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Analyse esthétique, vers une nouvelle approche de l’histoire musicale

Abstract : With the emergence of recording at the end of the 19th century, a multitude of eclectic practices were added to music. The ability to preserve the musical phenomenon ever more precisely made possible the multiplication of cultural transfers across the globe, favored the reconstitution of forgotten musical practices, and engendered the development of protean historical knowledge. Finally, confronted with this musical knowledge and these recordings from the past, contemporary musical creation found its place in a variety of unexpected and varied approaches thus acquired. This richness thus acquired leads to different perceptions of music, even so contradictory that they seem to render any aesthetic discourse totally abstruse. The word "music" itself, used in the singular, then seems to be a very narrow term for understanding the whole range of ways of considering the musical phenomenon through time and space. Likewise, within contemporary musicological paradigms, aesthetic thought has clearly lost its reputability and cultural relativism has become the obvious solution to explain all musical phenomena : indeed, a multitude of music would exist in a multitude of geographical places with a multitude of histories. This thesis seeks another path in order to define the paradigms for the elaboration of a single history of music. Indeed, wanting to conceive musical phenomena as multiple processes, unrelated to each other, poses many epistemological problems. The reflection defended in this work, which goes against the prevailing winds of musicology, requires to define a framework in which it is possible to think on the one hand of an ontology of music, and on the other hand of an anthropological characteristic allowing, between the two, to establish an aesthetic relationship that connects the human being and musical reality. To do so, this approach is based on certain theories coming from "aesthetic realism" : to be understood, the real must be conceived as a singular entity, accessible through senses and reason. The process of this thesis also adopts the concepts of "Practices" and "Representations" in order to link this universal aesthetic relationship with a historical space where music - in the singular - could be fulfilled in multiple ways, depending on specific societal situations, and where music could evolve in relation to the knowledge and musical practices of a society. Within this work, choosing to study the transformations of musical practices since the emergence of recording, based on historical and sociological work on the subject, finally allows us to understand the profound upheavals that technology has brought about in our own representations of the word music. This approach also allows us to consider the abyss preventing us from fully understanding music and its history before recording. Finally, it leads the reader to consider new avenues based on what we call "musical archaeology," a methodology that seeks to build a new approach to sources considered as "musical sediments" and to enlighten our contemporary visions and practices in dealing with the past.
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Submitted on : Tuesday, February 2, 2021 - 3:40:37 PM
Last modification on : Wednesday, February 3, 2021 - 3:28:29 AM
Long-term archiving on: : Monday, May 3, 2021 - 8:28:59 PM


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  • HAL Id : tel-03128980, version 1



Pierre d'Houtaud. Analyse esthétique, vers une nouvelle approche de l’histoire musicale. Musique, musicologie et arts de la scène. Université de Lorraine, 2020. Français. ⟨NNT : 2020LORR0191⟩. ⟨tel-03128980⟩



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