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Cahiers D'ethnomusicologie, 11 Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 11 | 1998 Paroles de musiciens Édition électronique URL : http://journals.openedition.org/ethnomusicologie/673 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 1 janvier 1998 ISBN : 2-8257-0639-6 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 11 | 1998, « Paroles de musiciens » [En ligne], mis en ligne le 14 décembre 2011, consulté le 06 mai 2019. URL : http://journals.openedition.org/ethnomusicologie/673 Ce document a été généré automatiquement le 6 mai 2019. Tous droits réservés 1 Comment les musiciens témoignent-ils verbalement de leur pratique vocale ou instrumentale ? Que disent-ils de la musique qu'ils jouent ? Quelle valeur et quelle signification donnent-ils à leur pratique ? Dans quel cadre s'inscrit-elle pour eux ? Et encore, quels discours font ceux qui, dans une culture donnée, réfléchissent au pourquoi et au comment de la création artistique : théoriciens, philosophes, esthètes, poètes ?... Quelles sont les dimensions cognitives et extramusicales de la musique ? En un mot, comment les musiciens pensent-ils la musique ? Tel est le thème de ce dossier, qui nous offre un état de la question à travers une série d'études de cas représentatifs de régions aussi différentes que le désert de Namibie, le Tchad, le Maroc, le Pays basque, la Bretagne, la Sardaigne, la Silésie, l'Afghanistan, le Tibet, la Chine et l'Australie. Fondés à Genève en 1988 dans le cadre des Ateliers d'ethnomusicologie, les Cahiers de musiques traditionnelles proposent à leurs lecteurs une publication annuelle. Chaque ouvrage est centré sur un dossier thématique, complété par des rubriques d'intérêt général : entretiens, portraits et comptes rendus. Cahiers d’ethnomusicologie, 11 | 1998 2 SOMMAIRE Dossier : Paroles de musiciens Quand dire, c’est faire Monique Brandily Nommer, narrer, commenter Manières de dire la musique selon les Bochimans Ju|’hoansi (Namibie) Emmanuelle Olivier Des Andes au Pays Basque Discours de musiciens et chanteurs sur leur pratique Raphaël Parejo Terminologie vernaculaire du chant et discours de spécialité en Basse-Bretagne (XIXe-XXe siècles) Hervé Rivière Le chant et ses raisons Pratiques passionnelles à Castelsardo (Sardaigne) Bernard Lortat-Jacob Propos des musiciens montagnards du Beskide silésien (Pologne) Aurélia Domaradzka Barbier L’eau et le feu Discours croisés de deux maîtres de musique Marc Loopuyt Discours sur la musique à Hérat (Afghanistan) John Baily Du son au chant vocalisé La terminologie tibétaine à travers les âges (VIIIe au XXe siècle) Mireille Helffer Propos de quatre auteurs chinois sur le qin Georges Goormaghtigh Et quand ils n’en disent rien ?… Udo Will Entretien Être dedans ou être dehors Entretien avec Jean During Sylvie Le Bomin et Jean During Cahiers d’ethnomusicologie, 11 | 1998 3 Hommage Eric de Dampierre, un ethnologue passionné de musique In memoriam Marc Chemillier Hommage à Munir Bashir L’art du Maqâm Entretien avec Munir Bashir réalisé à Genève le 19 mars 1977 Laurent Aubert Munir Bashir, l’homme Chérif Khaznadar « Le musicien de la sagesse » ou le magicien du ‘ûd Autour d’une autobiographie Simon Jargy Cahiers d’ethnomusicologie, 11 | 1998 4 Travaux récents Thèses d’ethnomusicologie en français Jérôme CLER, Musique et Musiciens de Villages en Turquie méridional Thèse de doctorat de