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Campeau Roxane 2012 Memo Université de Montréal Musiquer : Plaidoyer évolutionniste transdisciplinaire par Roxane Campeau Faculté des Études Supérieures et Postdoctorales Mémoire présenté à la Faculté des Études Supérieures et Postdoctorales en vue de l’obtention du grade de M.A. Maîtrise individualisée Avril 2012 © Roxane Campeau, 2012 Université de Montréal Faculté des études supérieures et postdoctorales Ce mémoire intitulé : Musiquer : plaidoyer évolutionniste transdisciplinaire Présenté par : Roxane Campeau a été évalué par un jury composé des personnes suivantes : Daniel Laurier, président-rapporteur Michel Seymour, directeur de recherche Isabelle Peretz, membre du jury i RÉSUMÉ Le sujet prend appui sur une hypothèse : à l’origine, la musique est un phénomène culturel et biologique, social (et donc pas privé) et communautaire (et donc pas individuel). Les travaux de plusieurs théoriciens évolutionnistes du langage et/ou de la musique étayent l’hypothèse selon laquelle l’objet de la musique dépasse l’opposition nature-culture. Quelle est alors l’influence de ces caractéristiques sur l’apparition de la musicalité ou d’une faculté de musique ? Pour avancer dans notre réflexion, nous mesurons la contribution des recherches sur les amusies quant à la question des origines de la musique. Par la suite, nous étudions le rapport entre l’intentionnalité et l’évolution de la musique. Nous nous concentrons sur la nature sociale du phénomène musical, puis proposons l'intégration de la caractérisation biologique et sociale de la musique dans une conception institutionnelle et communautaire. Ainsi fondée philosophiquement, notre hypothèse de départ devient le véhicule du dépassement disciplinaire convoité. Enfin, certaines options proposées par différents auteurs décrivant la contribution de la musique au développement de réseaux neuronaux à la propriété miroir sont évoquées. Et nous tentons de répondre à cette question, inévitable : la musique peut-elle, étant donné son caractère irréductiblement culturel, social et communautaire, entretenir des connexions neuronales? Nous examinons notamment à cette fin les implications de la théorie du chaos et des résultats des simulations informatiques multi-agents. Mots-clés : Philosophie, musique, langage, neurones miroirs, évolution, transdisciplinarité ii ABSTRACT The subject is based on an assumption: originally, the music is a cultural and a biological phenomenon, it is social (and not private) and institutional (and not individual). Several evolutionary theorists of language and/or music support the hypothesis that the purpose of language/music is beyond the opposition between nature and culture. Assuming those characteristics, then what is their influence on the development of musicality or of a faculty of music? To advance our thinking, we point out researches on the musical brain. Precisely, we evaluate the contribution of researches on amusia to the question of the origin of music. Subsequently, we study the relationship between intentionality and the evolution of music. Then, we focus on the social nature of the musical phenomenon, and propose to integrate social and biological characterization of music in a community and institutional conception. From then on, our assumption is philosophically founded and we assume that it can be an appropriate vehicle to exceed the disciplinary’s limits. Finally, we present some options proposed by different authors describing the contribution of music to the development of neural networks with a “mirror” property. Then, we try to answer this inevitable question: can music, given its irreducibly cultural, social and institutional characteristics, maintain neural connections? About this part, we examine the implications of chaos theory and the results of computer simulations. Keywords: Philosophy, music, language, mirror neurons, evolution, transdisciplinarity iii TABLE DES MATIÈRES RÉSUMÉ ................................................................................................................................ I ABSTRACT ............................................................................................................................ II TABLE DES MATIÈRES .......................................................................................................... III LISTE DES TABLEAUX ........................................................................................................... V LISTE DES FIGURES ............................................................................................................. VI REMERCIEMENTS .............................................................................................................. VII INTRODUCTION .................................................................................................................... 1 CHAPITRE UN ..................................................................................................................... 11 AMUSIES .................................................................................................................................. 12 MODULARITÉ ............................................................................................................................ 18 MUTATION OU ADAPTATION? ....................................................................................................... 23 CHAPITRE DEUX ................................................................................................................. 31 INTENTION ET VOCALISATIONS ...................................................................................................... 33 ÉMOTION ET SÉMANTIQUE ........................................................................................................... 40 ÉMOTION ET COMPRÉHENSION ..................................................................................................... 47 CHAPITRE TROIS ................................................................................................................. 55 ENGAGEMENT COLLECTIF ............................................................................................................. 56 CORDON MUSICAL ...................................................................................................................... 60 PLAISIR MUSICAL ........................................................................................................................ 65 MUSIQUE SYNCHRONISÉE ............................................................................................................ 68 CHAPITRE QUATRE ............................................................................................................. 71 RÈGLES .................................................................................................................................... 72 Règles constitutives et règles normatives ........................................................................ 74 iv CONVENTIONNALISME ................................................................................................................. 80 Conventions ...................................................................................................................... 81 De l'image à l'usage ......................................................................................................... 84 MOLÉCULARISME ....................................................................................................................... 86 CHAPITRE CINQ .................................................................................................................. 95 CATÉGORIES INFRUCTUEUSES ........................................................................................................ 97 Objet de culture ................................................................................................................ 99 Objet de nature .............................................................................................................. 102 AMALGAME THÉORIQUE ............................................................................................................ 104 Chaos et saillance ........................................................................................................... 106 Simulations et fréquence ................................................................................................ 110 NEURONES MIROIRS ................................................................................................................. 117 Description ...................................................................................................................... 118 Perception et Action ....................................................................................................... 121 CONCLUSION ................................................................................................................... 126 TRANSDISCIPLINARITÉ................................................................................................................ 127 MUSIQUE ET CERVEAU .............................................................................................................. 131 BIBLIOGRAPHIE ................................................................................................................ 135 v LISTE DES TABLEAUX TABLEAU 1: NOMENCLATURE DES AMUSIES ....................................................... 14 TABLEAU 2: NOMENCLATURE DES NEURONES MIROIRS (NM) .......................... 120 vi LISTE DES FIGURES FIGURE 1: ORGANIGRAMME DE
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