%0 Journal Article
%T L¡¯image sonore contemporaine : entre mis¨¨re symbolique et imaginaire sonore
%A Vincent Tiffon
%J Apparence(s) : Histoire et Culture du Para£¿tre
%D 2007
%I IRHiS-Septentrion
%X L¡¯histoire de la musique peut s¡¯¨¦crire comme l¡¯¨¦volution progressive mais d¨¦terminante de deux grands paradigmes technologiques, celui de l¡¯¨¦criture et celui du son. L¡¯enregistrement sonore modifie en profondeur l¡¯¨¦conomie de la musique en inventant notamment de nouveaux modes d¡¯invention du sonore et de nouvelles pratiques d¡¯¨¦coute du sonore. On ¨¦largit alors le domaine du musical en inventant l¡¯image sonore. ¨¤ l¡¯instar des autres arts de studio, la photographie, la cin¨¦matographie, la vid¨¦o¡­, la phonographie prend le r¨¦el comme mat¨¦riau imm¨¦diat. L¡¯effet de r¨¦alit¨¦ qui en r¨¦sulte conduit au glissement progressif de la musique comme objet cultuel (avant le xive si¨¨cle), ¨¤ la musique comme objet industriel (depuis 1970) en passant par la musique comme objet culturel (entre le xive si¨¨cle et le xxe si¨¨cle) ; ce faisant, le risque d¡¯une   d¨¦sorientation   est bien r¨¦el. D¡¯o¨´ une cartographie floue entre culture, art et ph¨¦nom¨¨nes de soci¨¦t¨¦. L¡¯image sonore semble s¡¯inscrire entre   mis¨¨re symbolique   et imaginaire, entre l¡¯industrie musicale et l¡¯avant-garde. The history of music can be written as the gradual yet decisive evolution of two great technological paradigms: the paradigms of writing and of sound. Sound recording has profoundly altered the organization of music, notably through the invention of new modes of sound invention and new practices of listening to sound phenomena. It is precisely at this point that the field of music has been widened by the invention of the sound image. After the fashion of the other arts of the studio (photography, cinematography, video and so on), phonography has reality itself as its unmediated material. The resulting reality effect has led to the gradual shift from music as liturgical object (before the 14th century) to music as industrial object (since 1970) via music as cultural object (between the 14th century and the 20th century). In the process, the risk of   confusion   is quite real. Hence a rather hazy cartography, between culture, art and social phenomena. The sound image seems to fit in somewhere between   symbolical misery   and imagination, between music industry and avant-garde.
%K Music
%K sound
%K Musique
%K son
%U http://apparences.revues.org/73