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Pour une médiologie musicale comme mode original de connaissance
Abstract
La musicologie générale vise à interpréter les œuvres à travers leurs traces matérielles. Elle s’attache, par exemple, à exhumer des textes musicaux ou des textes sur la musique, à analyser des partitions anciennes ou contemporaines, à étudier les enregistrements… L’historien, l’herméneute ou l’esthéticien, éclairé par le sociologue, l’organologue, l’anthropologue, le sémiologue… chercheront à interpréter l’œuvre, dans le cadre strict de chacun de ces champs disciplinaires. Une médiologie musicale, pour sa part, cherchera la « réverbération » des traces mémorielles observables, en reconstituant les itinéraires, les scénarios de l’émergence d’un genre, les chemins de sa contagion. En faisant « l’examen raisonné des interactions unissant techniques de transport, productions symboliques et pratiques sociales », on orientera la musicologie vers une discipline de l’observation, une sorte de « médiographie » musicale, un recensement des observations accessibles. L’on s’inscrira ainsi dans la démarche promue par Régis Debray, initiateur de ce mode original de connaissance.
... The revolution of sound recording, synthesis and transformation (musique concrète 1948, electronic music 1950), followed by the birth of computer music (1957), caused the natural emergence of a new professional profile -someone who can work in research, writing, the creation of new instruments and recording and performance on electronic devices during concerts. The composition of music had gone from a paradigm based on 'writing, score, performance, listening' to one based on 'writing, notation, projection, listening' (Tiffon 2002) or more often 'technological research, writing, control-evaluation-implementation, new writing, control and so on. ...
... The revolution of sound recording, synthesis and transformation (musique concrète 1948, electronic music 1950), followed by the birth of computer music (1957), caused the natural emergence of a new professional profile -someone who can work in research, writing, the creation of new instruments and recording and performance on electronic devices during concerts. The composition of music had gone from a paradigm based on 'writing, score, performance, listening' to one based on 'writing, notation, projection, listening' (Tiffon 2002) or more often 'technological research, writing, control-evaluation-implementation, new writing, control and so on. ...
The revolution of sound recording, synthesis and transformation (commenced in 1948 with concrete music and in 1950 with electronic music), followed by the birth of computer music (since 1957), caused the natural emergence of a new professional profile – someone who can work in the phase of researching, writing, creating new instruments, recording and/or performing live during concerts. From the early days, laboratories and electronic music studios have involved the presence of different individuals with diverse but intertwined competencies. This is true for the Milan, Cologne, Paris and San Francisco centres during the first analogue generation; this has continued with the digital revolution (at CCRMA in Stanford and other centres in the United States, in France, Italy, Great Britain, Germany, East Asia, to name a few).
Although books and essays dedicated to the history of Computer Music do agree, in principle, on the interdisciplinary nature of this music and the importance of collaboration, and the field of music collaboration starts at last being investigated, the existence of the musical assitant has been often unreasonably neglected. In both the musical score and the program notes, or in written sources (a least in the published ones), his/her presence remains hidden most of the time, and literature on the collaboration composer/musical assistant is scattered.
In this chapter I report findings from a study based on primary and secondary sources and administrative documents, conserved at three computer music centres: the IRCAM (Institut de Recherche et Coordination Acoustique/Musique) in Paris, the CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University and the CSC (Centro di Sonologia Computazionale) in Padova. The analysis examines two points: 1) institutionalisation and recognition: I would investigate the presence (or absence or understatement, as the case may be) of an express concern for the theme of collaboration and the role of the musical assistant; 2) the presence of passages inside the sources, describing the ways in which this collaboration was undertaken between musical assistants and composers.
My study covers the technological historical period which runs from the early computer programs until the first real time experiments. It is intended to enlighen the hidden art-science collaboration, the emergence of a profession, the traces remaining from the habitually wordless communication between a composer and an assistant, in the early era of computer music. It introduces questions about cooperation and the way it could induce dilemmas when considering authorship. The choice of these three centres is motivated by the close historical, musical, organisational, scientific and technological connections, and by the numerous technical, cultural and scientific exchanges between the three.
The Lily and the Rose occupy a special place in France and Portugal, respectively. This paper delves into the specificities of the significance associated with each flower, in the light of historical periods and recent trends. The investment of meaning, along with its subsequent re-appropriations, transmissions and transfers, form the crux of our reflections, guided by Régis Debray’s insights on mediology. The paper reveals the two flowers’ rich symbolism and ability to take on new layers of meaning as they adapt to the exigencies of power figures. It also underscores the vital role played by human agents in deploying material and strategic vectors for ongoing meaning (re)construction and showcases the horizontal-to-vertical level shifts in influencers.
The present chapter investigates Vidolin’s vision of the role of the computer music designer through a study of his collaboration on two compositions: Luigi Nono’s Prometeo. Tragedia dell’Ascolto (1981–84) and Salvatore Sciarrino’s Perseo e Andromeda (1991). The chapter is based on a series of interviews and discussions I had between 1998 and 2015, complemented by research based on sources and archival documents. knowledge of the collaboration can provide crucially important information about compositional choices within the creative process, structural patterns and aesthetic solutions within the completed work. Much of this information would remain unknown to the analyst, who focuses primarily on the composer’s contribution.
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