Abstracts
Abstract
This paper presents a detailed analysis of Zosha Di Castri’s String Quartet No. 1 (2016), situating the work in relation to the composer’s still-nascent oeuvre and showing how it contains a diverse mix of stylistic impulses within its relatively compact form. The concept of defamiliarization, borrowed from literary criticism, provides a useful theoretical basis for understanding the work. By presenting familiar musical figures within strange new contexts, Di Castri effectively bypasses habitual modes of reception and encourages the listener to engage more actively with the work’s multi-coded discourse. This revivification of perceptual awareness is accomplished using a number of compositional techniques, including the juxtaposition or superimposition of contrasting materials, the transformation of motives, and the distortion of formal syntax. Taken together, these defamiliarizing devices mount an aesthetic intervention that playfully subverts compositional norms, allowing Di Castri to take a decisive step forward in the development of her own musical style.
Keywords:
- Zosha Di Castri,
- string quartet,
- defamiliarization,
- technomorphism,
- contemporary music analysis
Résumé
Cet article propose une analyse détaillée du Quatuor à cordes no 1 de Zosha Di Castri (2016), inscrivant cet opus en relation avec l’oeuvre encore jeune de cette compositrice et démontrant comment sa forme, pourtant compacte, parvient néanmoins à contenir des éléments d’une grande variété stylistique. Le concept de défamiliarisation, emprunté à la critique littéraire, fournit une base théorique utile pour comprendre la pièce. En présentant des éléments musicaux familiers dans des contextes nouveaux et étranges, Di Castri contourne habilement les modes habituels de la réception et encourage l’auditeur à s’engager activement vis-à-vis l’oeuvre aux multiples codes. Cette revivification de la conscience perceptuelle s’accomplit à travers l’utilisation d’un certain nombre de techniques compositionnelles, incluant la juxtaposition ou la superposition de matériaux musicaux contrastants, la transformation de motifs et la distorsion de la syntaxe formelle. Considérées dans leur ensemble, ces méthodes de défamiliarisation génèrent une intervention stylistique qui subvertit les normes compositionnelles de façon ludique, permettant à Di Castri de faire un pas décisif dans le développement de son propre style musical.
Mots-clés :
- Zosha Di Castri,
- quatuor à cordes,
- défamiliarisation,
- technomorphisme,
- analyse de la musique contemporaine
Appendices
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