Pousseur, Henri

Pousseur, Henri

(äNrē` po͞osör`), 1929–2009, Belgian composer, b. Malmédy. Considered the leader of the Belgian avant-garde, he studied composition with André Souris and Pierre BoulezBoulez, Pierre
, 1925–2016, French conductor and composer of modernist classical music. He studied at the Paris Conservatory with Olivier Messiaen (1944–45) and studied twelve-tone technique with René Leibowitz (1946).
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 and worked with Karlheinz StockhausenStockhausen, Karlheinz
, 1928–2007, German composer, music theorist, and teacher; his first name also appears as Karl Heinz. He studied composition with Frank Martin in Cologne (1950–51) and with Olivier Messiaen and Darius Milhaud in Paris (1951–53).
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, Luciano BerioBerio, Luciano
, 1925–2003, Italian composer, b. Oneglia. After studying at the Milan Conservatory and working as a coach and conductor in Italian opera houses, Berio was introduced in 1952 to serial music by Luigi Dallapiccola, and a nondoctrinaire serialism subsequently
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, and Bruno MadernaMaderna, Bruno
, 1920–73, Italian composer and conductor, b. Venice. Maderna studied composing with Gian Francesco Malipiero and conducting with Hermann Scherchen. As a conductor he introduced many avant-garde works to Italy.
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 in electronic musicelectronic music
or electro-acoustic music,
term for compositions that utilize the capacities of electronic media for creating and altering sounds.

Initially, a distinction must be made between the technological development of electronic instruments and the
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. Pousseur composed for both traditional and electronic instruments. Among his works are Seismogrammes (1953), for magnetic tape; Mobile (1958), for two pianos; Electre (1960), an electronic ballet; Votre Faust (1968), an opera with variable plot, libretto by Michel ButorButor, Michel
, 1926–2016, French novelist and critic. As one of the chief exponents of the nouveau roman [new novel] (see French literature), Butor was less interested in the outcome of action in his novels than he was in the action itself.
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; La Seconde Apothéose de Rameau (1981), for chamber orchestra: Déclarations d'Orage (1988–89), for speaker, soprano, baritone, alto saxophone, tuba, synthesizer, orchestra, and tape; La Guirlande de Pierre (1997), for soprano, baritone, and piano; and Les Icare africains (2002), for solo voices, choir, and orchestra.

Bibliography

See his Musique, sémantique, société (1974).

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