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Joshua Fineberg

To cite this article: Joshua Fineberg (2000) Bibliography, Contemporary Music Review, 19:2,
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ContemporaryMusic Review
2000, Vol. 19, Part 2, p.135-143
Photocopying permitted by license only
9 2000 OPA (Overseas Publishers Association) N.V.
Published by license under
the Harwood Academic Publishers imprint,
part of Gordon and Breach Publishing,
a member of the Taylor & Francis Group.

APPENDIXIII

Bibliography
Compiled and annotated by Joshua Fineberg

Introduction

N e a r l y all the articles in this issue and Spectral Music: Aesthetics and
Music (Contemporary Music Review, Volume 19, Part 3) h a d bibliographies
which m a d e extensive reference to three different v o l u m e s p u b l i s h e d in
French as well as to a few other articles published in other locations and
languages. In consultation with the contributing authors, it was decided
that w e should avoid the r e d u n d a n c y of separate citations in each bibli-
o g r a p h y and allow the addition of occasional, brief, annotations, facili-
tated b y the format of a c o m b i n e d issue bibliography. Sources that were
cited in single articles h a v e been placed here as well; sections d e v o t e d to
bibliographic references which a p p l y to single articles follow the sections
concerning c o m m o n sources.

Entretemps 1989 m G r i s e y - M u r a i l
This special issue of the review, Entretemps,is probably the best single source on
spectral music prior to the current volume; unfortunately it exists only in French.
It is divided into three parts, a general section which deals directly with the
issues of spectral music, a section on G6rard Grisey and a section on Tristan
Murail. The interest of the sections on Grisey and Murail is not, however, limited
to their music. It presents detailed looks into many of the issues and techniques
of the broader musical movement. In addition to articles by Grisey and Murail
themselves, other articles were written by the 'second generation' spectral com-
poser Marc-Andr4 Dalbavie, by composers Julian Anderson and Claudy
Malherbe (also contributors in these issues), by composer and computer music
expert, Jean-Baptiste Barri6re and by musicologist, Peter Niklas Wilson. This

135
136 AppendixIII

volume is a wonderful presentation of the first fifteen years of spectral music.

This Entretemps issue helps put into perspective the changes and departures
from the initial ideas of the movement described in the articles of these two CMR
issues. When new generations of spectral composers begin to be integrated into
the evolution of the movement, as is seen, for example, in the article by Damien
Pousset, in CMR 19(3) issues become more complex and definitions blurred; this
Entretemps, however, helps clarifies the starting points of the spectral movement.
Its presentation of the movement from the somewhat homogenous perspective of
only two composers grants it a degree of clarity which is difficult to achieve in a
broader survey such as these CMR issues, ensuring its continued importance as a
source on spectral music.

Entretemps N ~ 8, GRISEY-MURAIL, Septembre 1989, A. Bonnet,

H. Guery, J.-P. Guye, M. Kaltenecker, F. Nicolas, G. Pesson, M. Texier
(eds.). Paris: Centre National des Lettres - - Fondation Siemans.
'Uastreinte sonore' by Guy Lelong m pp. 5-12
'Dans le contexte' by Julian Anderson - - pp. 13-23 (translated from English by
J.-P. Guye)
'Ecriture et mod61es' by Jean-Baptiste Barri6re - - pp. 25--45
'Uenjeu spectral' by Claudy Malherbe - - pp. 47-53

G4rard GRISEY:
'Vers une 6cologie des sons' by Peter Niklas Wilson - - pp. 55-81
"Tempus Ex Machina" by G6rard Grisey - - pp. 83-119
'Catalogue des oeuvres, bibliographie, discographie' m pp. 120-121
Tristan MURAIL:
'De Sables ~ Vues a~riennes" by Julian Anderson - - pp. 123-137 (translated from
English by Lorris Murail)
'Notes sur Gondwana" by Marc-Andr6 Dalbavie - - pp. 139-145
'Questions de cible' by Tristan Murail - - pp. 147-172
'Catalogue des oeuvres, bibliographie, discographie' m pp. 173-174

La Revue Musicale, 1991 - - L'ITINERAIRE

This four-hundred and fifty plus page volume, in French, traces the history and
aesthetics of the ensemble and composer's collective l'Itin6raire. It includes
everything from press clippings and homages from various composers outside
the group, to articles by P. A. Castanet, Grisey, Murail (also contributors in
Contemporary Music Review, Volume 19, Part 3), Levinas, etc. This grab-bag of
information is extremely interesting, in its own right; however, for our purposes
the real relevance is the material concerning spectral music directly. The spectral
movement was created by composers participating in l'Itin4raire, but was not
synonymous to that movement. Thus while the entire volume may be interesting
 Bibliography 137

as a source for u n d e r s t a n d i n g the context from which the m o v e m e n t emerged, it

is only a p a r t of this v o l u m e which I will cite directly in this bibliography. I
w o u l d heartily encourage those w i t h a d e e p e r interest to look at the entire
volume.

