penesco at the @niversit+ =yon , Le developpement du langage musical d*livier Messiaen" 1F #n a 19EE intervie& Messiaen lin)ed the t&o families of sounds, li)ening the resonance and halo of harmonics of gongs, tam*tams and bells to the Qstrange and enormous sounds of nature, li)e &aterfalls and mountain torrents"P =+mission radio, Musique de 3otre Temps, avec Claude 1amuel 9 OS va la musi(ueT 9 5 >anvier 19EE 1G Messiaens notes from the Charente 1 *13 >uin 195 , 8n2 ;+partement de la musi(ue, Ms" /0F9" 19 9Le personnage + contient 99 nombres premiers$ destins ( subir des permutations nouvelles ( chaque squence :;< Le personnage + possde un timbre par dure 7 on y entend une nouvelle version du tambour ( corde imitant une chvre qui b/le$ des sons 'iltres et rverbres$ des enregistrements de gouttes deau et de !ets deau 9 0 Musique vivante$ introduction au langage musical, 4oulouse, PrivatKP@2, 195/, pp" 15G*1E0"

C"f" 1imeone and Hill, 005, op" cit+e, p" 109" Messiaens analysis of musi(ue concrDte broadcast 1 1eptember 1951" Qcette absence de continuit$ cette disparit ordonneP / 8n2 Ms" /0F9" 3 4his &as first observed by .obert 2allon in his study 94he record of realism in MessiaenJs bird style9, in *livier Messiaen7 music$ art and literature, eds" ;ingle and 1imeone, ,ldershot, ,shgate, 00F, pp" 115*1/E" 5 4his e!perience certainly might have played into Messiaen subse(uent shift to orchestrating the timbre of birdsong &ith chords instead of single notes, a practice &hich appears for the first time in certain transcriptions of his birdsong cahiers from 195 " 4he first composers of spectral music later cited this manner of thin)ing as a precursor to their o&n technologically*aided pro>ects in orchestrating timbre" E ,lthough Messiaen &as disappointed &ith Timbres-dures, it should be noted that his harsh >udgements turned out to be more or less typical of his output from his Qe!perimental periodP of 1939*1951" =ater in life, Messiaen distanced himself from even his best )no&n e!perimental &or)s, claiming his Quatres tudes rythmiques as the &or) Qof one of many Messiaens that are no& dead"P <ith the e!ception of Timbres-dures ho&ever, he &ould continue to revindicate the importance his serial innovations" #n reference to the the Livre dorgue, Messiaen insisted that Qeven if one finds the music is long, ugly and useless, it represents one of my greatest rhythmic victories"P F 95e dois dire dailleurs que !ai eu une dception pour certains de ces timbres$ que pourtant !avais choisi -ans la nature :il y a< des timbres particulirement vivants$ et ceu) qui mont d.u$ ctaient les !ets deau$ parce que !avais dcrit pour ces !ets deau des valeurs trs longues$ et dans les !ets deau comme vous save=$ il y a un crpitement Chacun de ces crpitements est un vnement nouveau pour loreille$ et l( o6 !attendais une trs grande valeur$ il y en avait un millier de petites valeurs$ : < > dans la peinture impressioniste par e)emple$ o6 il y a des milliers de petites couleurs$ les petites valeurs 'rappaient toutes loreille les unes aprs les autres et il ny avait plus de grande valeur 9 G Preface to the 1959 issue of La Revue musicale, 96!p+riences musicales9, p" 5" 94t voici que notre vieu) compagnon le Temps nous livre un de ses secrets ? lintrieur de chaque dure prvue$ les changements dynamiques crent des milliers de petites dures imprvues Rappelons-nous la prdiction des sorcires de Macbeth7 0Tant que la 'or/t de @irnam ne marche pas vers -unsinane A> *r$ le miracle se produit7 la 'or/t se met en marcheB Les sages longues et brves qui sagitent ici pour le plus grand dsarroi du rythmicien 1oint nest besoin daller dans la lune pour apprendre du nouveau7 la microphysique nous lavait d!( dit > la musique concrte le con'irme 9