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Iegor Reznikoff

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Iegor Reznikoff
I.Reznikoff Lourdes 2016 02.jpg
Iegor Reznikoff in 2016.
BornMay 13, 1938
Paris
🏳️ NationalityFrench
💼 Occupation
mathematician, philosopher, musician and musicologist
Known forLogic, philosophy of science, ancient philosophy, sacred art, archaeoacoustics, sound anthropology

Iegor Reznikoff, born 13 May 1938 in Paris, is a French mathematician, philosopher and musicologist, specialist in particular of sacred song, former professor at the Paris-Nanterre University.

Biography[edit]

Family[edit]

Iegor Reznikoff was born on May 13, 1938, in Paris, into a family of Russian origin from the late 19th c. Intelligentsia, whose influence was very important for the young Iegor.

His maternal grandmother, Olga Eliseyevna Kolbassina (Odessa 1884 - Moscow 1964), of the Russian-Ukrainian gentry, daughter of Elisey Kolbassin, writer, friend of Ivan Turgenev, first married Mitrophan Fedorov,[1] painter, student of Ilia Repin; from this union were born Natalia (Odessa 1903 - Paris 1992), future mother of Iegor Reznikoff, and her twin sister Olga (1903-1979). In her second marriage, she married Viktor Chernov, a leading politician before the seizure of power by the Bolsheviks. Leader of the Socialist Revolutionary Party (SR, a profoundly democratic party), Minister of Agriculture in the provisional government of Alexander Kerensky; with the SR Party in the majority, Chernov was elected President of the Constituent Assembly in January 1918. This assembly was immediately dissolved by Lenin, who planned to arrest and shoot Chernov immediately. The latter, warned in time by Leon Trotsky, went into hiding, and later fled to Europe and, finally, in 1940 to the United States. In retaliation, Lenin had Olga Eliseyevna and her three daughters, Natalia, Olga and Ariadna (daughter of Chernov), imprisoned (January 1918). Thanks to the intervention of Ekaterina Peshkova, wife of Maxim Gorki, the daughters first, then Olga Eliseyevna (only in 1921) were released and, at the request of Maxim Gorki, Lenin finally granted them permission to leave Russia. Via Estonia then Berlin, they reached Paris and settled there.[2][3]

From her union with Chernov, Olga Eliseyevna Chernova, kept a strong socialist and democratic imprint, which the family, in various forms, has always preserved. In Paris, Olga Eliseyevna and her daughters participated in the cultural life of emigration; they were very close to Marina Tsvetaeva, known by Olga Eliseyevna beforehand in Russia, and were especially close to the writer and calligrapher, Aleksey Remizov, in whose circle were many Russian and French writers and intellectuals. (Lev Shestov, Ivan Bunin, Boris Zaytsev, the orientalist Basil Nikitin, brothers Lifar, Pierre Souvtchinsky, Pierre Pascal, specialist in Russian literature, and later, Armand Robin, A.Gatti, Henri Michaux , Marcel Arland, etc.), some of whom influenced the young Iegor. The three daughters of Olga Eliseyevna met their future husbands at Aleksey Remizov's: Natalia married the poet and typographer Danil Reznikoff, from this marriage André was born in 1930, and Iegor (in 1938); the twin sister, Olga, married the poet Vadim Andreyev (1903-1976), son of the writer Leonid Andreyev, and Ariadna married Vladimir Sossinsky (1900-1987), man of letters, decorated in 1945 with the French Croix de Guerre. In September 1939, the family, excepting those at the front, took refuge on the island of Oléron.

Iegor Reznikoff had seven children from two marriages.

Training[edit]

Beside his family's Russian culture, Iegor Reznikoff benefitted from French education: nursery school with Catholic sisters in Saint-Denis d'Oléron, primary school in Niort and Cachan, École alsacienne in Paris, Lycée Lakanal in Sceaux and Lycée Buffon in Paris. He pursued university studies at the Paris Faculty of Science. The 1956-1957 course given by the mathematician Jacques Dixmier encouraged him to pursue mathematics. He specializes in mathematical logic, and under the supervision of Georg Kreisel from Stanford, he defended his doctoral thesis in 1966 before a jury made up of Georg Kreisel, Gustave Choquet, Henri Cartan, Jacques Dixmier, Daniel Lacombe.

