BOULEZ, INFORMATION SCIENCE AND IRCAM

Robin Maconie

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Musicology and Musical Analysis Music Technology and Sound Studies Sound Studies and Aurality

Abstract

Abstract The rise of information science and its effect on contemporary arts is a topic raised in Stravinsky and Craft's Memories and Commentaries in 1959. It makes sense to inquire how the fundamental priorities and exact discriminations of communications science might have altered the ground rules of musical invention and contemporary listening habits. Answers lie thin on the ground, the few composers most deeply implicated in the information revolution – Babbitt, Boulez, Stockhausen and Cage in particular – having chosen to remain silent on issues relating to the hidden side of the avant-garde. ‘No gossip!’ said Stockhausen to me, in a blunt email in 1998.

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References

2012The idea factory: Bell Labs and the great age of American innovation 1995Rationalizing CultureIRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde 1974The Structure of Atonal Music 2014Music and the Making of Modern Science 1962Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg and Webern 1993The Boulez-Cage Correspondence 1984Rencontres avec Olivier Messiaen 1976Boulez: composer, conductor, enigma

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