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Les Enjeux De L'archivage Du Son Dans Les Jeux Vidéo

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Les Enjeux De L'archivage Du Son Dans Les Jeux Vidéo Mémoire de recherche / septembre 2018 Parcours – archives numériques Mention – sciences de l’information et des bibliothèques Domaine - sciences humaines et sociales Diplôme national de master Responsable du dépôt légal – Bibliothèque nationale ClémentSous Oury de direction la de France Fanny REBILLARD les jeux vidéo Les enjeux de l'archivage du son dans Remerciements De nombreuses personnes ont permis l'élaboration de ce mémoire. Dans tous les cas, j'ai eu la chance de pouvoir me reposer sur l'aide et les conseils de nombreux professionnels ainsi que des amis auxquels j'aimerais rendre hommage. Tout d'abord, je tenais à remercier monsieur Clément Oury, pour avoir accepté de diriger ce mémoire, pour son oreille attentive, sa confiance et ses conseils tout au long de l'année. Viennent ensuite ceux qui ont accepté de me rencontrer, ou qui m'ont consacré leur temps pour répondre à mes questions : Joseph Redon (Game Preservation Society), Vincent Dortel (Rocksteady), Serge Lemouton (IRCAM), Romain Dasnoy (Wayô Records, Overlook Events), Sebastian Wolff (Materia Collective) et Alberto José González (Abylight). Ma reconnaissance va également à ces personnes, dont la rencontre n'a pas donné lieu à des entretiens retranscrits, mais qui m'ont été d'une grande aide au cours de ma réflexion et ont su m'aiguiller sur les pistes à explorer : Philippe Dubois (MO5), Yann Geslin (INA-GRM), Olivier Cassou (AbandonWare), et Bertrand Brocard (CNJV). Mais j'aimerais aussi saluer certains de mes collaborateurs et de mes amis, professionnels et passionnés de la musique de jeux vidéo, qui ont, au fil de discussions privées, répondu à de nombreuses questions, apporté de l'eau à mon moulin grâce à leur culture insondable, et donné leurs précieux avis sur mes réflexions : Maël Guérin, Jérémie Kermarrec, Damien Mecheri, Alexandre Cheremetieff, François Renou, et toutes les autres personnes ayant souhaité rester anonymes. Toute ma reconnaissance va également à mes anciens professeurs en musicologie, Évelyne Gayou (INA-GRM), et Mikhail Malt (IRCAM), pour m'avoir insufflé, il y a plusieurs années déjà, mon intérêt pour les musiques mixtes et contemporaines, ainsi que pour leur préservation. Aujourd'hui, en particulier, je les remercie pour l'attention qu'ils ont portée à ce projet, et les portes qu'ils m'ont ouvertes en me renvoyant vers leurs collègues. Je tenais également à remercier ma camarade de promotion, Fanny Brochier pour son soutien, sa passion pour le jeu vidéo et les archives, et pour m'avoir proposé de faire le voyage en Bourgogne pour aller visiter le CNJV. Merci aussi à Saori Yamane pour son aide à la correction de la traduction sur le texte de fin. Enfin, je voulais remercier ma famille, et particulièrement ma mère, Françoise Hausfater, pour avoir pris le temps et la patience de relire et corriger ma première partie, ainsi que Julien Goyon pour son soutien quotidien, ses contributions et ses relectures. REBILLARD Fanny | M2 ARN | Mémoire| 09/2018 - 3 - Résumé : Le but de ce mémoire est d'expliquer les enjeux de l'archivage du son dans les jeux vidéo. Pour ce faire, il s'appuie sur une étude des particularités techniques et culturelles de la musique de jeux vidéo, mais également sur une explication des enjeux d'archivage plus généraux liés à la musique. Après une comparaison avec les expériences menées dans le cadre de l'archivage des musiques mixtes et interactives, le mémoire conclut sur une études des pratiques culturelles autour de la musique de jeux, et particulièrement sur les projets d'archivage à un niveau amateur. Descripteurs : jeux vidéo, musique, interactivité, archives numériques, temps-réel, communautés en ligne Abstract : This essay explains the stakes in video game sound archiving. To do so, it relies on video game music technical and cultural specificities, and also on explaination of archiving issues concerning music in a general matter. After a comparison with digital preservation projects regarding both interactive and mixed music, this essai ends with a study of the cultural outreaches of video game music, and especially of archiving projects in the non-professional sphere. Keywords : videogames, music, interactivity, digital archives, real-time, online communities Droits d’auteurs Cette création est mise à disposition selon le Contrat : Paternité-Pas d'Utilisation Commerciale-Pas de Modification 4.0 France disponible en ligne http://creativecommons.org/licenses/by-nc-nd/4.0/deed.fr ou par courrier postal à Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA. REBILLARD Fanny | M2 ARN | Mémoire| 09/2018 - 4 - Sommaire SIGLES ET ABRÉVIATIONS....................................................................................7 