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Ethno/musicological Approaches to Musical Creation Processes

Approches ethno/musicologiques des processus de création musicale

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Published on Tuesday, August 27, 2013 by Elsa Zotian

Summary

Following on the ANR MuTeC (2009-2011, coord. N. Donin) and GLOBAMUS (2009-2012, coord. E. Olivier) projects, and with the support of the "Creation, Arts, and Heritage" LabEx, the international workshop "Ethno/musicological Approaches to Musical Creation Processes" aims to look at the role of various appropriation devices in contemporary processes of musical creation by reflecting on both popular and art music in the global North and South. 

Announcement

Argument

Theoretical and epistemological discourses on modernity tend to envisage the practice of so-called “musical creation” as nurtured by two starkly divergent trends: the first being defined by originality, innovation, and opposition of the new to the old, while the second is marked by repetition of what came before, a lack of inspiration, and obedience to tradition.

Recently, however, musicology and ethnomusicology have shown that these seemingly divergent practices are actually part of a continuum which goes from the re-use of pre-existing materials (quotation, collage, adaptation, parody, mixture, fusion, etc.) to ex nihilo creation. When we turn our attention to the circulation of musical genres and styles, or to empirical inquiries into compositional processes, a much blurrier picture emerges:  creative propensities oscillate between these two extremes without being reduced to them or making them mutually exclusive. With this perspective, musical creation is thus made up of diverse appropriation devices which scholars observe both in the different ways of making music and in their manifestations in sound.

Following on the ANR MuTeC (2009-2011, coord. N. Donin) and GLOBAMUS (2009-2012, coord. E. Olivier) projects, and with the support of the "Creation, Arts, and Heritage" LabEx (2011-2020, Pres Hesam, dir. Ph. Dagen), we aim to look at the role of various appropriation devices in contemporary processes of musical creation by reflecting on both popular and art music in the global North and South. The GLOBAMUS international workshops, "Practices and Statutes of Musical Creation" (2011) and "Tools and Technological Supports of Musical Creation" (2012), as well as the "Tracking the Creative Process in Music" international conferences (2011, 2013), recently made manifest certain similarities between the compositional practices in European contemporary art music and that of extra-European popular music.

The international workshop "Ethno/musicological Approaches to Musical Creation Processes" is an effort to contribute to the development of shared methodological and theoretical tools for a pragmatic analysis of the creative process, unshackled as it is from some preconceived notions, such as pure creation and an all-powerful composer in European art music, and recycling and the absence of a composer-songwriter for extra-European popular music. Thus, this workshop hopes to create a space for close dialogue between ethnomusicology, anthropology, and musicology.

Places

  • Institut national d'histoire de l'art, Auditorium - 6 rue des Petits Champs
    Paris, France (75002)

Date(s)

  • Thursday, September 12, 2013
  • Friday, September 13, 2013

Keywords

  • création musicale, musicologie, ethnomusicologie, anthropologie, globalisation, nouvelles technologies

Contact(s)

  • Emmanuelle Olivier
    courriel : olivier [at] ehess [dot] fr

Information source

  • Emmanuelle Olivier
    courriel : olivier [at] ehess [dot] fr

To cite this announcement

« Ethno/musicological Approaches to Musical Creation Processes », Study days, Calenda, Published on Tuesday, August 27, 2013, https://calenda.org/257689

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