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The Mysterious Power of the Infinitesimal

The Mysterious Power of the Infinitesimal s p e c i a l s e c t i o n The Mysterious Power of the Infinitesimal Eliane Radigue IntroductIon by Joel chadabe In the 1960s, Eliane Radigue began to move away from her earlier work in musique concrète as Pierre Henry’s assistant, with its focus on the juxtaposition of self-contained “musical objects,” and towards an exploration of sound as an evolution with subtle transformations. By the 1970s, she was composing sounds by performing with a synthesizer onto a tape that was then played back in a concert. As she told me several years ago, “I could make sounds that change almost imperceptibly, and I learned to modify the sounds tout doucement, very lightly, almost like a caress. . . . I use tape because my pieces are made up of sounds that crossfade into other sounds, and at the moment of overlap there’s an interaction between the two sounds, and it’s crucial to get the timing right. . . . ” In a concert, her music floated in the air, coming from everywhere as music without a source, just a natural part of our world, just there, and without effort. In 2001, responding to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

The Mysterious Power of the Infinitesimal

Radigue, Eliane
Leonardo Music Journal , Volume December 2009 (19) – Dec 1, 2009
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Publisher
MIT Press
Copyright
© 2009 ISAST
Subject
Special Section
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/lmj.2009.19.47
Publisher site
See Article on Publisher Site

Abstract

s p e c i a l s e c t i o n The Mysterious Power of the Infinitesimal Eliane Radigue IntroductIon by Joel chadabe In the 1960s, Eliane Radigue began to move away from her earlier work in musique concrète as Pierre Henry’s assistant, with its focus on the juxtaposition of self-contained “musical objects,” and towards an exploration of sound as an evolution with subtle transformations. By the 1970s, she was composing sounds by performing with a synthesizer onto a tape that was then played back in a concert. As she told me several years ago, “I could make sounds that change almost imperceptibly, and I learned to modify the sounds tout doucement, very lightly, almost like a caress. . . . I use tape because my pieces are made up of sounds that crossfade into other sounds, and at the moment of overlap there’s an interaction between the two sounds, and it’s crucial to get the timing right. . . . ” In a concert, her music floated in the air, coming from everywhere as music without a source, just a natural part of our world, just there, and without effort. In 2001, responding to

Journal

Leonardo Music Journal – MIT Press

Published: Dec 1, 2009

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