Musiques: Recherches interdisciplinaires
type: channel
description: Attached to the Observatoire interdisciplinaire de création et de recherche en musique, Université Laval (OICRM-ULaval) of the Faculty of Music of Laval University (Québec, Canada), the journal Musiques : Recherches interdisciplinaires wishes to respond to a need to publish research in music whose desire is to go beyond disciplinary limits. Published twice a year since its foundation in 2023, Musiques : Recherches interdisciplinaires is a bilingual journal (French and English) whose content lies within the field of possibilities in music, without necessarily recreating existing boundaries and always persisting in the field of musical research. Musiques: Recherches interdisciplinaires adheres to the principles of diamond open access, holding that the production, dissemination, and consultation of knowledge should be free from financial barriers. Authors are not charged to publish, and readers have unrestricted access to all content. This editorial position reflects a commitment to open, responsible scholarly communication, independent of commercial logics.
publisher: L’Observatoire interdisciplinaire de création et de recherche en musique de l’Université Laval (OICRM-ULaval)
language: en
publication name: Musiques: Recherches interdisciplinaires
issn: 2818-2006
items: Sound ecologies: recording and listening practices between research, creation and environments
items: From phonations to sound environments: how can life sciences and humanities reach an understanding to address territorial changes through sound?
items: Sounds that cling: situated experiences of the sound phenomena of a coastal territory
items: Can you imagine the noise that it makes!? Sounds of Urban Demolitions and a History of Violence in Medellín (Colombia)
items: Reasoned resonance(s): looking back at situated, sensitive, and "measured" experiences
items: Situated Sonic Listening and Ecological Gesture: The Case of Chronotopes, micro-récits urbains
items: To better understand the co-creation process of a song: reflexivity in service of a research-creation project
items: Create in spite of, create with, create together
items: Lawrence English — WhiteOut: Between Anemoia, Memories and Real Experiences of the Territory [review]
items: The Unheard Walks: A Shared on-site Experience of Landscape Listening
items: Le mbilim comme vecteur de continuité et de changement chez les Noons du Sénégal [review]
items: La culture au Québec au temps de la pandémie. Réaction, adaptation, normalisation, résistance et hybridation [review]
items: Listening to the Aesthetics of Popular Culture
items: The place, nature, functions and uses of the model in music creation in secondary school
items: What music cleaves: a body, a place, a machine
items: Environmental music creation fostering eco-aesthetic sensitivity towards urban soundscapes
items: Kinok: From a cinematic concept to a fusion of music and dance. A unique approach by Thierry de Mey and Anne Teresa De Keersmaeker
items: The "sound libraries" of Senegalese beatmakers: origins, uses and creative processes
items: Review - Béla Bartók in Italy: The Politics of Myth Making
items: Introduction to volume 1, number 2
items: Review - Une phénoménologie de l'écoute
items: The Reception of Béla Bartók in Italy: From the Cultural History of Fascism to Contemporary Debate
items: Facilitate the synchronization of young students' movements to the pulse of a musical work played in the classroom
items: Musics: for a breaking down of disciplinary barriers
items: Symphonie pour le jour où brûleront les cités (Art Zoyd) as a gateway for the undercommons
items: Recognizing the work of artists employed at the university: Funding for research and creation in Quebec and Canada
items: A Missa Brevis for Jumping Timelines
items: The Yoruba Rythmic Deities: A Brief Analysis of Chucho Valdés’s Use Of Yoruba Rhythms related to My Own Performance Practice
items: Serial vocalizations: Cyclic twelve-tone series
items: The echo of romantic bells in Vincent d'Indy's Le Chant de la Cloche

