• Vous êtes ici (You are here), our last concert (dec. 5 2008) : see some photos by clicking the thumbnail :

under construction...

Books (in French, except *)

• Vers une sémiotique générale du temps dans les arts (Towards a general semiotic of time in the arts)(Ircam - Delatour, 2008)

• Trois textes de communications données au Colloque "De la création à la réception" (Marseille, avril 2002)

         - "La vision des œuvres d'art" de Michel Menu
         - "La peinture" de Jacques Mandelbrojt
         - "Esthétique de la frustration/frustration de l'esthétique" 
             de Philippe Bootz

• *Music, Colors and Movements of Water (Jacques Mandelbrojt et Lucie Prod’homme in Leonardo magazine 36, 4, 2003)

• "Le Statut esthétique de l'art technologique" (Colloque tenu à la Fondation LES TREILLES, Mars 1997)

         - Rapport de synthèse, Cahiers de la Fondation des Treilles n°9
         - Abstracts de toutes les interventions, en langue anglaise 
            in Revue Leonardo
         - Interventions in extenso in Revue ALLIAGE n° 33-34.

• La peinture s’exprime-t-elle, comme la musique, en UST ? (Jacques Mandelbrojt, 2003)

• Les Unités Sémiotiques Temporelles - Applications pédagogiques, analyse d'oeuvre, et logiciel de pilotage (in Ars sonora, revue N° 6 , Paris, 1997)

• Schaeffer (Marcel Frémiot)

• Les Unités Sémiotiques Temporelles - Eléments nouveaux d'analyse musicale (Livre/CD. Documents Musurgia. (Diffusion Eska), Marseille, 1996)

• "ET/OU - Des arts face aux sciences" (Actes de la Table ronde, illustrations de Jacques Mandelbrojt, Marseille, 1994)

• "Temps et mouvement, La musique et ses doubles" (Cycle de conférences, Marseille, 1991/92)

• "Musique et assistance informatique" (Actes du Colloque, Marseille, 1990)

• Ordre et chaos (Travaux du séminaire interdisciplinaire, Marseille, 1989)

• Manuel d'utilisation de l'interface Midi-Syter (Pascal Gobin, 1989)

• "Structures musicales et assistance informatique, Analyse musicale et composition" (Actes du Colloque, Marseille, 1988)

• GRA, éditeur de courbes sur SYTER (Simon BOLZINGER, 1988)
  

CDs

• Peintures parcourues (extra CD, video and music) : parcours interactifs associant créations musicales et créations graphiques de Jacques Mandelbrojt (œuvres musicales de Marcel Frémiot, Pascal Gobin, Jean Favory, Lucie Prod'homme, Marcel Formosa, Henry Fourès)

• Au fil du temps (audio CD) : enregistrement du programme du concert "Cordes Pincées Baroques et Contemporaines". Œuvres de Mayone, Frémiot, Dowland, Britten, Malbosc, Caccini, Formosa, Couperin, Challulau. Interprètes : J.-M. Aymes, S. Cinquini, V. Loomer, L. First, A. Farwagi, B. Haudebourg.

• Les Unités Sémiotiques Temporelles, nouvelles clés pour l'écoute (CD-ROM, MIM, décembre 2002). Ce cédérom a été "Reconnu d'Intérêt Pédagogique" (RIP) par le Ministère de l'Éducation Nationale.

• Voix là (audio CD) : œuvres pour voix (seule, avec électroacoustique ou/et instruments) d'Henry Fourès, Marcel Frémiot, Pierre Malbosc et Lucie Prod'homme.

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The U.S.T. (Unités Sémiotiques Temporelles, temporal semiotic units) are sound figures whose musical significance is expressed temporally. They result from a series of remarks born of the practice of the music electroacoustic.

• The sound material of these musics escapes a description according to models of organization in terms heights and relative durations.

• The practice of the musicians carries out them to rather apprehend the sound phenomena by considerations of direction that by typo-morphological considerations, as Schaeffer proposes it. I.e. through what they evoke “in background”, either on the level of the images caused by the sounds, or on the level of “the adventure” of the sound matter itself.

• The temporal organization, the dynamics of work, would be one of the important components of a made music of sounds for which the concept height seen as degree is a particular case, and whose work of composition is based primarily on a sound reality, that of the recorded sounds.

It is the crossing of these problems of time and the significance which gave rise to the analytical beings which are the U.S.T.

