|
|||||||
|
SCIENTIFIC PROGRAMME ISMIR CONFERENCE FORUM WORKSHOPS INSTRUMENTED LISTENING CONFERENCE-DEBATES EXHIBITION SPACE KEYNOTE ADDRESS CITÉ DE LA MUSIQUE ARTISTIC PROGRAMME CURSUS CONCERTS SOUND INSTALLATIONS RELATED EVENTS SONIC PROCESS PROJECTIONS NEW INSTRUMENTS WEEKEND CHILDREN'S WORKSHOPS CONCERT WORKSHOPS CONFERENCE DEMOS NEW INSTRUMENTS GALLERY OPEN DAYS - IRCAM LABORATORIES |
INSTRUMENTED LISTENING
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 : François DELALANDE Bernard STIEGLER Gérard Assayag Mikhail Malt Antoine HENNION
Serge POUTS LAJUS Vincent MAESTRACCI Guy REIBEL François PACHET
Colloquium jointly organised by IRCAM-Centre Pompidou and Ina-GRM Under the supervision of François Delalande |
||||||
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.
10h00 - 10h30  |
Comité d'organisation  |