{"id":125,"date":"2022-12-29T19:05:49","date_gmt":"2022-12-29T19:05:49","guid":{"rendered":"https:\/\/laurencebancaud.com\/?page_id=125"},"modified":"2023-02-16T20:11:15","modified_gmt":"2023-02-16T20:11:15","slug":"livres","status":"publish","type":"page","link":"https:\/\/laurencebancaud.com\/en\/ton-that-tiet\/livres\/","title":{"rendered":"Books"},"content":{"rendered":"
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.<\/em>, Paris, Cig’art \u00e9dition, 2010.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Blurb on book jacket<\/strong><\/p>\n\n\n\n

T\u00f4n-Th\u00e2t Ti\u00eat was born in 1933 in Vietnam\u2019s former capital city of Hu\u00e9, and studied composion in Paris with Jean Rivier and Andr\u00e9 Jolivet. He was instructed in European writing techniques in the early sixties and developed his own style which is permeated with Webern and Penderecki as well as with his own Vietnamese heritage, namely the colours and rhythms of traditional music, oriental philosophies, spiritualism and a different conception of time...\n\nAs an avid reader of the Chinese philosopher Tchouang-Tseu and the 8th century poets Li po, Tou Fou and Wang Wei, T\u00f4n-Th\u00e2t Ti\u00eat is imbued with Taoism and Buddhism, pursuing the dream of a close relationship with nature.<\/p>\n<\/div>\n\n\n\n

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Sommaire <\/strong><\/p>\n\n\n\n

Pr\u00e9face de Mich\u00e8le Reverdy
Avant propos
Conversations
M\u00e9moire d\u2019enfance
Les ann\u00e9es de formation \u00e0 Paris (1958-1967) Regards d\u2019amiti\u00e9
Premi\u00e8res \u0153uvres (de 1965 \u00e0 1976)
De 1976 \u00e0 1995 : le chant int\u00e9rieur
Depuis 1995 : vers la Nature
L\u2019attachement au pays natal, le Vietnam Annexe 1 : caract\u00e9ristiques musicales de l\u2019univers de T\u00f4n-Th\u00e2t Ti\u00eat
La conception du son
La couleur instrumentale
L\u2019influence de la technique de percussion utilis\u00e9e dans la musique traditionnelle vietnamienne
Le yin et le yang
Effet de masse sonore et transparence
\u00c9criture vocale
Annexe 2 : Chu ky, \u00e9l\u00e9ments d\u2019analyse Annexe 3 : Jeu des Cinq \u00c9l\u00e9ments, \u00e9l\u00e9ments d\u2019analyse
Annexe 4 : Paroles du Feu, \u00e9l\u00e9ments d\u2019analyse
Annexe 5 : Po\u00e8mes choisis
Glossaire
Catalogue 
Discographie des \u0153uvres de T\u00f4n-Th\u00e2t Ti\u00eat Bibliographie
Index des \u0153uvres cit\u00e9es
Index des noms cit\u00e9s<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n\n\n\n

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Table des mati\u00e8res<\/strong>
Pr\u00e9face
La technique occidentale<\/em>
La d\u00e9couverte de la vie musicale \u00e0 Paris
La mati\u00e8re sonore
L’instrumentation
Le traitement de la voix
Les techniques d’\u00e9criture
Musique atonale et technique s\u00e9rielle
Formes
L’image de l’Orient<\/em>
Vietnam, pays natal
Hu\u00e9, ville natale
La musique de Hu\u00e9
Allusion \u00e0 la guerre du Vietnam
Les musiques de film
Le mode de pens\u00e9e
L’importance du son et du silence
La notion de temps
Le rapport musique\/philosophie
La musique comme expression d’une philosophie orientale<\/em>
L’Humanisme chinois – L’Homme et l’Humanit\u00e9
La conception de l’Univers et de l’Homme dans l’Univers
L’Homme et l’Univers dans la philosophie chinoise
L’Homme et l’Univers dans l’hindouisme
Le bouddhisme
Annexe 1 : Analyse de Chu Ky I
Annexe 2 : Analyse de Jeu des Cinq \u00c9l\u00e9ments I
Annexe 3 : Analyse de Paroles du Feu
Catalogue des \u0153uvres
Discography
Index des \u0153uvres de T\u00f4n-Th\u00e2t Ti\u00eat
<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

4e de couverture N\u00e9 en 1933 dans l\u2019ancienne capitale imp\u00e9riale du Vietnam, Hu\u00e9, T\u00f4n-Th\u00e2t Ti\u00eat \u00e9tudia la composition \u00e0 Paris avec Jean Rivier et Andr\u00e9 Jolivet. Form\u00e9 aux techniques d\u2019\u00e9criture europ\u00e9ennes au d\u00e9but des ann\u00e9es 1960, il d\u00e9veloppe un style personnel qui, tout en se r\u00e9clamant de Webern et Penderecki, se nourrit de son h\u00e9ritage […]<\/p>","protected":false},"author":1,"featured_media":0,"parent":29,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}"},"_links":{"self":[{"href":"https:\/\/laurencebancaud.com\/en\/wp-json\/wp\/v2\/pages\/125"}],"collection":[{"href":"https:\/\/laurencebancaud.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/laurencebancaud.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/laurencebancaud.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/laurencebancaud.com\/en\/wp-json\/wp\/v2\/comments?post=125"}],"version-history":[{"count":5,"href":"https:\/\/laurencebancaud.com\/en\/wp-json\/wp\/v2\/pages\/125\/revisions"}],"predecessor-version":[{"id":497,"href":"https:\/\/laurencebancaud.com\/en\/wp-json\/wp\/v2\/pages\/125\/revisions\/497"}],"up":[{"embeddable":true,"href":"https:\/\/laurencebancaud.com\/en\/wp-json\/wp\/v2\/pages\/29"}],"wp:attachment":[{"href":"https:\/\/laurencebancaud.com\/en\/wp-json\/wp\/v2\/media?parent=125"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}