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Left brain / right brain pour 9 musiciens
RSN:
52180
|
Composition Date:
2002
|
Revision Date:
N/A
|
Duration:
00:12:00
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Library Record
Programme Notes
Copies
Cataloguing Information
Call Number
MI 8975 L789lef 2002
Genre
Mixed Chamber Ensembles (1 to 9 Performers), Nonets, Woodwind(s) / Brass / Percussion, Keyboard(s) / Bowed String(s)
Material Type
Print-music
Acquisition Date
2004-02-04
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
Pour 9 instrumentistes: flute(+picc), Bb clarinet(+ bass cla) , trumpet, trombone, piano, violin, violoncello, double bass, 1 percussion (vib, 4 crotales, cymbals, hi-hat, triangle, cabasa, tambourine, 2 bogos, tom-tom, snare drum). Photocopie; Oeuvre déposée au CMC Québec.
Master Location
Montréal
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Physical Description
Found 1 record(s)
Available Actions
Extent of Item
1 partition (102 p.) ; 39 x 28 cm
Instrumentation
Found 9 record(s)
Available Actions
Set No.
Category
Instrument
Number
24198
Woodwinds
Flute
1
24198
Woodwinds
Clarinet
1
24198
Brass
Trumpet
1
24198
Brass
Trombone
1
24198
Percussion
Other percussion
1
24198
Keyboard
Piano
1
24198
Strings, bowed
Violin
1
24198
Strings, bowed
Violoncello
1
24198
Strings, bowed
Double bass
1
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
See Also
56682, Left brain / right brain, AR2269, Nicole Lizée, 00:11:56
58952, Left brain/right brain, AR2422, Nicole Lizée, 00:15:41
Left Brain/Right Brain is inspired by the images and sounds associated with certain films in the science-fiction genre; particularly those from the 1950s and 1960s, when sci-fi was evolving and flourishing. Many of the films in this period used the brain as a visual and conceptual element and incorporated images of the brain either as a tool or specimen (brains sitting in jars in a lab) or in reference to a character and his own brain (e.g. mad scientist, evil genius stealing brains to use in his experiments). The science-fiction soundtrack was becoming an integral part of the film and was evolving as quickly as the films themselves. To accentuate these new visual and conceptual aspects of sci-fi, composers were introducing new sonorities into their work. Lev Theramin, Maurice Martenot, Laurens Hammond, and Robert Moog had been demonstrating their new groundbreaking instruments since the late 1920s and these instruments were now starting to be heard and/or simulated in science-fiction soundtracks. Composers began to further process their sounds using effects such as reverb, delay, and filters. The sounds were intended to evoke those of otherworldly, more advanced beings and the machines that were their tools. Composers were presented with the challenge of emulating sounds that were not of this earth; the combination of acoustic instruments simulating electronic instruments and actual electronic instruments coupled with time based effect processing was an effective way of recreating this world. Echo effects could imply the massive distance that the beings had traveled. Phasing and flanging mimicked the sound of a ray gun or laser. All of these innovative sonorities developed into a distinct music genre and became what is now known as the “quintessential 1960’s Space Age sound”.
This work is an ode to that brain in a jar.
Left Brain/Right Brain est inspirée des images et des sons associés à certains films de science-fiction, notamment ceux réalisés pendant les années 50 et 60, alors que le genre de la science-fiction était en pleine effervescence. Plusieurs des films de cette époque utilisaient le cerveau humain comme élément visuel et conceptuel et intégraient des images du cerveau comme outil ou spécimen (cerveau conservés dans des bocaux de laboratoires) ou en référence à un personnage et son propre cerveau (ex.: scientifique fou, génie diabolique s’emparant de cerveaux pour les utiliser dans ses expériences). La bande sonore du film de science-fiction est devenue partie intégrante de l’oeuvre, évoluant de pair avec ce type de cinématographie. Pour souligner les nouvelles dimensions visuelles et conceptuelles de la science-fiction, les compositeurs intégraient de nouvelles sonorités dans leur travail. Depuis les années 20, Lev Theramin, Maurice Martenot, Laurens Hammond et Robert Moog avaient fait découvrir de nouveaux instruments révolutionnaires et ces instruments en vinrent alors à être entendus et/ou imités dans les bandes sonores de science-fiction. Les compositeurs commencèrent à élargir leurs techniques de traitement du son en utilisant des effets comme la réverbération, le délai et les filtres. On voulait évoquer les sonorités de mondes lointains, de formes de vie plus évoluées et de leurs inventions. Les compositeurs devaient arriver à créer des sons de mondes autre que le nôtre; la combinaison d’instruments acoustiques simulant des instruments électroniques et de vrais instruments électroniques traités en temps réel constituait une approche efficace pour évoquer ces mondes. Les effets d’écho pouvaient traduire les immenses distances franchies par les formes de vie en question. Les effets de phase et de flange représentaient le son de fusils à rayons ou de laser. Toutes ces sonorités originales en sont venues à constituer un genre musical distinct, qu’on appelle aujourd’hui le son classique “Space” des années 60. L’oeuvre est un hommage à ce cerveau conservé dans un bocal.
Found 4 record(s)
Available Actions
CMC Location
Barcode
Copy Status
Circulation Status
Number of Copies
Montréal
01MO52180
In Circulation
-
1
Calgary
01CA52180
In Circulation
-
1
Toronto
01TO52180
In Circulation
Available for Loan
1
Vancouver
01VA52180
In Circulation
-
1
SydneyEnterprise v4.4.0.28 - Canadian Music Centre | SydneyEnterprise (Final)