l’Université de Paris X-Nanterre soutenue le 12 janvier 1997 Aurélia DOMARADZKA BARBIER, Le folklore musical polonais : la Silésie Thèse de doctorat de l’Université Lumière Lyon 2, soutenue le 22 octobre 1997 Philippe DONNIER, La musique flamenca : composition et structure Thèse de doctorat de l’Université de Paris X-Nanterre soutenue le 30 novembre 1996. Nathalie JACQUEMART, Transmission et techniques d’apprentissage d’un savoir traditionnel : étude ethnolinguistique et ethnomusicologique de la musique de gamelan Thèse de doctorat de l’Université de Paris V-René Descartes, soutenue le 17 décembre 1997 Marie-Barbara LE GONIDEC, Le beau berger et sa flûte de miel: Les instruments de musique pastoraux dans les chants traditionnels bulgares Thèse de doctorat de l’Université de Paris X-Nanterre soutenue le 1er décembre 1997 Dana RAPPOPORT, Musiques rituelles des Toraja Sa’dan, musiques du Couchant, musiques du Levant (Célèbes-Sud, Indonésie) Thèse de doctorat de l’Université de Paris X-Nanterre soutenue le 10 mars 1997 Hervé ROTEN, Les traditions musicales judéo-portugaises en France : Bordeaux, Bayonne, Paris Thèse de doctorat de l’Université de Paris IV-Sorbonne, soutenue le 27 janvier 1997 Olivier TOURNY, Systématique de la musique liturgique des Juifs d’Ethiopie Thèse de doctorat de l’EHESS (Paris), soutenue le 1er juillet 1997 Philippe VIGREUX, La darbûka: histoire, organologie, ethnomusicologie d’un instrument de percussion Thèse de doctorat de l’université de ParisX-Nanterre soutenue le 14 novembre 1997 WU RUNG-SHUN, Le chant du Pasi but but chez les Bunun de Taiwan: une polyphonie sous forme de destruction et de recréation Thèse de doctorat de l’Université de Paris X-Nanterre soutenue le 12 décembre 1996 Habib YAMMINE, Les hommes des tribus et leur musique (Hauts-plateaux yéménites, vallée d’al Ahjur) Thèse de doctorat de l’Université de Paris X-Nanterre soutenue le 14 février 1996 Ameneh YOUSSEFZADEH, Les bardes bakhshi du Khorassan iranien Thèse de doctorat de l’Université de Paris X-Nanterre soutenue le 27 octobre 1997 Livres François BOREL, Marc-Olivier GONSETH, Jacques HAINARD, Roland KAEHR dir. : Pom pom pom pom, musiques et caetera Neuchâtel : Musée d’ethnographie, 1997. 294 p Denis-Constant Martin Cahiers d’ethnomusicologie, 11 | 1998 5 Gage AVERILL: A Day For The Hunter, A Day For The Prey. Popular Music And Power in Haiti Chicago: the University of Chicago Press, 1997, XXIX-276 p. Denis-Constant Martin Monique BRANDILY : Introduction aux musiques africaines [Paris] : Cité de la Musique ; Arles : Actes Sud, 1997. 157 p. François Borel Musiciens des rues de Paris Paris : Réunion des Musées Nationaux, 1997. 141 p Marie-Barbara Le Gonidec Poésies orales chantées en France. Travaux récents Yves Defrance Olivier DURIF : Musiques des monts d’Auvergne et du Limousin Collection Musiques du Monde. Paris : Cité de la Musique / Arles : Actes Sud, 1998. 157 p. Yves Defrance Antonello RICCI, Roberta TUCCI, I « canti » di Raffaele Lombardi Satriani. La poesia cantata nella tradizione popolare calabrese Lamezia Terme (CZ, Italie) Ricerche Musicali A.M.A. Calabria : 1997. 231 p. Serena Facci Jane C. SUGARMAN : Engendering Song. Singing and Subjectivity at Prespa Albanian Weddings Chicago: The University of Chicago Press, 1997. 