Concurrently with his secondary studies, he continued his musical education on the piano and in composition with Bep Geuer (1889-1979), a Dutch woman composer, then with Yvette Grimaud (1920-2012, pupil of Olivier Messiaen and fellow student of Pierre Boulez) who introduced the young Iegor to the subtle listening which non-tempered intervals require.

In philosophy, influenced by the courses of Claude Khodoss at the Lycée Buffon, then by those of Jean Wahl at the Sorbonne, he prepared a thesis in philosophy on Lev Shestov (not defended). Later Iegor Reznikoff was to teach ancient philosophy and the philosophy of science.

Teaching[edit]

From 1961 to 1971, Iegor Reznikoff taught mathematics at the Universities of Paris, Orléans and Reims. He was invited by Alfred Tarski to the University of California at Berkeley in 1971, following his work in mathematical logic. Finally, he was appointed Chair of Logic in the Department of Philosophy at Paris 10 University (today Paris-Nanterre University) from 1971 to 2008. He directed five theses within this Department.[lower-alpha 1] As Professor emeritus, he continues to participate in seminars and conferences.[5]

In the musical field, he has taught the just intonation of ancient scales and with this approach, ancient Christian chant, in several establishments, National Superior Conservatory of Music and Dance of Lyon, Amsterdam Conservatory, Sibelius Academy (Finland), Rimsky-Korsakov Saint Petersburg State Conservatory, Moscow State Tchaikovsky Conservatory[6] as well as in many religious communities.

Works[edit]

Mathematics, mathematical logic and foundations of physics[edit]

In these fields, Iegor Reznikoff focuses mainly on mathematical logic and algebra. In 1963–1964, he solved a question asked by Alfred Tarski in 1930,[7][8] updated in 1962 by Georg Kreisel and Ernst Specker and then remaining open, concerning the independent axiomatization of uncountable sets of formulas in classical logic.[9][10][11] These questions of independence which go back to the foundations of geometry (independence of Euclid's axiom on parallels) were taken up by David Hilbert in his approach to the foundations of geometry and arithmetic, the general question being: can we reduce an infinite set of axioms to a set of independent axioms, which set is equivalent to the previous one?

In 1993–94, Iegor Reznikoff demonstrated the stronger result that any set of formulas of classical logic (of regular cardinality), is equivalent to a free set of formulas (free in the algebraic sense of Boolean algebras)[12][13] He also studied these problems from the point of view of recursion and intuitionist logic. These results, in logic, on the notions of independence and absolute independence (notion of free formulas) give a basis, a logical and not only philosophical foundation, to Leibniz's Monadology. The scientific, philosophical, yet also existential question, apparently insoluble, being, especially since Newtonian mechanics: how is freedom possible in a world of perpetual causality?

In the same spirit, concerning the foundations of physics, he gave a logical proof of the free will theorem of John Horton Conway and Simon Kochen,[14] and, concerning determinism, a proof that neither in quantum physics, nor in classical physics, is absolute determinism, even theoretical, possible : Laplace's Demon cannot predict its own future memory.[15] On this still current subject, he also gave a philosophical and more general presentation.[16] The paper "On a realistic and discrete definition of time: logical and physical reflections on the theories of time", written in honor of Jacques Merleau-Ponty,[17] shows that time is essentially a creation of consciousness thanks to its chief property which is memory; physics knows only the fundamental notion of change and cannot define the passage of time, or particularly what differentiates the past from the present. With regard to consciousness, postulating that only consciousness knows consciousness, Reznikoff strives to show rigorously by logical and topological arguments, against contemporary trends, that certain properties of visual consciousness cannot be explained by physical data only.[18]

Musicology, sacred art and ancient song[edit]

