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Pdf-Preview.Pdf TACET EXPERIMENTAL MUSIC REVIEW L’EXPÉRIMENTATION EN QUESTION – EXPERIMENTATION IN QUESTION Dossier dirigé par | Issue edited by Matthieu Saladin OURS | MASTHEAD Comité de rédaction | Editorial board Directeur de publication | Publishing director Secrétaire de rédaction | Editorial secretary Fabien Simon Xavier Hug Directeur de rédaction | Editor-in-chief Conseiller de rédaction | Editorial adviser Matthieu Saladin Nicolas Debade Comité de lecture | Advisory board Noël Akchoté, Musicien Tom Johnson, Compositeur Virginia Anderson, University of Nottingham Jérôme Joy, Ecole Nationale Supérieure d’Art de Pierre Bal-Blanc, CAC Brétigny Bourges - Locus Sonus Jean-Yves Bosseur, C.N.R.S. Guillaume Loizillon, Université Paris VIII Pierre-Albert Castanet, Université de Rouen Olivier Lussac, Université de Metz Luciano Chessa, San Francisco Conservatory of Christophe Kihm, Haute Ecole d’Art et de Design, Music Genève Jean-Marc Chouvel, Université de Reims Geneviève Mathon, Université de Paris-Est Marne- Champagne-Ardenne la-Vallée Christoph Cox, Hampshire College, Massachusetts Costin Miereanu, Université Paris I Panthéon- Diedrich Diedrichsen, Akademie der Bildenden Sorbonne Künste Wien Jérôme Noetinger, Responsable de Métamkine, Elie During, Université de Nanterre - Paris X musicien Barry Esson, Arika, Edinburgh Jacques Oger, Responsable du label Potlatch REMERCIEMENTS | ACKNOWLEDGMENTS Yvan Etienne, Haute École des Arts du Rhin Michael Pisaro, California Institute of the Arts Bastien Gallet, Ecole Nationale des Beaux-Arts de Philippe Robert, Critique musical Nous tenons à remercier chaleureusement pour leur participation et leur Lyon Philipp Schmickl, Universität Wien soutien | We warmly thank for their collaboration and help : Bruno Bossis, Bertrand Gauget, Haute École des Arts du Rhin Makis Solomos, Université de Paris VIII Carlotta Daro, Denis Boyer, Benoît Delaune, Stéphane Dorin, José Luis Michel Henritzi, Critique musical, musicien Peter Szendy, Université de Nanterre - Paris X Espejo, Rob Haskins, Fabien Hein, Aitor Izagirre, Guillaume Kosmicki, Patrick Javault, Critique d’art et commissaire Dan Warburton, Critique musical, musicien Ziad Kreidy, Irmeline Lebeer, Christophe Migone, Marie-Cécile Miessner, d’exposition Daniel Warner, Hampshire College, Massachusetts Yannick Miossec, Joachim Montessuis, Max Noubel, Emmanuel Parent, David Patterson, Kathryn Pisaro, Peter Sinclair, Jedediah Sklower. Tacet est un projet éditorial imaginé et mis en œuvre par le Festival Direction artistique & mise en page | Couverture intérieure | Inside cover Météo – Mulhouse Music Festival Art director & Layout David Tudor, Performance patch diagram for Guerillagrafik Untitled (Homage to Toshi Ichiyanagi), 1972. © Estate of David Tudor Iconographie | Iconography Xavier Hug Relecture | Proofreading Jacques Boivent, Marie Boivent, Xavier Hug, Dessin de couverture | Cover design Matthieu Saladin, Nicolas Debade Bill Kouligas Cette revue a été publiée avec l’aide de la Ville de Mulhouse et de la DRAC Alsace | This publication has been made possible with the Le comité de lecture est composé de personnalités dont l’activité est liée aux generous support of the following: Ville de Mulhouse and DRAC Alsace champs de pensée de TACET. Ils ont accepté d’être sollicités pour relire et évaluer les contributions proposées à la revue. Ils ne sauraient être tenus pour responsables de la ligne éditoriale de celle-ci au-delà de cette fonction, lorsqu’ils l’exercent. The advisory board is composed of individuals whose activities are related to the fields of TACET. They agreed to be asked to read and evaluate the contributions submitted to the journal. They can not be held responsible for the editorial line beyond this function, when they exercise it. SOMMAIRE TABLE OF CONTENTS 006 Matthieu Saladin, L’expérimentation comme questionnement 006 Matthieu Saladin, Experimentation As Questioning [FLUX] [FLUX] Pluralisme historique de l’expérimentation Historical Pluralism of Experimentation 022 Pauline Nadrigny, La musique expérimentale selon Pierre Schaeffer, 023 Pauline Nadrigny, Experimental Music According to Pierre Schaeffer: l’expérience phénoménologique à l’épreuve du laboratoire Phenomenology Laboratory Conditions 058 You Nakai, Informations perdues : quelques perspectives sur les «actions 059 You Nakai, Lost Informations: Selected Perspectives on ‘Experimental Actions’ expérimentales» (1948-1972) (1948-1972) 094 Johan Girard, L’expérimentation par la bande : Terry Riley et Steve Reich 095 Johan Girard, Experimenting on Tape: Terry Riley and Steve Reich Respond face à la poétique de l’indétermination to the Poetics of Indeterminacy Expérimenter l’expérience Experimenting With Experience 126 Sébastien Biset, Expérimentale ou expérientielle ? Perspectives