Les tendances esthétiques de la musique contemporaine dans les festivals "Manca" (Nice), "Musica" (Strasbourg), EIC/IRCAM (Paris), 1990-1994
Institution:
Aix-Marseille 1Disciplines:
Directors:
Abstract EN:
Aesthetical trends of contemporaneous music are characterized by attachment or renunciation to writing, technological progress enabling some composers to modify or reduce their notation. These aesthetical tendances appear very diverse and vary according to each festival's specificity. Manca look for innovation through "new technologies in aid of music and multimedia' and use writing little. But m. Redolfi wanting pluralism, offers other tendencies too. For lack of means, the latter are often impersonated by young unknowned creators who, more, present world-wide creations. Comparatively to the prevailing stream of electroacoustic and computer music, these trends will show unobtrusive. In musica, on the contrary, most famous composers in every musical style, written (ruling) or improvised, serious or light, instrumental or allied to other arts, ancient or nowadays music, will offer "big stage" works, supported by important sponsors and partnership with strasbourg, second european capital city. Jd marco, in search of original aesthetics, chooses great composers' non typical works. Eic/ircam, prestigious national institution, sharpests research center on technology, keeps the belongings of written music and favours new writing experiments in computer-helped composition. That sums up eic/ircam's aesthetics, incitative to purism, repulsive to any so-weak writing. L. Bayle enjoys colossal financial means and is able to enrich his programs with other forms of art: theater, dance, movie pictures. Statistics will confirm these assertions. The three festivals communicate : eic/ircam often presents first hand its creations out of paris in regional places. But these happen sometimes to ride ahead. A sort of weft is woven between festivals, pregnant with diversity and fruitful.
Abstract FR:
Les tendances esthetiques de la musique contemporaine se caracterisent par l'attachement ou le renoncement a l'ecriture, les progres technologiques permettant a certains compositeurs de modifier et de reduire leur notation. Ces tendances esthetiques apparaissent tres diverses et varient selon la specificite des festivals. Les manca recherchant la nouveaute par les "nouvelles technologies au service de la musique et du multimedia" pratiquent peu l'ecriture. Mais m. Redolfi les veut pluralistes et propose d'autres tendances. Faute de moyens, celles-ci sont souvent representees par de jeunes createurs peu connus qui de plus, offrent des creations mondiales. Par rapport au courant dominant d'electroacoustique informatisee ces tendances apparaitront effacees. A musica par contre, les compositeurs les plus celebres de musique ecrite (dominante) ou improvisee, serieuse ou legere, instrumentale ou associee aux autres arts, ancienne ou actuelle presentent des oeuvres de " gros plateaux ", soutenues par les sponsors et partenariats substantiels de strasbourg, seconde capitale europeenne. Jd marco recherchant la nouveaute par l'originalite, choisit les oeuvres atypiques des grands compositeurs. L'eic/ircam prestigieuse institution nationale, centre de recherche a la pointe de la technologie, conserve les acquis de la musique ecrite et favorise les nouvelles recherches d'ecriture dans la cao. Cette esthetique incitant au purisme, repousse souvent les oeuvres peu ecrites. Beneficiant de moyens colossaux, l. Bayle ouvre ses riches programmations aux autres formes d'art : theatre, danse, cinema. . . Une etude statistique confirmera ces assertions. Ces trois festivals communiquent : l'eic/ircam donne souvent en avant-premiere ses creations en region, mais celle-ci le devance parfois. Une sorte de trame se tisse entre festivals, riche de diversite et feconde.