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Cahiers D'ethnomusicologie, 1 Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 1 | 1988 De bouche à oreille Édition électronique URL : http://journals.openedition.org/ethnomusicologie/2290 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 1 janvier 1988 ISBN : 2-8257-0159-9 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 1 | 1988, « De bouche à oreille » [En ligne], mis en ligne le 15 août 2011, consulté le 06 mai 2019. URL : http://journals.openedition.org/ethnomusicologie/2290 Ce document a été généré automatiquement le 6 mai 2019. Article L.111-1 du Code de la propriété intellectuelle. 1 Ce premier dossier aborde le thème de la transmission de la musique, processus souvent ébranlé dans ses fondements mêmes par les transformations radicales de l'environnement socio-culturel. Dans la multiplicité de ses modalités, cette transmission met en évidence des méthodes d'apprentissage qui sont en soi révélatrices des structures sociales propres à chaque culture. Dans ce premier volume également, un hommage est rendu à l'ethnomusicologue français Pierre Sallée, récemment décédé. Les deux entretiens qui lui font suite présentent deux personnalités marquantes de l'ethnomusicologie: l'africaniste Gilbert Rouget et le musicien japonais Tomiyama Seikin, maître du shamisen. Enfin, une rubrique permanente est réserevée aux comptes rendus de publications récentes. Cahiers d’ethnomusicologie, 1 | 1988 2 SOMMAIRE Editorial Dossier Chants individuels et chants collectifs chez les Kaiapô du Brésil central Gustaaf Verswijver Rythmes de passage chez les Touaregs de l’Azawagh (Niger) François Borel L’enseignement de la musique arabo-andalouse à Fès Marc Loopuyt La tradition orale dans le chant grégorien Jacques Viret Tradition - trahison ? Réflexions sur trois ballades et trois comptines recueillies au Tessin Pietro Bianchi Grèce antique et Grèce moderne Samuel Baud-Bovy La formation du lǎutar roumain Speranţa Rǎdulescu Conservation et transmission dans les traditions musicales du Moyen-Orient Les données nouvelles Jean During Modèles d’imprégnation musicale en Afghanistan John Baily et Veronica Doubleday L’art de l’imitation et l’imitation de l’art La musique de l’Inde du Nord et sa transmission en Occident Huib Schippers L’enseignement de la musique carnatique et son évolution Jean-Paul Auboux Une dynastie de musiciens vietnamiens Tràn Quang Hai « L’air du roi Wen » et « l’immortel des eaux » Aspects de la musique des lettrés chinois Georges Goormaghtigh Hommage Pierre Sallée Une vie en musique Monique Brandily Cahiers d’ethnomusicologie, 1 | 1988 3 Richesse et diversité Les musiques traditionnelles d’Afrique et leurs instruments Pierre Sallée Entretiens ... Avec Gilbert Rouget François Borel ... Avec Tomiyama Seikin Tokumaru Yoshihiko Comptes rendus Livres Simha Arom. Polyphonies et polyrythmies instrumentales d’Afrique centrale. Structure et méthodologie 2 volumes. Ethnomusicologie 1. SELAF, 5 rue de Marseille, 75010 Paris, 1985, 905 p. Laurent Aubert Regula Burckhardt Qureshi. Sufi Music of India and Pakistan. Sound, context and meaning in Qawwali 1 volume accompagné d’une cassette enregistrée. Cambridge Studies in Ethnomusicology. Cambridge University Press, 1986, 265 p. Laurent Aubert Patrick Moutal. Hindusthānī Rāga Sangīta. Une étude de quelques mécanismes de base Ouvrage publié avec le concours du Centre d’études de musique orientale (tirage limité). Paris, 1987, 178 p. Laurent Aubert Steven Feld. Sound and Sentiment. Birds, Weeping, Poetics, and Song in Kaluli Expression University of Pennsylvania Press, Philadelphia, 1982, 264 p. Isabelle Schulte-Tenckhoff Lucie Rault-Leyrat. La cithare chinoise zheng, un vol d’oies sauvages sur les cordes de soie... Editions du Léopard d’Or, Paris, 1987, 283 p. André Berger En marge Les ateliers d’ethnomusicologie se présentent Laurent Aubert Cahiers d’ethnomusicologie, 1 | 1988 4 Editorial 1 A plus d’un égard, cette fin de siècle apparaît comme une période de récapitulation. Aucune autre époque n’a jamais offert un tel luxe d’informations, dans quelque domaine que ce soit. La musique n’est pas restée étrangère à ce phénomène : jamais le goût musical n’a pu jouir d’une telle latitude de choix, jamais le discours sur la musique n’a été aussi fécond. Mais ce privilège n’est-il pas lié aux besoins d’une culture désorientée, en quête de nouveaux modèles d’identification ? 2 La technologie audio-visuelle a de toute évidence largement contribué à la diffusion et à l’appréciation de pratiques musicales originellement réservées à l’usage interne de groupes sociaux déterminés. De même, la multiplication des publications à caractère musicologique a fourni de nombreuses clés nécessaires à une meilleure évaluation des musiques du monde. 