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Opus musicum angelorium : Quand la musique des « Invisibles » émerge aux confins du sensible - Hommage à Giacinto Scelsi -

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dc.contributor.author	Castanet, Pierre-Albert	es
dc.date.accessioned	2019-09-16T07:25:53Z
dc.date.available	2019-09-16T07:25:53Z
dc.date.issued	2019	es
dc.identifier.citation	Castanet, Pierre-Albert. Opus musicum angelorium : Quand la musique des « Invisibles » émerge aux confins du sensible - Hommage à Giacinto Scelsi -. En: Itamar, revista de investigación musical, 2019, Número 5: 85-107	es
dc.identifier.uri	https://hdl.handle.net/10550/71534
dc.description.abstract	The article focuses on the music of the “invisible”, that is to say, the sound art suggested by the community of angels (between God and Satan). Based on the thought of Boece or Hanslick, Pythagoras or Eliade ... the study touches on both the aesthetics and the musicology of “modern” and “contemporary” music scores (Debussy, Jolivet, Scelsi, Messiaen, Stockhausen, Schnebel, Denisov, Ohana, Henry, Crumb, Grisey, Pintscher, Francesconi, Hurel ...). Conceived as a tribute to Giacinto Scelsi (poet and composer who has often mentioned angels in his poems as well as in his titles of musical works), “Opus musicum angelorium” tries to analyze the limits of the sensitive (at the limit of the inaudible)...	en_US
dc.subject	Música	es
dc.subject	Arte	es
dc.title	Opus musicum angelorium : Quand la musique des « Invisibles » émerge aux confins du sensible - Hommage à Giacinto Scelsi -	es
dc.type	journal article	es_ES
dc.subject.unesco	UNESCO::PEDAGOGÍA	es
dc.type.hasVersion	VoR	es_ES