In music, with the evolution of Catholic liturgy in the early 1970s, Iegor Reznikoff tackled the question of the foundations of sacred art, beginning with the examples of ancient liturgies still preserved and alive (Eastern Christian, Buddhist, Hindu ...). He insists on the necessary distinction between religious art and sacred art. Religious art (painting, music, architecture, etc.) has a pretext, a religious motive, but its means are the same as those of the corresponding secular art, while sacred art, in the proper sense, is functional, its function being to aid in prayer and to allow access to deep levels of consciousness; also the means of sacred art are specific [19][20]. In this context, he conducts an in-depth and comparative reflection on the traditions of the Churches of the West and the East. The ancient text which tackles the subject of a possible relation to the “invisible” world is Greek, i.e. Plato's “ Timaeus”, on which Reznikoff lectured at the Philosophy Department of the University of Paris 10, from 1975 to 2008.[21][22]

Where singing is concerned, in 1972 he undertook work on ancient Christian Chant. From 1974, under the influence of Yvette Grimaud (see above), he approached this chant with the just intonation of modes and ancient scales (not tempered), and to this end, studied music and chant of many oral traditions: first those of the Byzantine and Eastern Churches, then training with masters of other traditions (Nageswara Rao Mokapati, Dariush Talai, Kudsi Ergüner...),[23] and organizing private concerts with them. The approach to Western Christian Chant, given its Latin creation (from the end of 4th to the end of 6th c.), the setting of the repertoire (end of 8th c.) and its essentially oral transmission (until 10th-11th c.), without musical notes, without scores, but with chironomy (movement of the hand following the movement of sound in the body which gives rise to the notation in neumes) and always following the intervals of ancient scales (mainly the Pythagorean scale and the natural one), this approach appears radically new. On serious musical and modern musicological bases it discredits, to a great extent, the note by note approach according to tempered piano scale, sung by choirs of the end of the 19th century and still prevalent. In the same spirit, he rehabilitates the soloist chant - of which the Gradual is largely made up - thus attracting the wrath of "gregorian chant" fundamentalists. He had frequent and fruitful exchanges with St. Peter's Abbey, Solesmes, in particular with Eugène Cardine, Dom Jean Claire, Master of the chapel, and Dom Hourlier; he contributed with them to the Colloquium on Gregorian chant, in Strasbourg (1975).[24][25]

Iegor Reznikoff, for the practice of ancient Christian chant, was then led to study the resonance of pre-Romanesque and Romanesque churches.[26] He recorded several CDs of ancient chant but also of his own creations ( Grand Magnificat, Cantates à Sainte Marie-Madeleine, Cantate à Saint Michel). Following a suggestion of Michel Hugo, he re-examined the questions of the origin and history of Gregorian chant. At the seminar on Late Antiquity run by Pierre Riché, at the History Department of the University of Paris 10, in 1977, he gave indisputable proof (Pope Gregory's Letter V and Carolingian writings) that if Gregory the Great played an important role with regard to the Gregorian Sacramentary which bears his name, he has, on the other hand, nothing to do with the chant called " Gregorian chant" by its restorers at the end of the 19th c. According to Iegor Reznikoff, the musical and melodic style of this chant, does not come from the Church of Rome, even if it is related to it, but essentially from the tradition of the Christian Gauls, a tradition which was still that of the Carolingians who gradually fixed this grand repertoire of Christian Chant.[27][28][29][30]

Having worked on liturgical chant with several monasteries or communities (in particular with the Cistercian Monastery of Rochefort in Belgium and with the Community of the Arch of Lanza del Vasto), his liturgical work, in Latin and in French, but also in other languages (particularly Finnish) is considerable.

In an article that the review Diapason devoted to him in 2010, the magazine's columnist describes him as one of the best specialists in sacred song […] a discoverer, stylist and spiritual guide [31]

Prehistory[edit]

The work of Iegor Reznikoff on Romanesque resonance, and more generally on resonant spaces, led him, at the invitation of the prehistorian Michel Dauvois, to study, from 1983, the resonance of prehistoric painted caves in France {{Note | Iegor Reznikoff studied the caves of Le Portel, Fontanet and Cave of Niaux, then those of Rouffignac, Labastide, Bernifal, Cave of the Trois-Frères and Cussac, but above all, in detail, Isturitz and Oxocelhaya caves and Caves of Arcy-sur-Cure, as well as the Kapova Cave (Urals)[32][33][34] while waiting to study those of Lascaux and Chauvet.[35]

