DOCMARIE - Jerome Joy website

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!! biography ''French composer and conductor (1917-[1989\|http://www.lemonde.fr/web/recherche_breve/1,13-0,37-671287,0.html]) who was an important figure in the history and exploration of microtonal music and electroacoustics. {br}Marie was a student of Messiaen (and Darius Milhaud) and was influenced by Messiaen’s polytonal and polymodal approach to composition. Marie is also an exponent of French color, carrying on the lineage from Debussy. Marie thought that the most exciting music contained microintervals and the confrontation of different temperaments. He felt that the world of polytonality had “opened up” the world to polymicrotonality.{br}"Calling polymicrotonality "polytemperé", Jean Etienne Marie (1917-1989) would become Charles Ives’s true successor in polymicrotonality, following the lead made by Ives’s "Universe Symphony". Marie wrote "L’homme musical" in 1976, in which he explicitly documents his polymicrotonal system and gives a brief and particular survey of his predecessors: Hába, Carrillo, and Wyschnegradsky. Marie’s first work in polymicrotonal systems was "Concerto milieu divin" (1969/1970) in third, quarter, fifth, and sixth tones for orchestra. There is a recording of this piece under the direction of Lukas Foss from 1970.{br}Like Ives, Marie was not a tuning purist; they both evinced a predilection for equally divided whole tones, rather than basing their pitch structures solely on the overtone series, or just intonation. Marie, like Bartók in his String Quartet No. 4, was interested in the compression and expansion of equally-spaced intervallic structures, which necessitates equal divisions, rather than unequal just tunings.{br}It appears that Marie’s attitude towards microtonality and tuning had an impact on Xenakis, who also was a student of Messiaen. Marie also acknowledges the influence Aristoxenus had on Xenakis, with respect to the Genera of Greek tunings.{br}Marie felt that one can transcend the Occident by pushing its limits. Maximum and minimum resolution, also, plays a role in limiting the reality of polymicrotonality. Our ears, according to Helmholtz hit the Just Noticeable Difference (JND) at around 10 cents. Within the context of polymicrotonality, Marie felt it was important for identities to become lost, and then rediscovered within the context of a piece of music."''{br}{small}''Source : ([Polytempic Polymicrotonal Music, Peter Thoegersen, 2012\|https://www.academia.edu/1901545/Polytempic_Polymicrotonal_Music_A_Road_Less_Traveled])''{/small} ---- {html} <hr nosize><hr style="height: 10px; margin: -0.5em 0; padding: 0; color: grey; background-color: grey; border: 0;"><br> {/html}
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