exploratoires et 127 Sébastien Biset, Experimental or Experiential? Exploratory Perspectives and tactiques d’une musique pensée comme expérience Tactics for Music Conceptualized As Experience 154 François Bonnet & Gérard Pelé, Experimentum, note sur l’essai, l’épreuve, 155 François Bonnet & Gérard Pelé, Experimentum, Notes on Trials, Tests and l’expérience Experiments 174 Pierre Hemptinne, L’écoute expérimentale et l’onde de choc 175 Pierre Hemptinne, Experimental Listening and the Shock Wave 196 Samon Takahashi, Hors-faces. Expérimentations sur supports discographiques 197 Samon Takahashi, Out-siders. Experiments on the vinyl medium Logiques inactuelles Unaccomplished Logics 248 Sarah Benhaïm, L’expérimentation noise : en( )quête de liberté 249 Sarah Benhaïm, Noise experimentation: Re(the)search for Freedom 284 James Whitehead, Deux expériences 285 James Whitehead, Two Experiments 316 Josselin Minier, The Movement of zero and one made audible : le click et 317 Josselin Minier, The Movement of Zero and One Made Audible: the Click and the le simulacre cinétique de la musique numérique Kinetic Simulation of Digital Music 348 Julien Ottavi, Étendue sonore et ubiquité sensible : le champ de l’écoute 349 Julien Ottavi, Sound scope and sensory ubiquity: The networked field of listening et l’expérimentation audio en réseau and audio experimentation Documents Documents 380 George Brecht, L’origine des « Events » 381 George Brecht, The Origin of ‘Events’ 386 Inventaire d’une Water Yam 386 A Water Yam’s Inventory [INFLUX] [INFLUX] 402 Branden W. Joseph, De la musique expérimentale à la musique expérientielle : 403 Branden W. Joseph, From Experimental to Experiential Music: Reflections on réflexions sur Bruits, de Jacques Attali Jacques Attali’s Noise 422 Ghédalia Tazartès, La musique est mystique ou n’a pas de sens 423 Ghédalia Tazartès, All Music Is Mystical or Has No Precise Meaning 442 Miguel Prado Casanova, Évacuation géotraumatique de la voix 443 Miguel Prado Casanova, Geotraumatic Evacuation of the Voice 474 Jim Haynes, De l’effet de déclin 475 Jim Haynes, On the Decline Effect 486 Taku Sugimoto, Logique et notation 487 Taku Sugimoto, Logic and Notation [REFLUX] [REFLUX] 504 Steve Goodman, Sonic Warfare, par Catherine Guesde 505 Steve Goodman, Sonic Warfare, by Catherine Guesde 514 Benjamin Piekut, Experimentalism Otherwise, par Ed Crooks 515 Benjamin Piekut, Experimentalism Otherwise, by Ed Crooks 530 Larry Austin & Douglas Kahn (éds.), Source: Music of the Avant-Garde, par Céline 531 Larry Austin & Douglas Kahn (eds.), Source: Music of the Avant-Garde, by Céline Prunneaux Prunneaux 538 L’improvisation libre à Berlin et en France, par Loïc Bertrand 539 Free Improvisation in Berlin and France, by Loïc Bertrand FLUX 7 EXPERIMENTATION AS QUESTIONING AS INTRODUCTION COMME INTRODUCTION QUESTIONNEMENT L’EXPÉRIMENTATION L’EXPÉRIMENTATION Matthieu Saladin Gruppo di improvvisazione nuova consonanza, Musica su schemi, Cramps Records, 1976 FLUX 9 « Qu’est-ce qui est expérimental ? À certains égards, c’est une notion “What is experimental? In some ways it is a variable notion, differently realized incertaine, comprise de différentes manières selon les époques ou selon at different times or by different works.” Christian Wolff les œuvres. » Christian Wolff In “An Autobiographical Statement” (1989), a late text that Dans « An Autobiographical Statement » (1989), texte tardif virtually takes stock of his work, John Cage recalls the major shift in his approach ayant presque valeur de bilan sur son œuvre, John Cage rappelle le déplacement to composition beginning in the 1950s as a result of his use of the I Ching. While the majeur opéré à partir des années 1950 par l’introduction de l’usage du I Ching dans critical reconsideration of silence had led to what Cage himself calls a psychological son approche de la composition. Alors que la reconsidération critique du silence turning point in his relation to sounds, the book of Chinese oracles that Christian avait entraîné ce que Cage appelle lui-même un tournant psychologique dans son Wolff had given him provided the method needed for the poietic introspection of rapport aux sons, le livre des oracles chinois offert par Christian Wolff apportait la non-intention: “To carry it out faithfully I have developed a complicated composing méthode nécessaire à l’introspection poïétique de la non intention : « Pour la mettre means using I Ching chance operations, making my responsibility that of asking en œuvre, j’ai développé une manière compliquée de composer en utilisant les opé- questions instead of making choices.” (Cage, 1989: 241–242) This sentence alone rations du hasard du I Ching. Ma responsabilité n’était plus de faire des choix, mais sums up the protocol of experimentation as envisioned
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