This led to a great discovery: the correlation between the locations of the paintings and the acoustic quality of these locations in many caves. He presented this discovery to the Academy of Sciences (Paris) in 1987.[36][37][38] These works[39][40][41] are at the origin of the development of archaeoacoustics, a branch of archeology which studies acoustics in relation to archaeological sites and objects. Such studies were renewed and the results confirmed (in particular by Riitta Rainio [42] and Margarita Diaz-Andreu[43] for outdoor paintings).

Sound anthropology and sound therapy[edit]

This work on singing, on the voice, the perception of sound in the body, the just intonation of natural scales, finally on resonance and sounds in prehistory, relate to what Iegor Reznikoff calls Sound Anthropology, that is to say what concerns sound and mankind. Several papers deal with this subject [44][45][46], and more particularly with voice sound therapy, a subject on which he has taught extensively[47][48][49][lower-alpha 2]

Discography[edit]

Iegor Reznikoff, beautiful warm baritone[50] sings a capella and recalls that the accompaniment of the Gregorian on the organ is an invention of the 19th century[51].

  • Alleluias et Offertoires des Gaules , Harmonia Mundi 1980 (CD 1989).
  • Le Chant du Thoronet (with a study on resonance in Romanesque architecture), Studio SM, Paris, 1981 (CD 1989).
  • Le Chant de Fontenay (with a study on resonance in Cistercian architecture), Studio SM, Paris, 1989.
  • Le Chant de Vézelay: le vase de parfum (with a study on the resonance of the basilica of Vézelay), Studio SM, Paris, 1992.
  • Le Chant de Vézelay: Marie-Madeleine au tombeau, Studio SM, Paris, 1993.
  • Le Chant du Mont Saint-Michel (with a study on the Romano-Gothic resonance of the abbey church), Studio SM, Paris, 2001. ADF-Bayard reissue, 2021. This recording obtained several laudatory reviews:
    • the "Diapason d'Or" in November 2001 following the review of the magazine " Diapason" which concludes: The reflection of Reznikoff to make a place resonate and choose the music that suits it, is exemplary and rare. The recording is a precious testimony of this art [52].
    • the ffff of the magazine Télérama;
    • the first ranking in the "classical music" category for "Les Voix Ensevelies", selected by the BNF and the Paris Opera for L’Urne du XXIe siècle[53]
  • Early Christian Chants, Smiling stars (Helsinki), 2011.

Notes[edit]

  1. ↑ Iégor Reznikoff is thesis director for the following five theses in philosophy:
    • Jean Moncelon, Sous le signe d'Abraham : Louis Massignon, l'ami de Dieu, Khalil Allâh, 1990
    • Jean-Pierre Belna, Conceptions du nombre à la fin du XIXe siècle : Dedekind, Cantor, Frege, 1993
    • Jean Boulier-Fraissinet, La double négation : introduction à l'expression cohérente de l'itinéraire spirituel, 2000
    • Nicolas Go, L'art comme pratique de la joie (l'exemple de la musique classique de l'Inde du nord), 2001
    • Illo Humphrey, De institutione arithmetica et De institutione musica de Boèce : dans l'enseignement scientifique et philosophique du Haut Moyen âge en Neustrie : édition d'un manuscrit du IXe siècle, 2004[4]
  2. ↑ Since 1984, he has given a course every year, Sound resonance in the body and sound therapy, at the Assumption Center in Lourdes.