INTRODUCTION..........................................................................................................9 PARTIE 1 : SON ET JEUX VIDÉO.........................................................................11 1. Introduction générale sur les jeux vidéo........................................................11 1.1 Définition des jeux vidéo................................................................................11 1.2 Un contexte légal et culturel particulièrement complexe...........................16 1.3 Le jeu vidéo : diversités des approches........................................................28 2. La musique de jeux, un élément protéiforme................................................31 2.1 Du code à l'enregistrement : restrictions, enrichissements et mutations..31 2.2 Définition du “Sonore” dans un jeu : quand musique et bruitages se mêlent.....................................................................................................................33 2.3 L’interactivité : une notion complexe à l’épreuve du temps.......................35 PARTIE 2 : LES ENJEUX DE L'ARCHIVAGE DU SON ET DU JEU VIDÉO .........................................................................................................................................43 1. Archivage numérique, archivage de la musique...........................................43 1.1 Les enjeux de l'archivage numérique............................................................43 1.2 Les jeux vidéo et les archives.........................................................................50 1.3 Les problèmes fondamentaux de l’archivage de la musique......................54 2. Évolutions des problématiques à l'ère numérique........................................63 2.1 De nouvelles couches de langage..................................................................64 2.2 De nouveaux paramètres acoustiques...........................................................65 2.3 Les statuts d'auteur et d'interprète remis en question.................................67 PARTIE 3 : INITIATIVES ET POSSIBILITÉS....................................................71 1. Des liens avec les musiques expérimentales...................................................71 1.1 Un contexte technique et technologique semblable.....................................72 1.2 Les enjeux de conservation des musiques mixtes, interactives et électroacoustiques.................................................................................................73 2. Expérimentations et acteurs dans le domaine de l'archivage de la musique.....................................................................................................................77 2.1 Le projet GAMELAN.......................................................................................77 2.2 Retour d'expérience à l'IRCAM.....................................................................79 3. Du côté du jeu vidéo : des initiatives pré-existantes....................................82 3.1 Un travail éditorial riche autour de l’édition de musique..........................83 3.2 L'expérience des professionnels .................................................................103 3.3 Une participation communautaire et amatrice forte.................................106 CONCLUSION...........................................................................................................117 SOURCES...................................................................................................................123 BIBLIOGRAPHIE.....................................................................................................129 ANNEXES...................................................................................................................133 GLOSSAIRE...............................................................................................................167 INDEX..........................................................................................................................169 TABLE DES ILLUSTRATIONS............................................................................177 REBILLARD Fanny | M2 ARN | Mémoire| 09/2018 - 5 - TABLE DES MATIÈRES........................................................................................179 REBILLARD Fanny | M2 ARN | Mémoire| 09/2018 - 6 - Sigles et abréviations ASTREE : Analyse et Synthèse de Traitements Temps Réel ADPCM : Adaptative Differential Pulse Code Modulation BnF : Bibliothèque nationale de France CAO : Composition Assistée par Ordinateur CASPAR : Cultural, Artistic and Scientific knowledge Preservation for Access and Retrieval CNJV : Conservatoire National du Jeu Vidéo DRM : Digital Right Management EDM : Electronic Dance Music GAMELAN : Gestion et Archivage de la Musique et de l'Audio
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