L a Revue Musicale, Quadruple n u m ~ r o 4 2 1 4 2 4 , L ' I T I N E R A I R E , 1991,

under the direction of Danielle Cohen-Levinas, with the collaboration
of Jacques Oriol. Paris: Richard Masse/L'Itin~raire.
' H u g u e s Dufourt: Les ann6es de c o m p a g n o n n a g e avec L'Itin~raire (1976-1982)'
b y Pierre-Albert Castanet - - pp. 15-39
'Autoportrait avec l'Itin6raire' b y G~rard Grisey - - pp. 41-65
'G~rard Grisey: Du spectralisme formalis6 au spectralisme historicis6' b y
Danielle Cohen-Levinas - - pp. 51-65
'La migration des ~mes' b y Michael Levinas - - pp. 67-71
'La m u s i q u e et son double: l'esth6tique de Michael Levinas' b y Pierre-Albert
Castanet - - pp. 73-91
'Ecrire avec le live-electronic' b y Tristan Murail - - pp. 93-103
'Murail - - r6solument' by Eric H u m b e r t - C l a u d e - - pp.105-121
'Scelsi et l'Itin~raire: influences, coincidences et c o r r e s p o n d a n c e s ' b y Julian
Anderson - - pp. 149-156
'La musique, le devenir des sons' b y G~rard Grisey - - pp. 291-300
'Spectres et lutins' b y Tristan Murail - - pp. 309-322

Le timbre, m~taphore pour la composition

This book, in French, deals with timbre's role in musical composition. It was the
o u t g r o w t h of a 1985 colloquium at IRCAM. There are articles b y composers,
research scientists and musicologists. Focusing on timbre as it does, this v o l u m e
deals with m a n y issues that overlap spectral music, t h o u g h this is not its
purpose. I will cite only those which are directly relevant to spectral composition,
b u t as with the l'Itin~raire volume mentioned above, I r e c o m m e n d those with a
deeper interest to look at the entire volume.

Le timbre, m~taphore pour la composition, texts collected and

introduced by Jean-Baptiste B a r r i ~ r e . C h r i s t i a n Bourgois l~diteur
I R C A M , P a r i s , 1991.
'Qualit6s et fonctions d u timbre musical.' Steve M c A d a m s & Kaija Saariaho - -
pp. 164-181 'Timbre, orchestration, dissonance et organisation a u d i t i v e ' b y
A.S. Bregman - - pp. 204-215
'Le ph~nom~ne sonore, u n module p o u r la composition' b y Philippe Hurel - -
pp. 261-271
'Timbre et espace' b y H u g u e s Dufourt - - pp. 272-281
'Pour sortir de l ' a v a n t - g a r d e ' b y Marc-Andr~ Dalbavie - - pp. 303-334
138 AppendixIII

'La part de l'insalsissable' by Antoine Bonnet - - pp. 335-51

'Structuration des timbres dans la musique instrumentale' by G6rard Grisey - -
pp. 352-385
'Timbre et harmonie' by Kalja Saariaho - - pp. 412--453