References[edit]

  1. ↑ Marina Shenderova (2013). Hudozhjnik Mitrophan Fedorov (The Painter Mitrophan Fedorov), 1870-1941 (in Russian). Voronezhj (Russia). p. 304. ISBN 978-5-91338-087-6.CS1 maint: Unrecognized language (link) Search this book on
  2. ↑ Olga Chernov Andreyev (1978). Ardis, ed. Cold Spring in Russia. Ann Arbor (United States). p. 284. ISBN 0-88233-303-8. Search this book on
  3. ↑ Olga Eliseyevna Chernova Kolbassina (1921). Edition of the Paris Group of Assistance to the Socialist Revolutionary Party, ed. Vospominania o Sovietskih Tiurmah (Memories of Soviet Prisons) (in Russian). Berlin (Germany).CS1 maint: Unrecognized language (link) Search this book on
  4. ↑ Directory of theses
  5. ↑ "REZNIKOFF, Iegor (emeritus)". dep-philo.parisnanterre.fr. Retrieved December 9, 2021.
  6. ↑ Pierre Péju (February 2012). "Iégor Reznikoff. L'espace, sa chambre d'écho". Philosophie Magazine (in French).CS1 maint: Unrecognized language (link)
  7. ↑ Alfred Tarski (1930). "Über einige fundamentale Begriffe der Metamathematik". Comptes Rendus de la Société des Sciences et des Lettres de Varsovie, Classe III (in German). 23: 22–39.CS1 maint: Unrecognized language (link)
  8. ↑ J. H. Woodger (1956). Oxford University Press, ed. Logic, Semantics, Metamathematics. Oxford. p. 471. Search this book on
  9. ↑ Iegor Reznikoff (1965). "Tout ensemble de formules de la logique classique est équivalent à un ensemble indépendant". Comptes rendus de l'Académie des sciences (in French) (260): 2385–2388.CS1 maint: Unrecognized language (link)
  10. ↑ Souldatos, Ioannis; Reznikoff, I. (2011). "Every set of first-order formulas is equivalent to an independent set". arXiv:1108.5171 [math.LO].
  11. ↑ Peter Wojtylak (1989). "Independent axiomatizability of sets of sentences". Ann. Pure Appl. Logic. 44 (3): 259–299. doi:10.1016/0168-0072(89)90034-1.
  12. ↑ Iégor Reznikoff (1994). "Axiomatisations libres I". Comptes rendus de l'Académie des sciences, Série I (in French). 318: 875–878.CS1 maint: Unrecognized language (link)
  13. ↑ Iégor Reznikoff (1994). "Axiomatisations libres II". Comptes rendus de l'Académie des sciences, Série I (in French). 319: 311–314.CS1 maint: Unrecognized language (link)
  14. ↑ Reznikoff, Iegor (2010). "A Logical Proof of the Free Will Theorem". arXiv:1008.3661 [quant-ph].
  15. ↑ Iegor Reznikoff (May 22, 2012). "A class of deductive theories that cannot be deterministic". Journal of Physics: Conference Series. 410: 012052. arXiv:1203.2945. doi:10.1088/1742-6596/410/1/012052. Unknown parameter |s2cid= ignored (help).
  16. ↑ Iegor Reznikoff (2013). "Le déterminisme et le libre arbitre aujourd'hui". 1970-2010 Les Sciences de l'Homme en Débat. Hors collection (in french). Presses universitaires de Paris Nanterre. pp. 281–295. ISBN 9782821851191.CS1 maint: Unrecognized language (link) Search this book on
  17. ↑ Iegor Reznikoff (1999). "On a realistic and discrete definition of time: logical and physical reflections on the theories of time" (pdf). Reznikoff Iegor.
  18. ↑ Reznikoff, Iegor (2021). "A logical and topological proof of the irreducibility of consciousness to physical data". arXiv:2110.14598 [q-bio.NC].
  19. ↑ François Boespflug & Nicolas Lossky éd., ed. (1987). "La transcendance, le corps et l'icône dans les fondements de la liturgie (p.75-91)". Colloque International Nicée II, 787-1987. Douze siècles d'images religieuses (in French). Paris. p. 515.CS1 maint: Unrecognized language (link) Search this book on
