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MIROIR EN FORME DE COOKIE WINDOWS
The cookie is a session cookies and is deleted when all the browser windows are closed. The cookie is used to store and identify a users' unique session ID for the purpose of managing user session on the website. This cookie is native to PHP applications. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Advertisement". The cookie is used to store the user consent for the cookies in the category "Other. The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. Recorded at la Coop Paradis (Rimouski – Quebec) between March 31 and Apby Antoine Létourneau-Berger.Īvailable in CD (digifile cover), FLAC and mp3 En conséquence, les orchestres constitués de musiciens aux parcours atypiques,, sont pour moi des partenaires de recherche et d’expérimentation privilégiés.”
MIROIR EN FORME DE COOKIE PLUS
Je m’en sers pour pousser le bouchon de la forme le plus loin possible grâce à l’écriture sous toutes ses formes y compris verbale.
Je ne m’en sers pas non plus pour maquiller une improvisation. Autrement dit, je ne me sers pas de la partition pour demander à d’autres de jouer une musique que je joue déjà moi-même dans d’autres cadres. Au contraire, mon attention est entièrement concentrée sur les pouvoirs propres à l’écriture. “Si mon approche de l’écriture est toute entière chargée de l’expérience de la scène, de la tension propre à l’improvisation, je ne cherche pas à reproduire un quelconque résultat musical auquel ces pratiques m’auraient amené. Consequently, orchestras madeup of musicians with atypical backgrounds are for me privileged partners in research and experimentation.” I use it to push the cork of the form as far as possible through writing in all its forms, including verbal. Nor do I use it to disguise an improvisation. In other words, I do not use the score to ask others to play music that I already play myself in other settings. On the contrary, my attention is entirely focused on the powers of writing. “While my approach to writing is entirely charged with the experience of the stage, the tension inherent in improvisation, I do not seek to reproduce any musical result to which these practices would have led me.
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