« La notation est une manière de faire bouger les gens »
Cornelius Cardew’s theoretical as well as graphic research on musical notation in the 1960s is part of a broader reflection on the relation between writing and indeterminacy. According to Cardew, any notation, whatever its established degree of precision or complexity, is in close relationship with...
Tallennettuna:
| Päätekijä: | |
|---|---|
| Aineistotyyppi: | Article ou chapitre numérique |
| Kieli: | Français |
| Julkaistu: |
2018
|
| Aiheet: | |
| Linkit: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
cairn-RFEA_153_0064 |
|---|---|
| record_format |
cairn |
| spelling |
cairn-RFEA_153_0064RFEARevue française d’études américaines https://shs.cairn.info/revue-francaise-d-etudes-americaines-2017-4-page-64?lang=fr https://doi.org/10.3917/rfea.153.0064 « La notation est une manière de faire bouger les gens » Saladin, Matthieu2018 affectsCornelius Cardewcréation collectiveémancipationesthétique de l’échecexpérimentationindéterminationnotation musicalepartition graphiquepartition-textefre Revue française d’études américaines | 153 | 4 | 2018-05-03 | p. 64-78 | 0397-7870 RFEA_15356 Cornelius Cardew’s theoretical as well as graphic research on musical notation in the 1960s is part of a broader reflection on the relation between writing and indeterminacy. According to Cardew, any notation, whatever its established degree of precision or complexity, is in close relationship with indeterminacy. When this relationship is accepted as such, writing can give rise to scores opening up to process and whose sole value is in the immanence of their enactment. By following the composer’s intellectual and artistic itinerary, one realizes these considerations underlie a profound reflection on the emancipation of individuals. By analyzing some of his experimental scores, I will examine the singular theory of emancipation which gradually takes shape in Cardew’s work. Far from being solely a hymn to the power of invention demonstrated by the musicians faced with indeterminacy, this music may well lead those who perform it to question the collective dimension of creation, as well as the extent and contingency of the conventions and shared assumptions among which this creation can take place.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| topic |
affects Cornelius Cardew création collective émancipation esthétique de l’échec expérimentation indétermination notation musicale partition graphique partition-texte |
| spellingShingle |
affects Cornelius Cardew création collective émancipation esthétique de l’échec expérimentation indétermination notation musicale partition graphique partition-texte Saladin, Matthieu « La notation est une manière de faire bouger les gens » |
| topic_facet |
affects Cornelius Cardew création collective émancipation esthétique de l’échec expérimentation indétermination notation musicale partition graphique partition-texte |
| description |
Cornelius Cardew’s theoretical as well as graphic research on musical notation in the 1960s is part of a broader reflection on the relation between writing and indeterminacy. According to Cardew, any notation, whatever its established degree of precision or complexity, is in close relationship with indeterminacy. When this relationship is accepted as such, writing can give rise to scores opening up to process and whose sole value is in the immanence of their enactment. By following the composer’s intellectual and artistic itinerary, one realizes these considerations underlie a profound reflection on the emancipation of individuals. By analyzing some of his experimental scores, I will examine the singular theory of emancipation which gradually takes shape in Cardew’s work. Far from being solely a hymn to the power of invention demonstrated by the musicians faced with indeterminacy, this music may well lead those who perform it to question the collective dimension of creation, as well as the extent and contingency of the conventions and shared assumptions among which this creation can take place. |
| author |
Saladin, Matthieu |
| author_facet |
Saladin, Matthieu |
| author_sort |
Saladin, Matthieu |
| title |
« La notation est une manière de faire bouger les gens » |
| title_short |
« La notation est une manière de faire bouger les gens » |
| title_full |
« La notation est une manière de faire bouger les gens » |
| title_fullStr |
« La notation est une manière de faire bouger les gens » |
| title_full_unstemmed |
« La notation est une manière de faire bouger les gens » |
| title_sort |
« la notation est une manière de faire bouger les gens » |
| publishDate |
2018 |
| container_title |
|
| container_issue |
|
| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-francaise-d-etudes-americaines-2017-4-page-64?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rfea.153.0064 |
| _version_ |
1877246551458316288 |