Book Reviews by Matthieu Galliker
Revue musicale OICRM, 2023
Papers by Matthieu Galliker
Organised Sound, 2024
This article analyses the aesthetic, technical and conceptual strategies inherent in Estelle Scho... more This article analyses the aesthetic, technical and conceptual strategies inherent in Estelle Schorpp's sound installation Écosystème(s) (2019) in order to question to what extent it negotiates with the notion of other-than-human, here preferred to the 'more-than-human' term. By drawing from various viewpoints rooted in posthumanist theories, sound studies, and ecosemiotics, our goal is to expand the theoretical framework for contemplating the possibilities inherent in sound and media arts. We propose that these art forms, when delving into the concept of the other-than-human, have the capacity to contribute to the development of novel approaches in attuning to our modern (intricately layered and delicate) sonic environments. After clarifying certain concepts such as the other-than-human, the nature-culture pairing, and the systemic and relational dynamic historically inherent to sound art, we will approach the analysis of Écosystème(s) first from a general description of the artist's intentions, and second through and analysis of the semiosic processes involved in the installation experience. Through this analysis, we will demonstrate that Écosystème(s) generates a territorial friction between the installation and the audience, resulting in differences in semiosis and experience. Its relation dimension configures a human-and-other-than-human complex articulated through a specific mode of existence based on co-presence.
Circuit, musiques contemporaines, 2024
(FR) Faisant la synthèse d’entretiens effectués au cours de l’été 2023, l’article présente les re... more (FR) Faisant la synthèse d’entretiens effectués au cours de l’été 2023, l’article présente les relations humaines, rapports artistiques et oeuvres musicales de trois compositeurs québécois ayant rendu hommage à Serge Provost : À S. (2017) et Le signe de l’ombre (2022) de Hans Martin, La princesse n’avait d’yeux que pour la profondeur de l’univers (2019) de Jimmie LeBlanc et Voies impénétrables (2022) de Michel Gonneville y sont examinées dans leur contexte de création, sous l’angle de l’élaboration musicale et selon les intentions précises de chaque compositeur afin de mettre en correspondance les différentes manières de rendre non seulement compte de l’influence et de l’enseignement de Provost mais aussi des couleurs harmoniques et des procédés techniques de ses oeuvres. En réunissant les univers de ces différents compositeurs, la présente recherche dresse, dans les entretiens menés, un contexte historique et esthétique autour d’une figure importante du paysage musical contemporain au Québec.
(EN) Synthesizing interviews conducted in the summer of 2023, the article presents the human relations, artistic relationships and musical works of three Quebec composers who paid tribute to Serge Provost: À S. (2017) and Le signe de l’ombre (2022) by Hans Martin, La princesse n’avait d’yeux que pour la profondeur de l’univers (2019) by Jimmie LeBlanc and Voies impénétrables (2022) by Michel Gonneville are examined in their creative contexts, through the musical elaboration and according to the specific intentions of each composer, in order to match the different ways of rendering not only Provost’s influence and teaching, but also the harmonic colors and technical procedures of his works. By bringing together the universes of these different composers, the present research provides a historical and aesthetic context for an important figure in Quebec’s contemporary musical landscape.
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Book Reviews by Matthieu Galliker
Papers by Matthieu Galliker
(EN) Synthesizing interviews conducted in the summer of 2023, the article presents the human relations, artistic relationships and musical works of three Quebec composers who paid tribute to Serge Provost: À S. (2017) and Le signe de l’ombre (2022) by Hans Martin, La princesse n’avait d’yeux que pour la profondeur de l’univers (2019) by Jimmie LeBlanc and Voies impénétrables (2022) by Michel Gonneville are examined in their creative contexts, through the musical elaboration and according to the specific intentions of each composer, in order to match the different ways of rendering not only Provost’s influence and teaching, but also the harmonic colors and technical procedures of his works. By bringing together the universes of these different composers, the present research provides a historical and aesthetic context for an important figure in Quebec’s contemporary musical landscape.
(EN) Synthesizing interviews conducted in the summer of 2023, the article presents the human relations, artistic relationships and musical works of three Quebec composers who paid tribute to Serge Provost: À S. (2017) and Le signe de l’ombre (2022) by Hans Martin, La princesse n’avait d’yeux que pour la profondeur de l’univers (2019) by Jimmie LeBlanc and Voies impénétrables (2022) by Michel Gonneville are examined in their creative contexts, through the musical elaboration and according to the specific intentions of each composer, in order to match the different ways of rendering not only Provost’s influence and teaching, but also the harmonic colors and technical procedures of his works. By bringing together the universes of these different composers, the present research provides a historical and aesthetic context for an important figure in Quebec’s contemporary musical landscape.