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Cahiers D'ethnomusicologie, 22 Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 22 | 2009 Mémoire, traces, histoire Édition électronique URL : http://journals.openedition.org/ethnomusicologie/93 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 31 décembre 2009 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 22 | 2009, « Mémoire, traces, histoire » [En ligne], mis en ligne le 31 décembre 2011, consulté le 06 mai 2019. URL : http://journals.openedition.org/ethnomusicologie/93 Ce document a été généré automatiquement le 6 mai 2019. Tous droits réservés 1 Le champ musical est à la fois porteur et producteur d’histoire. Mythes et épopées, récits chantés de nature historique, dynastique ou généalogique, activités rituelles ou traditionnelles de musiciens et de chanteurs : les musiques de l’oralité jouent un rôle important comme supports de la mémoire sociale et collective. À travers leurs formes, genres, répertoires, techniques et styles, ces musiques portent la marque de l’histoire, qu’elle fasse état d’une grande stabilité ou au contraire de transformations radicales. De même, les instruments sont chargés d’histoire, à travers leurs mythes d’origine, mais aussi l’évolution de leurs dénominations et de leurs caractéristiques organologiques. Ce thème récent de l’ethnomusicologie, particulièrement dense, est ici décliné globalement (Afrique, Amériques, Asie, Europe) à travers douze communications qui constituent les actes d’un colloque organisé à Nice en octobre 2008. Cahiers d’ethnomusicologie, 22 | 2009 2 SOMMAIRE Dossier : Mémoire, traces, histoire Introduction Laurent Aubert et Luc Charles-Dominique Ethnomusicologie et histoire: deux artes memoriae Luc Charles-Dominique Complaintes de tradition orale en Bretagne sous l’Ancien Régime Apports d’une démarche pluridisciplinaire Éva Guillorel Musiques traditionnelles de demain Entre anamnèse et injonction identitaire Dominique Salini La trace et le tracé Mémoires et histoires dans le Cantu a chiterra de Sardaigne Edouard Fouré Caul-Futy Improviser sans trous de mémoire Le legs de la musique carnatique (Inde du Sud) Fabrice Contri Le cahier de Zhou Wenting Un cahier de musique traditionnelle François Picard La mémoire chantée des Secwepemc/Shuswap(Colombie britannique, Canada) ou comment transmettre par le chant des événements du passé au futur Nina Reuther Traces d’avenir Mémoires musicales et réconciliation en Afrique du Sud Denis-Constant Martin Créer, transformer, oublier L’art ju|’hoan de consumer la musique (Namibie) Emmanuelle Olivier La mémoire dans la musique liturgique de l’Église chrétienne orthodoxe unifiée d’Éthiopie à travers la performance, l’écriture et la rencontre Anne Damon-Guillot Mémoire et transmission musicale dans une société nomade L’exemple des Peuls WoDaaBe du Niger Sandrine Loncke La forme sonore des ancêtres Phonogrammes et séquences-mémoires sonores chez les Bijagó (Guinée-Bissau) Lorenzo Ibrahim Bordonaro Cahiers d’ethnomusicologie, 22 | 2009 3 Entretien Une ethnomusicologue à l’écoute du terrain Entretien avec Monique Desroches Nathalie Fernando et Monique Desroches Livres Bob W. WHITE : Rumba Rules. The Politics of Dance Music in Mobutu’s Zaire Durham: Duke University Press, 2008 Denis-Constant Martin Simha AROM : La fanfare de Bangui. Itinéraire enchanté d’un ethnomusicologue Paris: La Découverte, 2009 Guillaume Samson Elena MARTÍNEZ-JACQUET & David SERRA ESTER, dir. : África. Música y Arte Colección Helena Folch. Barcelona: Fundación La Fontana, 2008 Michel Plisson Victor Alexandre STOICHIŢA : Fabricants d’émotion. Musique et malice dans un village tsigane de Roumanie Paris-Nanterre: Société d’ethnologie, 2008 Speranţa Rǎdulescu Christine GUILLEBAUD : Le chant des serpents: Musiciens itinérants du Kerala Paris: CNRS Éditions, 2008 Kaley Mason Dale A. OLSEN : Popular Music of Vietnam: The Politics of Remembering, the Economics of Forgetting New York/London: Routledge Studies in Ethnomusicology, 2008 Aliénor Anisensel Rachel HARRIS : The Making of a Musical Canon in Chinese Central Asia: The Uyghur Twelve Muqam Aldershot: Ashgate Press, 2008 Sabine Trebinjac Sabine TREBINJAC : Le pouvoir en chantant. Tome II: Une affaire d’État… impériale Nanterre: Société d’ethnologie, 2008 Aurélie Névot Kelly M. FOREMAN : The Gei of Geisha: Music, Identity and Meaning Ashgate, Hampshire, England, 2008 Bruno Deschênes Marisol RODRIGUEZ MANRIQUE : La Musique comme valeur sociale et symbole identitaire. L’exemple d’une communauté afro-anglaise en Colombie (île de Providence) Paris: L’Harmattan, 2008 Laurent Aubert Cahiers d’ethnomusicologie, 22 | 2009 4 CD, Multimedia Anthologie de la musique congolaise (RDC) Henri Lecomte Voices for Humans, Ancestors and Gods. A musical journey through India’s interior (East and