Sound ecologies: recording and listening practices between research, creation and environments
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description: This introduction presents a special issue devoted to sound ecologies, considered as an interdisciplinary field at the crossroads of musicology, the humanities and social sciences, life sciences, sound art, and environmental studies. Using Hildegard Westerkamp's Kits Beach Soundwalk as a starting point, the authors demonstrate that listening is never neutral: it is situated, mediated by technical devices, cultural frameworks, and specific forms of attention. The aim is to understand sound as a relational process involving environments, technologies, social uses, and forms of coexistence. Recording, capture, and broadcasting devices are not mere tools: they shape what becomes audible and participate in the production of relationships with the world. This is why the authors write about sound ecologies, in the plural, given the diversity of approaches. The text traces several historical trajectories. Modern recording techniques first transformed the status of sound by making it transportable, manipulable, and archivable. Pierre Schaeffer developed musique concrète and reduced listening, centered on sound as an autonomous material. Luc Ferrari then reintroduced the narrative, contextual, and documentary dimensions of recording. In the 1970s, R. Murray Schafer and the World Soundscape Project shifted attention to acoustic environments and their social and ecological transformations. From the 1990s onward, the humanities and social sciences have invested heavily in this field. Authors such as Steven Feld, Jonathan Sterne, Brandon LaBelle, and Salomé Voegelin consider sound as an operator of social relations, situated knowledge, and the politics of perception.
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creator: Pierrick Lefranc
creator: Noémie Favennec
rights: Copyright (c) 2026 Pierrick Lefranc, Noémie Favennec https://creativecommons.org/licenses/by/4.0
date: 2026-06-05
publication date: 2026-06-05
doi: 10.62410/c7vs1363

From phonations to sound environments: how can life sciences and humanities reach an understanding to address territorial changes through sound?
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description: In the French countryside, the succession of silent springs associated with the erosion of rural biodiversity has brought sound-related issues to the forefront as an essential approach enabling researchers (in life and territorial sciences) to characterize the state of landscapes and ecosystems in a context of global change. Anthropologists, for their part, can show how local communities perceive their territories through their immediate sound environments, at a time when profound transformations are affecting both their societies and their environment. In this article, we revisit a multidisciplinary research programme entitled Sonates (Ecouter les SONs de la NATurE pour comprendre les changements environnementaux – funded by the LabEx DynamiTe, 2018–2022). This project brought together anthropology, geography, ecology, and ecoacoustics, and was conducted in a CNRS Long-Term Socio-Ecological Research Area south of Toulouse (ZA Pygar), in the Bas-Comminges region, a field site studied by our team for more than twenty years. Through investigations conducted in our field sites combining acoustic recordings and sensory ethnography (participant observation, semi-structured interviews, and commented walks), we seek to understand how the environment is heard by local communities and how sounds contribute to the construction of local diagnoses of environmental change. We explore the coexistence, within a single territory, of different types of ecological knowledge (local, expert, scientific, etc.), and thus potential variations in the perception of sounds. This article also provides an opportunity to reflect on questions of convergence or discrepancy between the definitions of sounds adopted by the different researchers involved in the project (for example, what is anthrophony, and should it be considered a component of soundscapes or a form of pollution to be removed from recordings?), as well as on the methodological and conceptual issues raised by these questions, which …
subject: Articles
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creator: Anne Sourdril
creator: Luc Barbaro
rights: Copyright (c) 2026 Anne Sourdril, Luc Barbaro https://creativecommons.org/licenses/by/4.0
date: 2026-06-05
publication date: 2026-06-05
doi: 10.62410/7wmxea76

