La realite musicale (elements d'epistemologie musicologique)
Institution:
Paris 8Disciplines:
Directors:
Abstract EN:
Consideration on musical reality, aim of musicology, and on the methods of its investigation, this study is led as a thorough study, oriented towards the concrete, of the musical work and of the behaviours which institute it, which utilize it, which understand it. The main theories of the work, its form, its grammar are reminded of and evaluated ; an introduction to the specific methodology of the musical works inquiry is proposed ; problems relating to the material of the musical work, its texture, its plasticity, its meaning are mooted ; some thesis of psychology of music relating to perception, subception, musical thought genesis in childhood, the question of innateness in musical grammars theory are discussed ; this study is achieved by the examination of the socio-historical conditions in which are actually created and deciphered the musical works, considered, material and form, as objects of civilization. Eleven theorems of musical syntax formalization are stated and demonstrated ; a specifically musical syntax theory as well as a general grammar of musicalkind is proposed ; the main axises of syntactic theories history, from the eighteenth century to nowadays, are defined ; implements for automatic treatement of the musical analysis qualitative data and for study of work morphology in the main aspects of its dynamics (work genesis through the time of its information, work in progress into the mind of the composer, through its writing, the history, the perception, even analysis and study,. . . ) are worked out. For ending and answering claude levi-strauss' anxious interrogation ("music is the top mystery of the human sciences, the one against which they knock and which keeps the key of their progress"), an hypothesis is set forth upon the meaning of the musical activity in man, its situation among the cognitive functions, its part amid the mind disciplines and the activities of the civilization.
Abstract FR:
Reflexion sur la realite musicale, objet de la musicologie, et sur les methodes de son investigation, cette etude est menee comme un approfondissement, vers le concret, de l'oeuvre musicale et des conduites qui l'instaurent, l'utilisent, l'apprehendent. Elle rappelle et tente d'evaluer les principales theories de l'oeuvre, de sa forme, de sa grammaire; propose une introduction de la methodologie scientifique dans le questionnement des oeuvres musicales ; souleve des problemes relatifs a la matiere de l'oeuvre musicale, sa texture, sa plasticite, son sens ; examine quelques theses de psychologie de la musique relatives a la perception, la subception, la genese de la pensee musicale chez l'enfant, la question de l'inne en theorie des grammaires musicales ; et s'acheve par l'examen des conditions socio-historiques dans lesquelles se creent et se dechiffrent reellement les oeuvres musicales, considerees, matiere et forme, comme objets de civilisation. Onze theoremes de formalisation de la syntaxe musicale sont enonces et demontres ; une theorie de la syntaxe specifiquement musicale ainsi qu'une grammaire generale du musical sont proposees ; les grands axes de l'histoire des theories syntaxiques, du xviiie siecle a nos jours, sont definis ; des instruments pour le traitement automatique des donnees qualitatives de l'analyse musicale et pour l'etude de la morphologie de l'oeuvre dans les principaux aspects de sa dynamique (genese de l'oeuvre dans le temps meme de son information, cheminement de l'oeuvre dans la pensee du compositeur, dans son ecriture, dans l'histoire, a travers sa perception, son analyse et son etude meme,. . . ) sont elabores. Pour finir et pour repondre a l'interrogation inquiete de cl. Levi-strauss ("la musique est le supreme mystere des sciences de l'homme, celui contre lequel elles butent et qui gardent la cle de leur progres"), une hypothese est formulee sur le sens de l'activite musicale chez l'homme, sa situation parmi les fonctions cognitives, son role au sein des disciplines de l'esprit et