Science et technologie comme sources d'inspiration au CSC de Padoue et à l'IRCAM de Paris

This research is an esthetical and historical study of the musical production at CSC in Padova (Centro di Sonologia Computazionale dell'Universita di Padova) and at IRCAM in Paris (Institut de Recherche et Coordination Acoustique/Musique) from 1975 to 1985. The first part introduces cultural aspects, research, technology and musical results of the two centers. The second part focuses on the problem of computer music analysis. The actual methods can be classified in two approaches: esthesic and poietic (as defined by J. J. Nattiez). Considering six works produced at CSC and at IRCAM (M. Graziani, Winter leaves, W. Motz, Sotto pressione, F. Razzi, Progetto secondo, J. Harvey, Mortuos plango, vivos voco, J. C. Risset, Inharmonique), my research combines these methods for understanding the relationship among the composer style, the technology employed by the composer and the actual piece of music. The aim is to determine a methodology which asks to the analyst a deep knowledge of the software used in the pieces, linked with his impersonal, as much as it's possible, listening. The six pieces use MUSIC software for sound synthesis. This type of programs, common within the musical research in Padova and Paris, has been chosen to permit a comparison of the two Centers' works and to trace a method to evaluate different approaches to computer music.