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Instruments Numériques Et Performances Musicales: Enjeux Instruments numériques et performances musicales : enjeux ontologiques et esthétiques Madeleine Le Bouteiller To cite this version: Madeleine Le Bouteiller. Instruments numériques et performances musicales : enjeux ontologiques et esthétiques. Musique, musicologie et arts de la scène. Université de Strasbourg, 2020. Français. NNT : 2020STRAC002. tel-02860790 HAL Id: tel-02860790 https://tel.archives-ouvertes.fr/tel-02860790 Submitted on 8 Jun 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ DE STRASBOURG ÉCOLE DOCTORALE DES HUMANITÉS – ED 520 ACCRA (Approches Contemporaines de la Création et de la Réflexion Artistique) GREAM (Groupe de Recherches Expérimentales sur l’Acte Musical) THÈSE présentée par : Madeleine LE BOUTEILLER soutenue le : 13 janvier 2020 pour obtenir le grade de : Docteur de l’université de Strasbourg Discipline/ Spécialité : Musicologie INSTRUMENTS NUMÉRIQUES ET PERFORMANCES MUSICALES Enjeux ontologiques et esthétiques THÈSE dirigée par : M. Alessandro ARBO Professeur, université de Strasbourg RAPPORTEURS : M. Philippe LE GUERN Professeur, université de Rennes 2 M. Bernard SÈVE Professeur émérite, université de Lille AUTRES MEMBRES DU JURY : Mme Anne SÈDES Professeur, université de Paris 8 M. Thomas PATTESON Professeur, Curtis Institute of Music 2 Remerciements Mes remerciements vont d’abord à Alessandro Arbo, mon directeur de thèse, sans qui ce travail n’aurait pas été possible. Ses conseils avisés et sa rigueur m’ont permis de mener ce projet à son terme. Je remercie aussi Eric Maestri et Anne Sèdes d’avoir accompagné mes recherches en constituant mon comité de suivi de thèse. Merci au groupe des jeunes chercheurs du GREAM, qui de cafés (sans café) en séminaires, rythme le temps et le travail et enrichit de perspectives nouvelles. Ce travail doit beaucoup aux artistes qui m’ont accordé du temps pour me parler de leurs instruments et de leurs expériences musicales. Je souhaite remercier en particulier Anne Hege, qui m’a relaté l’histoire de son rope-instrument, Lainie Fefferman qui m’a renseignée sur les procédés compositionnels de WALO, Chris Douthitt pour les précieuses informations et les documents concernant sa pièce Human Modular, Alyssa Weinberg et sa collègue de scène pour leur témoignage sur la création de Tethered, Tom Mays pour Le Patch Bien Tempéré III. Je remercie aussi Atau Tanaka, Serge de Laubier et Laetitia Sonami pour leur partage d’expérience, respectivement avec la BioMuse, le Méta- Instrument, le Lady’s glove et le Spring Spyre. Je remercie Jeff Snyder ainsi que les musiciens de PLOrk pour leur accueil lors de leurs répétitions, et enfin, Thomas Patteson et Adam Vidiksis pour leur intérêt pour mon travail et des échanges aussi stimulants qu’enrichissants. Merci aussi à tous ceux qui m’ont entourée pendant ces trois années : mes coloc’, mes amis, merci à Alessia, Camille et Elise, acolytes de doctorat, merci aux musiciens strasbourgeois et à ceux de Philadelphie – une gratitude particulièrement chaleureuse pour Espersan et le Bach Collegium. Merci à mes aînés du doctorat, chers physiciens dont l’amitié, même à distance, m’est précieuse. Merci à tous mes proches et à mes lointains, qui à la question « et alors la thèse, ça avance ? » se sont contentés, peut-être malgré eux, d’une absence de (vraie) réponse. Merci à Alexandre et Olivia, Véronique, Clément et Joachim, Pauline et Alex, Amélie, Céline, leur présence joyeuse et leur accueil ont su accompagner les dernières semaines de rédaction. Merci à mes parents qui m’ont toujours encouragée, ainsi qu’à mes frères et sœurs. Et enfin merci à Vangelis pour son soutien inconditionnel, pour sa patience et sa confiance tout au long de ces années. 3 4 Avertissement Toutes les traductions de citations en anglais sont de l’auteur. L’original n’est précisé qu’en cas de vocabulaire idiomatique difficilement traduisible. Les termes techniques sont référencés dans un glossaire situé à la fin du texte. Les mots y figurant sont signalés dans le texte par un astérisque*. Pour ne pas trop encombrer le texte, seules les premières occurrences dans chaque partie seront marquées d’une astérisque. Pour faciliter l’écoute et le visionnage des exemples musicaux, les liens vers les vidéos sont signalés par une numérotation (.23.