Documents found
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41.More information
This article takes as a pretext experiments conducted in 2011 by an ethnomusicologist and a team of music psychologists to raise issues related to interdisciplinary research. The subject of the research concerns emotions evoked by music and their relation to the expressivity of the music. The hypothesis that motivates this work is the potential existence of musical universals related to the expressive meaning of music. In fact, the approach is comparative and involves Pygmy and North American Western populations. Although the neuropsychology of music addresses both cognitive and physiological dimensions of musical phenomena, ethnomusicology is devoted to the analysis of musical discourse and behaviours that occur in a given socio-religious context. The article poses numerous challenges and advantages of the integration of knowledge and different disciplines. In questioning the contributions of nature and culture to human artistic productions, it emphasizes the anthropological perspective of the study, in order that the two disciplines can jointly position at the centre of debate questions of musical aesthetics, the function of music in society, and even the very definition of culture.
Keywords: Fernando, Egermann, Chuen, Kimbembé, McAdams, anthropologie de la musique, émotion, expressivité, esthétique, Pygmées, comparaison, expérimentation, Fernando, Egermann, Chuen, Kimbembé, McAdams, Anthropology of Music, Emotion, Expressivity, Aesthetics, Pygmies, Comparison, Experimentation, Fernando, Egermann, Chuen, Kimbembé, McAdams, antropología de la música, emoción, expresividad, estética, Pigmeos, comparación, experimentación
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45.More information
The author explores the consequences for music of its entry into the machine-age of sound, which involves, among other things, the de-instrumentalization of the ears, and the possibility of an analytical listening which usher in the invention of digital tools allowing for a new graphic projection of musical time. Referring to important texts, notably by Bartók and Adorno, on the consequences of analog sound reproduction for listening habits, musical analysis and even for the concept of writing, the author looks at the ways the science of music in general has been and will be transformed by its digitization, and notably, by a new form of representation of musical time.
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47.More information
AbstractIt is impossible to speak of “contemporary music” today without questioning both the place it occupies in the cultural domain and some of the values particular to it which are largely inherited from the “musical revolution” of the early 1900s, notably that of the Second Viennese School (atonality). In this article, the author wanted to problematize these values and their implications — the intention of avantgardism, the idea of repeated disruptions, the flouting of expectations, etc., but above all the ever increasing compositional tendency towards scientific reason (and its devices) of the past decades, has brought us to the point where music today appears more clearly defined as a science than an art.