• Chute

- extr. 1 : H. Dutilleux, quatuor Ainsi la nuit

- extr. 2 : M. Ohana, Trois contes de l'honorable fleur

• Contracté-étendu

- extr. 1 : L. v. Beethoven, Trio des esprits

- extr. 2 : L. Prod'homme, Jeux/Thème/Temps

• Elan

- extr. 1 : W. A. Mozart, Symphonie N°32

- extr. 2 : D. Terruggi, Xatis

• En flottement

- extr. 1 : B. Parmegiani, Violostries

- extr. 2 : M. Redolfi, Pacific Tubular Waves

• En suspension

- extr. 1 : S. Rachmaninov, Concerto pour piano N°3

- extr. 2 : J.-C. Risset, Songes

• Etirement

- extr. 1 : C. Debussy, Prélude à l'après-midi d'un faune

- extr. 2 : P. Mabosc, Faisceau parallèle

• Freinage

- extr. 1 : M. Levinas, Froissement d'ailes

- extr. 2 : G. Reibel, Variations en étoile

• Lourdeur

extr. : Stravinsky, Le sacre du printemps

• Obsessionnel

- extr. 1 : T. Riley, In C

- extr. 2 : R. Yvanez, Sables

• Par vagues

- extr. 1 : F. Bayle, Les couleurs de la nuit

- extr. 2 : J. Barreau, Mouvements

• Qui avance

extr. : E. Chabrier, Scherzo valse

• Qui tourne

extr. : P. Schaeffer, Etude violette

• Qui veut démarrer

- extr. 1 : C. Debussy, La terrasse des audiences du clair de lune (prélude pour piano)

- extr. 2 : W. A. Mozart, Symphonie N°41

• Sans direction par divergence d'information

extr. : K. Stockhausen, Telemusik

• Sans direction par excès d'information

extr. : "Improvisation" (LP DG Avant-Garde 643541)

• Stationnaire

- extr. 1 : J. Barreau, Mouvements

- extr. 2 : M. Redolfi, Sunny afternoon at Bird Rock beach

• Sur l'erre

- extr. 1 : H. Fouad, Thaksim

- extr. 2 : R. Schumann, Arabeske

• Suspension-interrogation

- extr. 1 : C. Debussy, La terrasse des audiences du clair de lune (prélude pour piano)

- extr. 2 : P. Malbosc, Faisceau parallèle

• Trajectoire inexorable

- extr. 1 : M. Frémiot, ''Ballade pour piano"

- extr. 2 : K. Stockhausen, Telemusik

The research in MIM is currently organized around three major axes:

1. Problems of Time (UST).
2. Art-Sciences Ratios.
3. a reflexion on Technological Art and the Multi-media one.

The Problem of Time is the research which the members of the M.I.M. regularly undertake throughout the year, mainly within the framework of the program of the “Units Temporal Semiotics”. The “units Temporal Semiotics” (U.S.T.) are a new tool for musical analysis sophisticated by the musician-researchers of the M.I.M. Développées at the origin for the musics electroacoustics, they appeared effective in the other repertories. This axis of reherche supported by the Ministry for the Culture led to an edition of a book accompanied by an Cd-Audio and a CD-Rom whose contents were validated by a college of experts of Education National and recognized teaching interest.

The UST do not stop only with the musical field and also interest of other disciplines and inaugurate other research:

• “Is painting expressed, like the music, in UST ?”

• The question of the Arts Report/ratio and Sciences and that of Multi-media gives place to conferences, conferences and seminars of research where are invited to discuss personalities of the two fields.

• The reflexion on the multi-media one is carried out concretely, out of the conferences, through the realization in the course of the CD-Rom “Passage 2”, poem with single reading of Philippe Bootz and Marcel Frémiot.
  

What are UST ?

The M.I.M. was founded in 1984. Its founders wanted to develop in Marseille a multi-field tool of reflexion on the contemporary musics and musical practices.

The particularity of the M.I.M. is to develop a research which is undertaken by creators, not theorists. The research projects are thus born from the questions referring to the problems of creation and of the contemporary musical practices (especially when these practises are in connection with the new technologies).

Its field of action is that of "fundamental research" in the sense defined by Pierre Schaeffer in his "Traité des Objets Musicaux (Seuil ed., 1966, p. 360) : “We think [...] of having to justify the fundamental phase, in a musical research. It is known that this [...] word takes aim at the exploration of the bases, the possible reconsideration of the postulates, the elucidation of the methods.”

The research projects developed in the Laboratory result of a co-operation between researchers, musicians, visual artists and composers.

Concretely, this interdisciplinarity is reinforced by projects between the M.I.M. and other research centers (scientific and musical).

It is important for us to announce that we are opened with any proposal which would fall under our problems of research.

Du 7 au 9 décembre 2005 A la Cité de la Musique de Marseille

Read next

There are two reasons to explain the title of this oncert. Each of the works that we offer is personalized at this level by a form uncommon. Second reason: there is an allusion to one of "Scenes of children" by Robert Schumann, the poet speaks. It is argued that the authors claim here, as a poetic sensibility.

How can it form about? An example: the last of Advent cantata by Johann Sebastian Bach. One of the most significant cases the form of the cantata is his harmonic, then journey to sensitive ears of the faithful. The cantata starts in minor symbol of darkness before the birth of the Savior. It ends in major symbol of redemption by the advent of Jesus Christ.

The last concert of the 2007-2008 season : La Forme parle (The form is speaking)

Click the image to see the program :

Julie Rousset is a graphic designer who designed a system
of graphic representation of the UST :

It's based on the UST classification developed by Xavier Hautbois^[1] :

This representation describes the morphology of the UST, in particular concerning the energy (strength, speed), the direction, the breaking points...

Other explanations in her site and in the proceedings of the colloquium Les UST, Nouvel outil d'analyse musicale, Théories et applications.