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Full-Text Articles in Composition
Flux, For Flute, Multi-Percussion, And Electronics, Bruno Louchourn
Flux, For Flute, Multi-Percussion, And Electronics, Bruno Louchourn
Bruno Louchouarn
In Flux I sought to explore the shift of meaning between the clear denotation of the spoken words and their transformation into “music.” The process moves from the indexical nature of words to the corporeality of speech. The players embody that performative aspect of music-speech. This piece was conceived in layers generating each other centrifugally: “Flux,” the short poem by Carl Sandburg, has the alliterative simplicity needed for semantic and formal sonic manipulations. The 15 second reading is actually the seed from which everything is derived. The motives in the electronic layer are generated form the pitches and rhythm of …
Music For Films, Tv, Commercial, Bruno Louchourn
Music For Films, Tv, Commercial, Bruno Louchourn
Bruno Louchouarn
Music for film, TV, and commercials. Titles include: Tango Flush, The Novice, Cover Up (Dolph Lungren), Latin, Surf Orpheus, Total Recall, 100 Centre Streetm Black Dog.
Retour, For Piano, Video And Electronics, Bruno Louchourn
Retour, For Piano, Video And Electronics, Bruno Louchourn
Bruno Louchouarn
A return—but also a reversal (of fortune)—ReTouR stems from an inquiry into the narrative shape of love gained and lost, mediated and articulated by music. The myth of Orpheus is a archetype of such a narrative. In itself the myth has a symmetrical structure: growing love interrupted by the death of Eurydice, followed by Orpheus’ descent to Hades, his stay there and intense negotiation with the powers that be; his ascent back toward light with his love regained, only to loose her again forever. The piece’s shape and structure—a quasi palindrome—explore the abstract narrative of loss in the liminal and …
Arc-Tension, For Clarinet And Piano, Bruno Louchourn
Arc-Tension, For Clarinet And Piano, Bruno Louchourn
Bruno Louchouarn
This piece is part of a cycle on the phenomenology and poetics of spaces and explores the idea of a linear space. In French “arc” means both “bow” and “arch.” In both these artifacts there is a sense of contained tension and energy, even in their static state. This particular contrast, present in the keystone—holding the arch together—and in the taut bow string, has prompted me to explore this kind of tension musically. There is a sense of restrained movement in the constant interaction between fast figuration and slow pulse, flow and interrupting silence. Like the bow, high strung but …