{"version":"1.0","provider_name":"Ensemble intercontemporain","provider_url":"https:\/\/www.ensembleintercontemporain.com\/en\/","author_name":"Pierre-Yves Mac\u00e9","author_url":"https:\/\/www.ensembleintercontemporain.com\/en\/author\/pierre-yves-mace\/","title":"Les paradoxes de Momente - Ensemble intercontemporain","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"DEJhzK1ZIA\"><a href=\"https:\/\/www.ensembleintercontemporain.com\/en\/2014\/03\/les-paradoxes-de-momente\/\">Les paradoxes de Momente<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.ensembleintercontemporain.com\/en\/2014\/03\/les-paradoxes-de-momente\/embed\/#?secret=DEJhzK1ZIA\" width=\"600\" height=\"338\" title=\"&#8220;Les paradoxes de Momente&#8221; &#8212; Ensemble intercontemporain\" data-secret=\"DEJhzK1ZIA\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.ensembleintercontemporain.com\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.ensembleintercontemporain.com\/content\/uploads\/2014\/03\/K-Momente-cmyk-une.jpg","thumbnail_width":464,"thumbnail_height":237,"description":"En red\u00e9finissant les bases du langage musical, les compositeurs s\u00e9riels des ann\u00e9es d\u2019apr\u00e8s-guerre se sont rapidement heurt\u00e9s au probl\u00e8me\u00a0de la forme. Comment renouveler la forme musicale pour la rendre ad\u00e9quate \u00e0 la technique s\u00e9rielle\u00a0? Si cette technique a permis d\u2019\u00e9clater les principes de la tonalit\u00e9, elle n\u2019a pourtant pas g\u00e9n\u00e9r\u00e9 de formes qui lui soient [&hellip;]"}