Sounds that cling: situated experiences of the sound phenomena of a coastal territory
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description: This reflection is rooted in a research-creation project on the northern coast of France. This project explores the habitability of the world and is organized through collaborative residencies between artists, researchers, local partners, and residents. It is within this framework that a sound artist meets a social science researcher. The intertwining of their on-site perspectives reveals a plurality of relationships, sometimes familiar, sometimes strange, between sound perception and the environment. The first practices ethnography and attempts to document the soundscape of the field, microphone in hand. But his recordings only capture detached sonic snapshots. So he takes up the pen again to describe what escapes sound recording in the situations he listens to and observes, focusing in particular on the colonization of acoustic territories by the sonic styles of tourism and gentrification. The second uses contextual recordings, drawing the material for its creation from the vast dune landscapes he explores and listens to for the project. He creates a multi-layered sound installation that recounts these landscapes by integrating the recordings into an acousmatic composition. Participants appropriate the installation by connecting it to their own experiences of the coastline and narrating them within a poetics of inhabiting. We propose to reflect, from the interstices between the aesthetic experience opened up by musical creation and the "failures" of sound ethnography, on the ways in which sonic phenomena contribute to shaping a relation to the world. We particularly emphasize the ecology and ethics of situated experiences—in artistic practice, in ethnography, or in the familiarity of living—from which the meaning of sonic phenomena is constructed. It is in this way that the gaps and knots of research-creation allow us to grasp the recurring themes and ways of inhabiting a territory "in crisis."
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creator: François Debruyne
creator: Rodolphe Collange
rights: Copyright (c) 2026 François Debruyne, Rodolphe Collange https://creativecommons.org/licenses/by/4.0
date: 2026-06-05
publication date: 2026-06-05
doi: 10.62410/3xj35b52

Can you imagine the noise that it makes!? Sounds of Urban Demolitions and a History of Violence in Medellín (Colombia)
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description: Starting in 2014 in the city of Medellín (Colombia), the demolition by implosion of large residential buildings with structural problems, as well as former narcotrafficking buildings, became increasingly common, inscribing themselves within the landscape of a chapter of history that the city now wishes to turn away from. Although these demolitions are highly sonic urban events, it nevertheless remains difficult to capture and reproduce their sounds in all their magnitude and spectacularity. In this context, interviewees who have never heard a demolition in situ associate these sounds with those of the hundreds of car bombs that exploded throughout the city during the 1980s and 1990s, during what became known as the “cartel wars.” Building on this observation, I develop an urban ethnography that explores the sonic dimension of demolitions in Medellín by mobilizing two corpora: the sound from audiovisual archives found mainly on YouTube channels belonging to local, national, and international media outlets, which I consider a popular archive of this process of destruction; and a series of memories—lived or imagined—as well as sonic utterances (descriptions, imitations, transcriptions) produced by various actors in relation to these two events. Based on this work, I advance a double hypothesis. First, I argue that the difficulties involved in capturing, reproducing, and articulating these sounds are linked to the broader difficulty of expressing and thinking about the city’s history of violence as part of a shared urban history. Second, I suggest that the sounds of demolitions, by generating an associative resonance with those of bombs, create an acoustic space that exceeds the strictly physical space of the implosion wave and, in doing so, shatter the linear temporality of this shared history, rendering it repetitive.
subject: Articles
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creator: Luisa Arango
rights: Copyright (c) 2026 Luisa Arango https://creativecommons.org/licenses/by/4.0
date: 2026-06-05
publication date: 2026-06-05
doi: 10.62410/j06dpe53

Reasoned resonance(s): looking back at situated, sensitive, and "measured" experiences
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description: Our essay is first and foremost the result of an encounter. An architect/illustrator/sound designer; a doctoral student in fine arts/motion designer; and a social science researcher met at a Winter School organized by the Center for Research on Sound Space (CRESSON) and the urban environment of the Ambiances Architectures Urbanités laboratory. Three perspectives, three pairs of ears. One shared theme: Echo of Life: Listening to Biodiversity in Jean Verlhac Park. Three experiences. Starting with two short sound pieces we created in this context, we aim, through a collaborative approach, to explore the notion of "resonance," closely linked to the echo, and to place it in perspective through a transdisciplinary approach. A sound effect in a given context, a noise attenuated or transformed, producing an effect on oneself and on the environment, the echo cannot exist without what precedes it. The same is true for resonance. It is also the interpretation we make of it that can give it a particular meaning. From the challenges of capturing sound sources in the dead of winter in an urban environment, to the interpretation of recorded sounds and the narratives we create around them, our sound creations will serve as the pretext for a three-way dialogue exploring our relationship to the sound of living things in connection with our practices. An ethical issue, an experimental and measurement tool, a narrative device, a sensory experience—examining this through the notion of resonance will highlight the richness of the perceptions associated with it. Through our situated knowledge of the subject, we will demonstrate how transformations in perception have emerged from our respective explorations. A dialogue thus unfolds, not only in relation to the sound of living things but also by questioning the connections that can be forged between different research practices.
subject: Essays
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creator: Sarah Baudry
creator: Marie Darodes
creator: Alice Gallouin
rights: Copyright (c) 2026 Sarah Baudry, Marie Darodes, Alice Gallouin https://creativecommons.org/licenses/by/4.0
date: 2026-06-05
publication date: 2026-06-05
doi: 10.62410/e83t2b31

