Sound and Meaning: the Case of Martial Pieces François Picard
Sound and Meaning: The Case of Martial Pieces François Picard To cite this version: François Picard. Sound and Meaning: The Case of Martial Pieces. Luciana GALLIANO; Francesca TAROCCO. Power, Beauty, and Meaning: Eight Studies on Chinese Music, XVIII, Leo S. Olschki, pp.101-143, 2005, Orientalia venetiana. halshs-01126056 HAL Id: halshs-01126056 https://halshs.archives-ouvertes.fr/halshs-01126056 Submitted on 6 Mar 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sound and Meaning: The Case of Martial Pieces François Picard Professeur d'ethnomusicologie, université Paris-Sorbonne International CHIME Conference, Venezia, Italia, Septembre 2001 Published in Luciana GALLIANO, Francesca TAROCCO (ed.), Power, Beauty, and Meaning: Eight Studies on Chinese Music, Firenze, Leo S. Olschki, « Orientalia venetiana » XVIII, 2005, p. 101-143 As a musician, I never believed in the meaning of instrumental music, nor in its supposed programatic content. Studying Chinese music, I was, as every one, confronted to the fact that the most played pieces were alleged to be programatic, if not realistic. During these many years of collaboration with Chinese musicians, I did find outstanding instrumentalists who do believe in programatic, and other outstanding musicians who do not care.
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