he appearance of the phonograph was without a doubt the starting point, in some respects, for a new kind of listening : an instrumented listening ; that is, not informed by the experience and formalisms of musical practice such as the motion of the hand on a keyboard or of the eye on a score. Thus, in 1880, the president of the Musical Teaching Reform Commission prescribed the non-use of the phonograph, which permitted (according to him) the ability to listen music with only the illusion of hearing it.
And then jazz, as well as other traditions (Bartok, ethnomusicology, and electroacoustics, to name a few), came to see in the phonograph the possibility of expanding the capacity to listen, and inside this capacity, to hear.
The record thus appeared to be an instrument of artificial listening ; it permitted one to relisten at leisure, to select, to compare non-sequential moments ; it incited an active appropriation of a music which had become reproducible. However, the record also contained the possibility of incompetent listening, and the obvious basis for distruibution by cultural industries relied on the principle whereby the listener, transformed into consumer, was no longer a producer.
But for a long time now, the phonographically-endowed music lover has no longer simply been a listener. He has the ability to explore the music proposed to him, sometimes guided (more recently) by visual representation. His perception of time, form, is no longer that of the linear and uninterrupted concert experience, and it is therefore no longer the same object that is proposed to him.
More particularly, more powerful tools have appeared, or are about to appear, conceived not only to reproduce, but also to reconstruct. They further diversify the palette of possibilities to such an extent that we can no longer clearly distinguish between receiving and producing. Sampling, remixing, is also, to an extent, to compose.
We will examine the consequences of these mutations for the listener-explorer, for the composer, for the musicologist, by exploring the phenomenological, social, technological aspects of the question, and by imagining the future.
With the participation of :
10h00 - 10h30
Head of Publications and Theoretical Research at Ina-GRM
La musique est faite pour être entendue : peut-être, mais comment ?
10h30 - 11h15
Director of IRCAM, philosopher
Le paradoxe du phonographe – ou l’oreille désinstrumentée
Gérard Assayag Mikhail Malt
11h15 - 12h00
Une écoute informée
12h - 12h30
Directeur du Centre de Sociologie de l'Innovation, Ecole nationale supérieure des mines de Paris, Membre du Conseil scientifique du Musée de la musique
L'écoute comme compétence historique
|12h30 - 14h00 : Pause Déjeuner|
Serge POUTS LAJUS
14h00 - 14h30
Senior Expert for the French Ministry of Culture
Nouvelles pratiques musicales des amateurs.
14h30 - 15h00
Inspecteur général de l'Education Nationale, groupe des enseignements artistiques, chargé de l'éducation musicale
L'Ecole à l'écoute, l'écoute à l'Ecole
15h00 - 15h30
Démonter et remonter les œuvres
15h30 - 16h00
Responsable de la recherche musicale chez Sony CSL
L'Ecoute Active : des boutons technologiques aux contrôles sémantiques
|16h00 - 16h30 : Coffee Break|
|16h30 - 18h00 : Round Table|
La musique au futur : quelles pratiques sociales ? Quelles œuvres ? Quelle analyse ? Influencer ou suivre le mouvement ?
Professor of Cognitive Sciences at Indiana University, author of Gödel, Escher, Bach : an Eternal Golden Braid (Basic Books, 1979)
The sad decline of respect for music
Colloquium jointly organised by IRCAM-Centre Pompidou and Ina-GRM Under the supervision of François Delalande
Date : Thursday October 17 from 10AM to 6PM.
Location : Centre Pompidou - Petite Salle
Free admittance, subject to available seating