3 Pour la plupart en anglais, des revues spécialisées offrent aux ethnomusicologues la possibilité de confronter régulièrement les résultats de leurs recherches. Mais à ce jour, aucune tribune francophone à vocation internationale n’a réussi à s’imposer de façon durable, et les articles écrits en français paraissent soit en traduction, soit disséminés dans des périodiques d’intérêt général ou consacrés à des sciences voisines. Cet éparpillement de la littérature ne favorise guère une bonne diffusion dans les milieux concernés. C’est pourquoi les Ateliers d’ethnomusicologie de Genève ont décidé de créer cette revue, afin de susciter et de rassembler de tels travaux. Par la publication d’articles inédits ou inaccessibles, les Cahiers de musiques traditionnelles visent à offrir un outil destiné en priorité aux ethnomusicologues francophones, sans exclure le concours de ceux s’exprimant en d’autres langues. Toutefois, les Cahiers de musiques traditionnelles n’entendent pas se limiter à une approche purement ethnomusicologique, et leurs colonnes sont ouvertes à des auteurs venant d’autres horizons, dans la mesure où leur contribution correspond à l’orientation générale de la revue. 4 Avec une périodicité annuelle, les Cahiers de musiques traditionnelles envisagent de consacrer chaque numéro à un thème particulier. Intitulé « De bouche à oreille », le premier dossier aborde celui de la transmission de la musique, processus souvent ébranlé dans ses fondements mêmes par les transformations radicales de l’environnement socio- culturel. Cahiers d’ethnomusicologie, 1 | 1988 5 5 Dans ce premier numéro également, un hommage important est rendu par Monique Brandily à l’ethnomusicologue français Pierre Sallée, récemment décédé. Les deux entretiens qui lui font suite présentent deux personnalités marquantes : l’africaniste Gilbert Rouget et le musicien japonais Tomiyama Seikin, un des maîtres actuels du shamisen. Enfin, une rubrique permanente est réservée aux comptes rendus de publications récentes. 6 La création d’une nouvelle revue est une aventure dont on n’imagine a priori ni les difficultés, ni les satisfactions. En effet, sa réussite n’est qu’en partie du ressort de ses initiateurs, et ceux-ci restent constamment dépendants du savoir, du talent et de la bonne volonté de nombreux collaborateurs, réguliers ou occasionnels. A ce propos, le Comité de rédaction tient à remercier ici tous les auteurs qui ont bien voulu lui témoigner leur confiance en contribuant à ce premier numéro des Cahiers de musiques traditionnelles. La Rédaction Cahiers d’ethnomusicologie, 1 | 1988 6 Dossier Cahiers d’ethnomusicologie, 1 | 1988 7 Chants individuels et chants collectifs chez les Kaiapô du Brésil central Gustaaf Verswijver Traduction : Isabelle Schulte-Tenckhoff 1 Il y a actuellement plus de trois milles Indiens Kaiapô établis dans treize villages. Les Kaiapô appartiennent à la branche septentrionale du groupe linguistique Gê. Traditionnellement, les Gê du nord occupaient une vaste région au Brésil central, et ils partagent de nombreux traits sociaux et linguistiques. 2 Les Kaiapô connaissent une panoplie de chants, mais peu d’anthropologues se sont intéressés jusqu’ici à leur musique, voire même à celle des Gê en général1. Sans être moi- même ethnomusicologue, je me propose ici de donner un aperçu de la musique vocale des Kaiapó, centré sur une typologie des chants, y compris leurs modes de transmission. Parallèlement, j’évoquerai la manière dont émergent de nouveaux chants. Enfin je donnerai, chaque fois que ceci est possible, la transcription littéraire d’un chant illustrant chaque type retenu. L’ensemble de ces observations est basé sur mes enquêtes de terrain menées chez les Kaiapó entre 1974 et 19812. 3 Sans être exhaustive, la série de chants kaiapó présentée dans ces pages comprend la majorité des chants normalement interprétés. Pour mieux comprendre certains points soulevés en cours de démonstration, il est utile de passer brièvement en revue les principaux aspects de la vie rituelle des Kaiapó. A propos des rites kaiapó 4 Traditionnellement, les villages kaiapó consistent en un cercle de maisons se dressant à intervalles réguliers autour d’une grande place centrale. Le centre du village kaiapó est marqué par la maison des hommes où les associations masculines se réunissent tous les jours3. Cahiers d’ethnomusicologie, 1 | 1988 8 5 Le village représente le centre de l’univers kaiapó : c’est l’espace socialisé par excellence. La forêt alentour est considérée comme un univers non social peuplé d’êtres mi-hommes mi-animaux, où les humains risquent de se muer en animaux ou en esprits, de devenir fous et de tuer un membre de leur parenté. Plus on s’éloigne du village, plus ces dangers sont une réalité et plus la forêt devient non sociale.
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