Additional Sources
The following articles and books are either taken from more scattered sources or
are less directly related to the subject of spectral music. Most are in French, but
some are in other languages; a few are translations of previously cited articles.
They have all been cited by multiple authors and represent important documenta-
tion concerning the spectral movement.
Castanet, Pierre Albert, Hugues Dufourt, 25 ans de musique contemporaine, t~ditions
Michel de Maule, 1995.
Castanet, Pierre Albert. Fin de si~cle: portrait de G&ard Grisey en compagnie de ses
contemporains, Strasbourg: Musica, September-October, 1996.
Castanet, Pierre Albert. 'Musiques Spectrales: nature organique et mat~riaux
sonores au XX~me si~cle,' in the review Dissonanz No. 20: Zfirich, May 1989.
Cowell, HemTy. New Musical Resources, Alfred A. K_nopf, Inc., 1930; new edition
published by Cambridge University Press, 1996.
Dalbavie, Marc-Andr6, 'Diad6mes', in Rapport annuel de l'Ircam 1986, Ircam, Paris,
1986, p. 23-29.
Dufourt, Hugues, 'Hauteur et timbre', in InHarmoniques, n ~ 3, mars 1988, p. 44-69.
Dufourt, Hugues, 'L'arfifice d'6criture dans la musique occidentale', in Critique,
n ~ 408, mai 1991, p. 465-477.
Dufourt, Hugues, "Musique spectrale', Paris, Soci6t6 Nafionale de Radiodiffusion,
Radio France/Soci6t6 Internationale de Musique Contemporaine (SIMC),
1979 III, p. 30-32.
Dufourt, Hugues, 'Musique spectrale' in Consequences, nos 7-8, Paris, 1985.
Dufourt, Hugues, Musique, pouvoir, ~criture; Bourgois, Paris 1991.
Grisey, G6rard. "Le temps de le prendre,' Paris: Les Cahiers du Renard No. 15,
Decembre 1993.
Grisey, G6rard, 'Tempus ex Machina: A composer's reflections on the musical
time', in Contemporary Music Review, vol. 2, part 1, 1987.
Hindemith, Paul, The Craft o/Musical Composition, Schott and Co., London, 1942.
Kr6ger, Wieland, 'Analyse de Diad~mes," in Marc-Andrd Dalbavie, Les cahiers de
l'Ircam, collection ~Compositeurs d'aujourd'hui,, Ircam-Centre Georges
Pompidou, Paris, 1993, p. 63-80.
Lelong, Guy, 'Entretien avec Philippe Hurel,' in Philippe Hurel, Les cahiers de
l'Ircam, collection ~<Compositeurs d'aujourd'hui>~, Ircam-Centre Georges
Pompidou, Paris, 1994 a, p. 7-42.
Lelong, Guy/GRISEY, Portrait de G~rard Grisey, in revue du Festival Musica;
Strasbourg 1996.
 Bibliography 139

Lelong, Guy, 'Le sens du contexte,' in Philippe Hurel, Les cahiers de l'Ircam, col-
lection ~Compositeurs d'aujourd'hub~, Ircam-Centre Georges Pompidou,
Paris, 1994 b, p. 57-62.
Murail, Tristan. 'La r~volufion des sons complexes,' Schott, Darmst/idter Beitr/ige,
1980.
Murail, Tristan 'Spectra and Pixies,' Contemporary Music Review, 1 (1), 1984,
157-171.
Murail, Tristan, 'Spectres et Lutins,' in Algoritmus, Klang, Natur: Abkehr vom
Materialdenken ?, Internationales Musikinsfitut Darmstadt, Schott, Mainz, 1982.
(this article was reprinted in L'Itin&aire cited above)
Murail, Tristan, 'Spectres et lutins' in 'L'IRCAM: une pens~e musicale', Editions
des Archives Contemporaines, Paris, 1984, pp. 167-181.
Orcalli, Angelo. 'Fenomenologia della musica sperimentale,' Potenza, Sonus,
1993.
Partch, Harry, Genesis of a Music, University of Wisconsin Press, 1949; revised and
updated version - - New York: Da Capo Press, 1974.
Pousset, Damien, 'La transparence du signe,' in Kaija Saariaho, Les cahiers de
l'Ircam, collection ,,Compositeurs d'aujourd'hub~, Ircam-Centre Georges
Pompidou, Paris, 1994, p. 25-42.
Pousset, Damien, 'Kai~a Saariaho et l'~criture de la forme dans Du cristal,'
(M~moire de DEA, Ecole-des-Hautes-t~tudes-en-Scienes-Sociales), Paris, 1993.
Rose, Francois, 'Introduction to the Pitch Organization of French Spectral Music,'
Perspectives of New Music, 34 (2), Summer 1996, 6-39.
Simon, Yannick, 'Analyse de Seuils,' in Marc-Andr~ Dalbavie, Les cahiers de
l'Ircam, collection 'Compositeurs d'aujourd'hui,' Ircam-Centre Georges
Pompidou, Paris, 1993, pp. 35-56.
Sto~anova, Ivanka, 'Une oeuvre de synth~se, analyse d'Amers,' in Kaija Saariaho,
Les cahiers de l'Ircam, collection 'Compositeurs d'aujourd'hui,' Ircam-Centre
Georges Pompidou, Paris, 1994, pp. 43-66.
Texier, Marc, 'Entretien avec Marc-Andr~ Dalbavie,' in Marc-Andr~ Dalbavie, Les
cahiers de l'Ircam, collection 'Compositeurs d'aujourd'hui,' Ircam-Centre
Georges Pompidou, Paris, 1993, pp. 9-18.
Tognan, Catherine, 'Ler de choses: analyse', in Philippe Hurel, Les cahiers de
l'Ircam, collection 'Compositeurs d'aujourd'hui,' Ircam-Centre Georges
Pompidou, Paris, 1994, pp. 43-70.