  20. ↑ Iégor Reznikoff (1984), "Fondements de l'Art sacré", Exchanges 180 (in French)CS1 maint: Unrecognized language (link)
  21. ↑ Iegor Reznikoff (1986). "La vision unitaire des Arts, de la Musique et du Monde dans l'Antiquité et dans les traditions de l'Art sacré". Analyse Musicale 5 (in French): 55–63.CS1 maint: Unrecognized language (link)
  22. ↑ Rémi Astruc; Alexandre Georgandas (12 May 2015). Ellipses, ed. Le Mythe de la Caverne Aujourd'hui, ce que Platon dit de nous (in French). Paris. pp. 165–174. ISBN 978-2-340-00507-5.CS1 maint: Unrecognized language (link) Search this book on
  23. ↑ "Faire revivre la Louange". Terre du Ciel (in French) (22 (February-March 1994)): 22–29.CS1 maint: Unrecognized language (link)
  24. ↑ Iegor Reznikoff (1977). "Le chant grégorien et les traditions de chant sacré". Vie Spirituelle 623 (in French).CS1 maint: Unrecognized language (link)
  25. ↑ Iegor Reznikoff (1993). "Le Chant occidental antique à la leçon des traditions orales". In L'Harmattan. Pour une Anthropologie des voix, Nicole Revel ed (in French). Paris. p. 353. ISBN 2-7384-1913-5.CS1 maint: Unrecognized language (link) Search this book on
  26. ↑ Alexandre Galand (2012). Formes, ed. Field Recording, l'usage sonore du monde en 100 albums (in French). Marseille. pp. 158–159. ISBN 978-2-360-54070-9.CS1 maint: Unrecognized language (link) Search this book on
  27. ↑ Encyclopaedia Universalis, ed. (1988). Le Grand Atlas des Religions (in French). Paris. pp. 315–316. ISBN 2-85229-920-8.CS1 maint: Unrecognized language (link) Search this book on
  28. ↑ Iegor Reznikoff (1981). "Le Chant Grégorien et le Chant des Gaules (p.75-84)". In Honoré Champion. Proceedings of the conference "Musique, littérature, société au Moyen Age" (in French). Paris. p. 485. ISBN 2-901121-05-5.CS1 maint: Unrecognized language (link) Search this book on
  29. ↑ Iégor Reznikoff (1990). "Le Chant des Gaules sous les Carolingiens (p.323-341)". In Érasme. Haut Moyen-Age, culture, éducation et société, Etudes offertes à Pierre Riché (in French). Paris.CS1 maint: Unrecognized language (link) Search this book on
  30. ↑ Iegor Reznikoff (2019). "The Meaning of Cantus Romanus in the Carolingian Manuscripts (p.487-498)". In Verlag für Geschichte und Kultur. Die Handschriften des Hofschule Kaiser Karls des Grossen. Trier (Germany). p. 542. ISBN 978-3-945768-11-2. Search this book on
  31. ↑ Jean-Marie Piel (October 2001). "Iégor Reznikoff - La grande résonance" (in French). Vol. 485. Diapason. pp. 8 and 9.CS1 maint: Unrecognized language (link)
  32. ↑ Iegor Reznikoff (2010–2011). "La dimension sonore des grottes paléolithiques et des rochers à peintures (CD p.45-56)". L'art pléistocène dans le monde, Proceedings of the IFRAO Congress, Bulletin of the Prehistoric Ariège-Pyrénées Society, LXV-LXVI (in French). Prehistoric Ariège-Pyrénées Society.CS1 maint: Unrecognized language (link) Search this book on
  33. ↑ Iegor Reznikoff (2010–2011). "L'existence de signes sonores et leurs significations dans les grottes paléolithiques (CD p.1741 -1747)". In Prehistoric Ariège-Pyrénées Company. L'art pléistocène dans le monde, Proceedings of the IFRAO Congress, Bulletin of the Prehistoric Ariège-Pyrénées Society, LXV-LXVI (in French).CS1 maint: Unrecognized language (link) Search this book on
  34. ↑ Iegor Reznikoff (2014). "On the Sound Related to Painted Caves and Rocks (p.101-109)". In Monographs of the Archaeological Society of Finland 2. Sounds Like Theory (PDF). Helsinki. ISBN 978-952-67594-7-0. Search this book on
