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The composers G6rard Grisey and Tristan Murail u/ere two of the main representatives of the socalled spectral music, which was developed in France in the mid 1970s as ^ reaction to the post-serial aesthetics. Taking ^s ^ point of departure a retrospective view of the aesthetic principles and ^pprcach to musical composition, this paper presents a critical review of spectral aesthetics according to its purpose as well as its relevance within the current comPositional climate. After the many changes that have occurred, and thanks to a range of diffusion and assimilation that crossed the borders of the European continent, some of its techniques and principles have become a common topic based on the redefinition of the musical material, the space and the form.
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