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Analyser Les Processus De Création Musicale

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TRACKING THE CREATIVE PROCESS IN MUSIC ANALYSER LES PROCESSUS DE CRÉATION MUSICALE Paris, Thursday 8–Saturday 10 October 2015 IRCAM: Salle Stravinsky, Studio 3, Studio 5 Centre Pompidou: Petite Salle Université Paris-Sorbonne: Amphithéâtre Durkheim TRACKING THE CREATIVE IN MUSIC PROCESS MUSICALE CRÉATION LESDE PROCESSUS ANALYSER Conservatoire national supérieur de musique et de danse de Paris : Espace Maurice-Fleuret http://tcpm2015.ircam.fr Paris, 10 8–Saturday Thursday October 2015 The TCPM conference brings together research - TCPM 2015 is organised by ers interested in artistic creativity, and the study of processes of musical and sound creation of the past IRCAM: Institut de Recherche et de Coordination and present. Researchers working on this cluster of Acoustique/Musique (Paris), STMS labs (Ircam/CNRS/ problems from a wide variety of disciplines (history, UPMC), Analysis of musical practices research group music analysis, psychology, philosophy, cognitive sci- ence, sociology, ethnomusicology, anthropology, etc.) IReMus: Institut de Recherche en Musicologie (CNRS/ are invited to assess the different methodologies de- Paris-Sorbonne) veloped over the last thirty years in their respective areas from an interdisciplinary perspective. Each ap- CTEL: Centre Transdisciplinaire d’Épistémologie de proach contributes in its own way to the advancement la Littérature et des Arts vivants (Université Nice of our understanding of the procedures, techniques, Sophia Antipolis) knowledge and skills employed by musicians involved in creative projects. With the support of the Agence Nationale de la Recherche (3-year project: ‘Musical Gesture: Models Following the epistemological paradigm shifts that and Experiments’), Conservatoire national supérieur musicology underwent at the end of the last cen - de musique et de danse de Paris, DREST (Direction tury, the very notion of ‘creative process’ has been de la recherche, de l’enseignement supérieur et transformed. Sketch studies have extended their de la technologie, ministère de la Culture et de la scope beyond notated works of art music. Today this Communication), LabEx CAP, MAGE (Réseau de field includes all contemporary musical repertories recherche international et pluridiciplinaire Marché du as well as the oral, technological and collaborative travail et genre), Sorbonne Universités (Collegium dimensions of the creative process in music. There Musicae and Faculté d’Ingénierie de l’UPMC), and is growing interest, for example, in the function of the University of Galgary improvisation and gesture in the creative process, in the collective and collaborative dimensions of artistic work, in the redefinition of the roles of the composer and the performer, in the art of studio production, and in the strategies of documentation, transmission and future performance of works involving technol- ogy. The complexity and the multidimensionality of this field of study require new analytical tools and new research methods at the crossroads of analytical musicology, the social science and humanities, and other academic disciplines. This broadening of the field also provides a new con- text for the study of works and composers from the Western musical canon. Whether based on historical archives or on the collection of empirical data, stud- ies of the creative process in music share many of the same methodological requirements, descriptive vo- cabulary and models of creative action. This confer- ence therefore aims to be a forum in which the most recent results produced by the well-established tradi- tion of sketch studies can meet the complementary or alternative paradigms emerging from other reper- tories or approaches. ORGANISING COMMITTEE ■ Sylvie Benoit — IRCAM ■ Nicolas Donin — IRCAM ■ Samuel Goldszmidt — IRCAM ■ Hyacinthe Ravet — Univ. Paris-Sorbonne, IReMus ■ Jean-François Trubert — Univ. Nice Sophia Antipolis, CTEL ■ Hugues Vinet — IRCAM SCIENTIFIC COMMITTEE ■ Bernhard Appel — Beethoven-Archiv, Bonn ■ Gianmario Borio — Univ. Pavia / Fondazione Giorgio Cini, Venise ■ Georgina Born — Univ. Oxford ■ Pamela Burnard — Univ. Cambridge ■ Eric Clarke — Univ. Oxford ■ Nicholas Cook — Univ. Cambridge ■ Angela Ida De Benedictis — Paul Sacher Stiftung, Basel ■ Irène Deliège — Bruxelles ■ Nicolas Donin — Ircam / LabEx CAP ■ Paolo d’Iorio — CNRS ■ Valérie Dufour — FNRS, Univ. Libre de Bruxelles ■ Catherine Guastavino — Univ. McGill, Montréal ■ Philippe Le Guern — Univ. Nantes ■ Jerrold Levinson — Univ. Maryland ■ Louise Meintjes — Univ. Duke ■ Gerhard Nierhaus — Univ. Graz ■ Jessie Ann Owens — Univ. California, Davis ■ Hyacinthe Ravet — Univ. Paris-Sorbonne, IReMus ■ Friedemann Sallis — Univ. Calgary ■ Keith Sawyer — Univ. North Carolina at Chapel