Article-specific Bibliographies

'Acoustics, psychoacoustics and spectral music' by Daniel Pressnitzer

and Stephen McAdams
These articles are mostly of a more technical nature, dealing with acoustics,
psychoacoustics and other issues relating to the perception and cognition of
140 AppendixIII

music and sound. They are written in a mix of languages, but most are in
English.
Allen, J. B. & Rabiner, L. R. (1977). 'A unified approach to Short Time Fourier
Analysis.' IEEE 65, 1558-1564.
Assayag, G. & Cholleton, J. P. (1995). 'La musique et les nombres.' La Recherche,
26, 804-810.
Aures, W. (1985). 'Ein Berechnungsverfahren der Rauhigkeit.' Acoustica, 58,
268-281.
Bharucha, J. J. & Olney, K. L. (1989). 'Tonal cognition, artificial intelligence and
neural nets.' In Music and the Cognitive Sciences, S. McAdams & I. Deli6ge
(eds.), 341-356, London: Harwood academic publishers.
Bigand, E. (1993) 'The influence of implicit harmony, rhythm and musical train-
ing on the abstraction of 'tension-relaxation schemas' in tonal musical
phrases,' Contemporary Music Review, 9 (1&2), 123-137.
Bregman, A. 'Uanalyse des sc6nes auditives: l'audition dans des environnements
complexes.' In Thinking in Sound, S. McAdams & E. Bigand (eds.), 10-35,
Oxford: Clarendon Press.
Bregman, A. S. (1990). Auditory Scene Analysis: the perceptual organization of sound,
Cambridge, MA: M.I.T. Press.
Bregman, A. S. & Campbell, J. (1971). 'Primary auditory stream segregation and
perception of order in rapid sequences of tones.' Journal of Experimental
Psychology, 89, 244-249.
Bregman, A. S. & Pinker, S. (1978). 'Auditory streaming and the building of
timbre.' Canadian Journal of Psychology, 32, 19-31.
Clarke, E. E (1987) 'Levels of structure in the organisation of musical time.'
Contemporary Music Review, 2 (1),.211-238.
Combes, J. M., Grossman, A. & Thamitchian, P. (1994). Wavelets, Berlin: Springer
Verlag.
Cosi, P., De Poli, G. & Lauzzana, G. (1989). 'Auditory modelling and self-
organizing neural networks for timbre classification.' Journal of New Music
Research, 23, 71-98.
Cowan, N. (1984). 'On short and long auditory stores.' Psychological Bulletin, 2,
341-370.
Crowder, R. G. & Morton, J. (1969) 'Precategorical acoustic storage.' Perception
and Psychophysics, 5, 365-373.
Crowder, R. G. (1993). 'Auditory Memory.' In Thinking in Sound, S. McAdams &
E. Bigand (eds.), 113-140, Oxford: Clarendon Press.
Damasio, A. R. (1994). Descartes' Error: Emotion, Reason and the Human Brain. New
York: Grosset/Putnam.
Dowling, W. J. & Harwood, D. L. (1986). Music Cognition. London: Academic
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 Bi~iography 141

Galilei, G. (1638). Discorsi e Dimonstrazioni Matematiche interno ~ due Nuove Scienze

attenenti alla Mecanica ed i Movimenti Locali. Leiden: Elsevier.
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Oxford: Clarendon Press.
Kameoka, A. & Kuriyagawa, M. (1969). 'Consonance theory part I.' J. Acoust. Soc.
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142 AppendixIII

McAdams, S. (1989). 'Psychological constraints on form bearing dimensions in

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