  35. ↑ André Manoukian (2021). "Du rock dans la caverne (p.73-76)". In HarperCollins / France Inter. Sur les routes de la musique (in French). Paris. p. 192. ISBN 979-1-0339-0932-3.CS1 maint: Unrecognized language (link) Search this book on
  36. ↑ Iégor Reznikoff (1987). "Sur la dimension sonore des grottes à peintures du paléolithique". Comptes rendus de l'Académie des sciences, Série II (in French). 304: 153–156.CS1 maint: Unrecognized language (link)
  37. ↑ Iégor Reznikoff (1987). "Sur la dimension sonore des grottes à peintures du paléolithique". Comptes rendus de l'Académie des sciences, Série II (in French). 305: 307–310.CS1 maint: Unrecognized language (link)
  38. ↑ Reznikoff, Iégor; Dauvois, Michel (1988). "La dimension sonore des grottes ornées". Bulletin de la Société Préhistorique Française. 85 (8): 238–246. doi:10.3406/bspf.1988.9349.
  39. ↑ Olivier Rescanière (February 10, 2008). "Pourquoi les grottes ornées résonnent-elles si bien?". Libération (in French).CS1 maint: Unrecognized language (link)
  40. ↑ ER (September 2008). "Archéologie : le son des grottes dopait l'art pariétal". Science & Vie (in French) (1092): 22.CS1 maint: Unrecognized language (link)
  41. ↑ Jérémie Bazart (September 2008). "La voix, le GPS des hommes préhistoriques". L'Humanité Dimanche (in French).CS1 maint: Unrecognized language (link)
  42. ↑ Riitta Rainio (July 2017). "Acoustic measurements and digital image processing suggest a link between sound rituals and sacred sites in northern Finland". Journal of Archaeological Method and Theory. 25 (2): 453–474. doi:10.1007/s10816-017-9343-1. hdl:10138/328408. Unknown parameter |s2cid= ignored (help)
  43. ↑ Margarita Diaz-Andreu (2021). "The soundscapes of Baja California Sur: Preliminary results from the Cañón de Santa Teresa rock art landscape". Quaternary International. 572: 166–177. Bibcode:2021QuInt.572..166D. doi:10.1016/j.quaint.2020.02.026. Unknown parameter |s2cid= ignored (help)
  44. ↑ V. Ivanov (2003). Iazyki Slavianskoi Kultury, ed. Eurasian Space, sound, word, image (Evrasiiskoie Prostranstvo, zvuk, slovo, obraz). Moscow. pp. 408–414. ISBN 5-94457-137-3. Search this book on
  45. ↑ Iegor Reznikoff (2005). "On primitive elements of Musical meaning" (pdf). The Journal of Music and Meaning. 3.
  46. ↑ Iegor Reznikoff (2001). "Le Chant d'Orphée : chamanisme, orphisme, sacrifice et puissance du son". Sorgue (in French). 3: 85–103.CS1 maint: Unrecognized language (link)
  47. ↑ "Reaching deep consciousness to heal. Therapy of Pure Sound". Caduceus. 23: 16–18. April 1994.
  48. ↑ Ara Alexander Shishmanian; Dana Shishmanian (September 1993). Les Amis de IP Couliano, ed. Ascension et hypostases initiatiques de l'âme (in French). Neuilly-sur-Marne. pp. 413–426. ISBN 978-2952504201.CS1 maint: Unrecognized language (link) Search this book on
  49. ↑ Iegor Reznikoff (2008). "Foundations of sound therapy". The Journal of the Acoustical Society of America. 123 (5, Pt 2): 3798. Bibcode:2008ASAJ..123.3798R. doi:10.1121/1.2935480.
  50. ↑ Olivier Opdebeeck (November 2001). "Iégor Reznikoff - Chant grégorien" (in French). No. 486. Diapason. p. 130.CS1 maint: Unrecognized language (link)
  51. ↑ Jean-Marie Piel (October 2001). "Iégor Reznikoff - La grande résonance" (in French). Vol. 485. Diapason. pp. 8 and 9.CS1 maint: Unrecognized language (link)
  52. ↑ Olivier Opdebeeck (November 2001). "Iégor Reznikoff - Chant grégorien". No. 486. Diapason. p. 130.
  53. ↑ "L'Urne du xxie siècle". blog.bnf.fr. Retrieved December 9, 2021.

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