Hill ■ Caroline Traube — Univ. Montréal ■ Jean-François Trubert — Univ. Nice Sophia Antipolis, CTEL ■ Michael Werner — CNRS-EHESS / LabEx CAP 3 TRACKING THE CREATIVE PROCESS IN MUSIC / ANALYSER LES PROCESSUS DE CRÉATION MUSICALE THURSDAY 8 OCTOBER 08:30 – Centre Pompidou • Welcome desk and registration • Coffee Centre Pompidou, Petite Salle 09:30–10:00 14:00–16:00 Opening Address Gesture Nicolas Donin, Hyacinthe Ravet, Chair: Friedemann Sallis (University of Calgary) Jean-François Trubert Valentina Bertolani In French, with translation. No score, hundreds of sketches: Mario Bertoncini’s Spazio-Tempo 10:00–11:00 Anne-Sylvie Barthel-Calvet Invited talk 1: Georgina Born La place du geste de l’interprète dans le processus What is it to analyse the compositionnel : le cas des œuvres solistiques de Xenakis creative process in music? Zubin Kanga Sounding Bodies: Embodiment and Gesture in 11:00–12:30 the Collaborative Creation and Realisation of works for Piano and Electronics Unsung Creativities François-Xavier Féron and Baptiste Bacot Chair: Georgina Born (University of Oxford) Sculpting the Air (2014–15) de Jesper Nordin : Alexander Cannon l’expérimentation d’une direction d’orchestre Metaphors of Creative Practice: Navigating Roots techno-augmentée and Foliage in Southern Vietnamese Traditional Music Nicolas Misdariis, Andrea Cera and Sebastien Gaxie Créativité et design sonore : étude de cas Tara Browner Creativity within Formal Structures: Two American Indian Song Repertories 12:30–14:00 IRCAM, Galerie (floor: -2) Lunch Simultaneous translation from the French (Opening Address, Misdariis et al., Barthel-Calvet, Féron and Bacot) and from English (Born, Workshop 1) by Marie-Louise Diomède. 4 IRCAM, Salle Stravinsky Université Paris-Sorbonne 11:00–12:30 17:00–18:45 Performance and/in Sketches Amphithéâtre Durkheim Chair: Jessie Ann Owens Workshop 1 (University of California, Davis) Gender and the Practice Anna Ficarella of Conducting The performing dimension in Gustav Mahler’s Chair: Hyacinthe Ravet compositional process (Université Paris-Sorbonne) Thomas Ahrend With: Claire Gibault, Florence Malgoire, Versions, Variants, and the Performatives Dominique My of the Score: Traces of Performances in the Texts of Anton Webern’s Music 19:00 Giovanni Cestino Club des enseignants Investigating Performative Approaches Reception Through the Analysis of ‘Performing Scores’: Cathy Berberian sings Circles 12:30–14:00 IRCAM, Galerie (floor: -2) Lunch 14:00–15:00 Composition 1: Beethoven Chair: Jessie Ann Owens (University of California, Davis) William Kinderman ‘Feeling New Strength’: Beethoven’s Ninth Symphony and Quartet in A Minor, Op. 132 Federica Rovelli The Genesis of Beethoven’s Piano Sonata Op. 101: ‘Lost sketches’ and ‘Working Autograph’ 15:00–16:00 Transcription Chair: Emmanuelle Olivier (Centre George Simmel, CNRS-EHESS) Francesco Del Bravo Modes of Collision: Alberto Favara in the Process of Transcribing Sicilian Folk Songs Bianca Temes Ligeti and Romanian Folklore: Citation, Palimpsest and Pastiche as Creative Tools 5 FRIDAY 9 OCTOBER 08:30 – Centre Pompidou and IRCAM • Welcome desk and registration • Coffee Centre Pompidou, Petite Salle 09:00–09:30 14:00–15:00 Composition 2: Renaissance Liveness and the Studio 1: Chair: William Kinderman Popular Music (University of Illinois at Urbana-Champaign) Chair: Olivier Julien (Université Paris-Sorbonne) Jessie Ann Owens Alessandro Bratus Cipriano de Rore’s Setting of Petrarch’s Vergine Jimi Hendrix’s ‘Fire’ from Studio to Live, and Back: Cycle and the Creative Process The Song as a Work in Progress Julie Mansion-Vaquié 09:30–11:00 Création et re-création, les enjeux du changement Composition 3: de support Early 20th-Century Chair: William Kinderman 15:00–16:00 (University of Illinois at Urbana-Champaign) Moving Bodies Maureen Carr Chair: Jonathan Cross (University of Oxford) Igor Stravinsky’s Compositional Process Mark Wraith for Duo Concertant (1931–32) The Body in the Composition and Performance François Delecluse of Art Music Comment Debussy réinvente-t-il les opérateurs Irina Kirchberg de la modernité ? Modèles, figures et modernité Opter pour les bonnes « notes » en natation dans la composition de la Sonate pour violoncelle et synchronisée : conséquences pratiques et piano de Claude Debussy : l’exemple de la stylistiques « S é ré n a d e » Alexandre Robert Analyser la sociogenèse d’une manière d’écrire 16:00–16:15 singulière : l’exemple de l’écriture improvisatrice Pause chez Déodat de Séverac 16:15–17:45 11:00–11:15 Collaboration 1: Duos Pause Chair: Pierre-Michel Menger (Collège de France) Nicolas Donin 11:15–12:30 Sur les rôles de Heinz Holliger dans la genèse Roundtable 1 de la Sequenza VII de Luciano Berio Friedemann Sallis Emily Payne Historically informed? The creative consequences Music Sketches (2015) of period
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