North-East) Enregistrements, texte et photographies: Rolf Killius. Topic Records/World Series, 2006 William Tallotte Yoshio Kurahashi: Honkyoku, musique zen pour shakuhachi Enregistrements: Stan Kakudō Richardson, Yūsan Fukai et Katsumasa Ōta, 2008 Jay Keister Thèses Dariush ZARBAFIAN : La musique savante iranienne, contribution à l’analyse des systèmes modaux et de la métrique Thèse de doctorat en musicologie, soutenue le 18 octobre 2008 à l’Université de Toulouse – Le Mirail, France Damien VILLELA : Affirmations culturelles dans la musique traditionnelle de Transylvanie (Sud de la Transylvanie, Roumanie) Thèse de doctorat en musique et musicologie, soutenue le 5 décembre 2008 à l’université Paris-IV Sorbonne Luciana PENNA-DIAW : La musique vocale de trois régions du pays wolof au Sénégal. Étude comparative Thèse de doctorat en ethnomusicologie, soutenue le 8 octobre 2008 à l’EHESS, Paris Faiza SEDDIK-ARKAM : La baraka et l’essuf: Paroles et pratiques magico religieuses et thérapeutiques chez les Touaregs et Sahariens de l’Ahaggar (Sahara algérien) Thèse de doctorat en socio-anthropologie, soutenue le 6 novembre 2008 à l’université de Franche Comté, Besançon Éva GUILLOREL : La complainte et la plainte. Chansons de tradition orale et archives criminelles: deux regards croisés sur la Bretagne d’Ancien Régime (XVIe-XVIIIe siècles) Thèse de doctorat d’histoire, soutenue le 6 décembre 2008 à l’Université Rennes 2/Haute-Bretagne Yara EL-GHADBAN : Errance, appartenance, reconnaissance dans la musique savante occidentale Thèse de doctorat en anthropologie, soutenue le 25 mars 2009 à l’Université de Montréal, Québec, Canada Giovanna IACOVAZZI : Un bruit pieux. La musique des bandas à la fête de Santa Maria Mater Gratiae à Zabbar (Malte) Thèse de doctorat en musique et musicologie, soutenue le 10 juillet 2009 à l’Université Paris-IV Sorbonne Cahiers d’ethnomusicologie, 22 | 2009 5 Dossier : Mémoire, traces, histoire Cahiers d’ethnomusicologie, 22 | 2009 6 Introduction Laurent Aubert et Luc Charles-Dominique 1 Les textes de ce volume des Cahiers d’ethnomusicologie constituent les Actes du colloque international « Mémoire, traces et histoire dans les musiques de tradition orale» qui s’est tenu à notre instigation à l’Université de Nice Sophia-Antipolis les 16 et 17 octobre 2008 1 1. À partir de différents cas d’étude, cette rencontre se proposait de réfléchir à un thème en pleine émergence dans l’ethnomusicologie mondiale: celui des fonctions historiennes des musiques de tradition orale, ou en tout cas de leur profondeur historique plus ou moins marquée. 2 En ethnologie – et donc en ethnomusicologie – toute une tradition classique a postulé un ancrage disciplinaire dans le champ de la synchronie, au contraire de l’histoire, dont la perspective serait celle de la diachronie. Mais cette dichotomie ne tient pas 2 si l’on considère qu’ethnomusicologie et histoire ont en commun l’étude du champ mémoriel. L’historien, a fortiori lorsqu’il est anthropologue, constitue une mémoire protéiforme qui est le socle de sa recherche, dans laquelle entre nécessairement en ligne de compte la mémoire sociale et collective. D’autre part, de nombreux historiens qui travaillent sur l’époque contemporaine font de l’histoire orale, recueillent des récits de vie, interrogeant sans relâche la mémoire vivante de façon quasi ethnographique. L’ethnomusicologue interroge, lui aussi, la mémoire individuelle et collective. De la sorte, il instaure un va-et- vient permanent entre passé et présent dans la mesure où les mémoires individuelles et collectives sont des constructions et des représentations du passé souvent balisées, au- delà du souvenir et de la « mémoire de rappel», par des objets mémoriels, matériels et immatériels. La fonction historienne de ces « lieux de mémoire» – pour reprendre la formule de Pierre Nora (1997) – est intacte, réduisant par là même la distinction que l’on a souvent opérée entre histoire et mémoire. Bien que les fonctions historiennes de la mémoire et de l’oralité musicales soient encore assez peu étudiées et interrogées, c’est précisément cette dimension historique qui nous intéresse ici, dans le but de contribuer aux recherches théoriques sur les liens entre ethnomusicologie et histoire et de réfléchir d’un point de vue épistémologique sur les divers champs de l’ethnomusicologie. 3 Nous avions conçu ce colloque autour de trois axes thématiques: la notion d’héritage, celle de trace et les liens existant entre mémoire et histoire. En réalité, on s’aperçoit à travers les thèmes des communications publiées ici que cette répartition thématique est bien Cahiers d’ethnomusicologie, 22 | 2009 7 poreuse, ce qui illustre la difficulté qu’il y a à sectorialiser une approche anthropologique de la mémoire. 4 À
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