396 p. Bernard Lortat-Jacob Jacques BOUËT (coord.) : Le récit chanté : portraits de haïdouks (tradition orale des bardes tsiganes de Valachie)Dialogue 22, Montpellier : Université Paul Valéry, 1992-1993 Speranţa Rǎdulescu Hervé ROTEN : Musiques liturgiques juives. Parcours et escales Paris : Cité de la musique / Arles : Actes Sud, 1998. Collection « Musiques du monde ». 174 p. Olivier Tourny Jean LAMBERT : La médecine de l’âme Nanterre : Société d’ethnologie, collection « Hommes et musiques » de la Société française d’ethnomusicologie II, 1997. 312 p. Miriam Rovsing Olsen Rollin RACHELE: Overtone Singing Study Guide Amsterdam: Cryptic Voices Productions, 1996. 127 p. Trân Quang Hai Disques Deux disques d’Afrique de l’ouest Vincent Zanetti Bardes de l’Himalaya. Epopées et Musique de Transe Textes et enregistrements de Franck Bernède. 1998 Riccardo Canzio Une édition d’enregistrements « ethnographiques » du Brésil Carlos Sandroni Cahiers d’ethnomusicologie, 11 | 1998 6 Film Un film sur le gwoka guadeloupéen Gilles Labarthe Rencontres L’art d’écouter et l’art de vendre Deux réunions sur le devenir des musiques du monde Laurent Aubert Cahiers d’ethnomusicologie, 11 | 1998 7 Dossier : Paroles de musiciens Cahiers d’ethnomusicologie, 11 | 1998 8 Quand dire, c’est faire When saying is doing Monique Brandily 1 Au premier abord, le projet de rendre compte de « ce que disent les musiciens » d’après les informations recueillies sur le terrain ne semble pas présenter de difficultés majeures. Pourtant, du moins dans mon matériel, cet angle d’approche a pour ainsi dire cristallisé la prise de conscience d’une attitude commune à de nombreux musiciens traditionnels avec lesquels j’ai travaillé en Afrique. Malgré d’importantes différences de comportement entre ceux qui appartiennent à des cultures sahariennes, sahéliennes ou encore soudaniennes, ils se rejoignent au moins sur un point : une sorte de répugnance à verbaliser ce qu’ils sentent, ce qu’ils savent au sujet de la musique et de leur propre pratique. On peut le constater jusque dans le domaine de l’apprentissage qui, au regard de l’approche conceptuelle qui est la nôtre, demeure le lieu par excellence du discours sur la musique. 2 Cela signifie-t-il que les musiciens sont incapables de s’exprimer verbalement ? Certes non, mais il est certain que leur réponse spontanée aux interrogations de ceux qui manifestent de l’intérêt pour leur musique consiste à montrer, à faire plutôt qu’à dire. Il faut donc les pousser dans leurs ultimes retranchements pour qu’ils s’expriment par des mots. Cela ne laisse pas d’être un peu surprenant venant d’un continent dominé par l’oralité. Mais n’est-ce pas le propre (et l’attrait) du travail ethnographique que de révéler ce à quoi l’enquêteur ne s’attendait pas ? 3 On trouvera donc ici quelques-uns des exemples concrets sur lesquels se fonde l’opinion émise ci-dessus, restant entendu qu’il faut y voir une simple illustration un peu impressionniste et, en aucun cas, une prétention quelconque à une démonstration. Sur les instruments 4 Dans ce domaine bien concret, on pourrait se croire à l’abri des réticences ; et pourtant, même ce terrain est semé de chausse-trapes. Cahiers d’ethnomusicologie, 11 | 1998 9 5 Dans certains cas, le motif de la rétention d’informations est évident. Ce sont les situations dans lesquelles, pour toute une catégorie d’instruments liés au sacré, les intéressés sont tenus au secret le plus rigoureux par la plupart des religions traditionnelles de l’Afrique subsaharienne.
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