Pierre Boulez (French: [pjɛʁ bu.lɛːz]; born 26 March 1925) is a French composer, conductor, writer, and pianist.
One of Boulez's strongest achievements is his masterpiece Le marteau sans maître (The Hammer without a Master) for ensemble and voice, from 1953 to 1957, a "keystone of 20th-century music", and one of the few works of advanced music from the 1950s to remain in the repertoire. Le marteau was a surprising and revolutionary synthesis of many different streams in modern music, as well as seeming to encompass the sound worlds of modern jazz, the Balinese Gamelan, traditional African musics, and traditional Japanese musics.
Boulez described one of the work's innovations, called "pitch multiplication", in several articles, most importantly in the chapter "Musical Technique" in Boulez 1971. It was Lev Koblyakov, however, who first described its presence in the three "L'artisanat furieux" movements of Le marteau sans maître, and in his 1981 doctoral thesis.
Boulez remains one of the leading exponents of 20th-century music. His compositions have made a contribution to musical culture, and his advocacy of modern and postmodern music has been decisive for many. Boulez continues to conduct and compose. From 1976 to 1995, Boulez held the Chair in "Invention, technique et langage en musique" at the Collège de France. In 2001, we was the recipient of the Grawemeyer Prize for music composition, for his work Sur Incises. In 2002, he was awarded the Glenn Gould Prize for his contributions. In 2004, with festival director Michael Haefliger, he founded the Lucerne Festival Academy, a summer orchestral institute for young musicians, dedicated to music of the twentieth and twenty-first centuries. The resident professors are members of the Ensemble intercontemporain.
Source (with more on Boulez): Wikipedia