…) et regroupés sur cette page : https://www.dropbox.com/s/c8p1s2m6fm9wa9m/liens.docx?dl=0 Le mot performance, en français, admet deux significations distinctes : dans la première (plus courante), une performance est une prouesse, un succès ou un exploit accompli par une personne, une machine, une organisation, ou bien le résultat d’une action évaluée (la performance d’un sportif par exemple). Le second sens du mot est un anglicisme : performance en anglais désigne une représentation ou action artistique, elle concerne principalement le théâtre et la musique. On peut aussi utiliser les mots « exécution » ou « interprétation », mais ils sous-entendent qu’un contenu musical déjà existant est transmis lors du jeu de la musique – or, ce n’est pas toujours vrai. Quant au terme « création », il est ambigu : s’il peut évoquer une exécution musicale sans référence à aucune œuvre, il se réfère aussi à l’acte de composition ; il désigne par ailleurs la première représentation d’une œuvre musicale. Dans le texte, nous préférerons donc l’anglicisme « performance », nous l’utiliserons dans le sens de performance musicale. Le performeur est celui qui réalise une performance. 5 6 Introduction « Je joue de l’ordinateur1 » : il est aujourd’hui courant d’entendre ces propos venant d’artistes des scènes musicales numériques*. Ces mots résonnent avec ceux qui titraient un article de Max Mathews pour le magazine Science, quelques quarante années plus tôt : « l’ordinateur numérique comme instrument de musique2 ». En effet, l’ordinateur est aujourd’hui utilisé lors de performances musicales au moyen d’interfaces* gestuelles : ce sont des objets équipés de divers capteurs* de mouvement qui permettent à celui qui les manipule de contrôler des algorithmes* de synthèse sonore* fonctionnant sur un ordinateur. On peut alors « jouer » de la musique numérique de manière gestuelle. Interface, ordinateur et haut-parleurs forment un genre d’instrument bien particulier. Il faut vraisemblablement donner tort à Diderot, qui écrivait dans l’Encyclopédie : « On n’invente plus d'instruments, et il y en a assez d’inventés ; mais je crois qu'il y a beaucoup de découvertes à faire sur leur facture3 ». On invente toujours de nouveaux instruments, et d’autant plus lorsque de nouveaux moyens techniques deviennent accessibles. Mais jusqu’où peut-on aller ? Le philosophe Bernard Sève pointe que « les musiciens se sont emparés d’objets techniques qui sont, quant à eux, le produit de théories scientifiques indépendantes et qui sont primitivement destinés à d’autres usages qu’à “faire de la musique” (magnétophones, ordinateurs), tous ces faits dessinent une pratique de la musique qui se situe au-delà de la frontière organologique traditionnelle4 ». Quant à Claude Cadoz, il ose être plus radical : « l’ordinateur n’est pas un instrument, mais une représentation d’instrument5 », affirmant qu’avec l’ordinateur, il revient à l’homme de « se placer dans une relation “de type instrumentale”, une représentation de relation instrumentale6 ». Emerge ici une contradiction : les ordinateurs et les instruments numériques sont-ils de véritables instruments de musique ? 1. Sergi JORDA, Digital Lutherie: Crafting musical computers for new musics’ performance and improvisation, thèse de doctorat (Universitat Pompeu Fabra, 2005), p. 1. 2. Max V. MATHEWS, « The digital computer as a musical instrument », Science 142, n° 3592 (1963), p. 553-557. 3. Denis DIDEROT, « INSTRUMENS (Musique et Lutherie) », dans Encyclopédie de Diderot [en ligne], Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, 1772-1751 [http://www.encyclopédie.eu/index.php/logique/929124137-grammaire/1065186196-INSTRUMENT, consulté le 25/07/2019]. 4. Bernard SEVE, L’instrument de musique : une étude philosophique, L’Ordre philosophique (Paris: Seuil, 2013), p. 196. 5. Claude CADOZ, « Musique, geste, technologie », dans Les nouveaux gestes de la musique, éd. par Hugues Genevois et Raphaël de Vivo (Marseille: Parenthèses, 1999), p. 91. 6. CADOZ, « Musique, geste, technologie », p. 91. 7 La question se pose lorsque l’on constate que la relation du musicien à la production sonore est toute différente. Contrairement à un instrument acoustique, où les gestes du musicien servent à mettre en vibration cordes, membranes ou colonnes d’air, exigeant du musicien qu’il engage son énergie physique via ses mains, ses bras, son souffle ou même ses pieds7, il n’y a pas de lien direct entre un geste et le son résultant. Avec un instrument numérique, tout est codé dans un logiciel*. Le signal sonore*, que l’on peut contrôler grâce des interfaces, est généré de manière informatique : entre le geste et le son, il y a le logiciel. Les techniques musicales et les instruments ont évolué au cours des siècles, au rythme des avancées technologiques. Bien avant l’arrivée du numérique, dès la fin du XIXème siècle, on est capable de transformer des ondes sonores en ondes de courant électrique, on invente le téléphone et on sait enregistrer la musique sur des cylindres de cire8. Aux débuts de l’électronique arrivent les premiers instruments électroniques. Ainsi le célèbre thérémine, construit par Lev Sergueïevitch Termen en 1919. Les mains du musicien flottent dans les airs, leurs positions contrôlent respectivement la hauteur des notes et le volume. Le son, produit par des oscillateurs électroniques*, est modulé par les gestes de l’instrumentiste9.
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