Situated Sonic Listening and Ecological Gesture: The Case of Chronotopes, micro-récits urbains
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description: Based on the research-creation project Chronotope. Récits d’Arras, presented during the Appel d’air Biennale (2024), this article examines how sonic listening, grounded in a specific territory, can become both an ecological gesture and a tool for the sensitive understanding of the world. To do so, the article first considers how this artistic practice is situated within a lineage of artistic approaches such as those of Hildegard Westerkamp, Cilia Erens, Teri Rueb, and Stéphane Marin, all of whom use listening as a way of inhabiting spaces differently. Secondly, we describe and analyze the different stages in the production of the sound walk Chronotope, which invites participants to slow down, observe, and record their environment — from experiences of listening, recording, and notation while walking to situated and geolocated experiences. This leads us to connect the practice with theoretical reflections on the soundscape (R. Murray Schafer) and sonic ecosophy (Roberto Barbanti). Far from being a mere representational tool, sound becomes in these practices an embodied and relational experience, involving an ecological stance grounded in observation, slowness, and sensitivity. We therefore examine how these artistic approaches contribute to a reconfiguration of the relationship between humans, environments, and living beings by making listening an act of knowledge, care, and resistance in the face of the contemporary ecological crisis.
subject: Articles
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creator: Aurelie Herbet
rights: Copyright (c) 2026 Aurelie Herbet https://creativecommons.org/licenses/by/4.0
date: 2026-06-05
publication date: 2026-06-05
doi: 10.62410/2dgtp430

To better understand the co-creation process of a song: reflexivity in service of a research-creation project
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description: How are ideas intertwined during a co-creation process? What kind of relationship develops between the co-creators and their work? Why is co-creation sometimes so difficult, even in an atmosphere of trust and respect? While collaborative creation has been the subject of much research in education and psychology, it remains relatively unstudied in its own right, as a specific mode of creation. This article reports on a musicology project adopting a research-creation approach. The research component aims to better understand the co-creation process of a song through active participant observation (APO), while the creation component aims to produce a song that is meaningful to its co-creators. Through a hermeneutic and reflective approach, I demonstrate that considering my own journey within this project allowed me to better understand the complexity of the creative, collaborative, and interactional components of the co-creation process. My analyses, based on transcripts, a logbook, individual interviews, and cross-self-confrontation, also enabled me to reflect on the role of a person in a position of authority within a co-creation group: how can they intervene to "facilitate" the creative process while minimizing their influence on it? Indeed, I chose to collaborate with young people aged 15 to 17 with no prior songwriting experience, thus testing Vygotsky's (1981) concept of the zone of proximal development. In summary, my results show that resorting to a more traditional epistemological stance would not have allowed us to reveal certain intersubjective subtleties of the co-creation process, such as the surprising ambiguity of the link that unites the co-creators to their song.
subject: Articles
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subject: Musicology
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subject: Creation
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creator: Sarah-Anne Arsenault
rights: Copyright (c) 2025 Sarah-Anne Arsenault https://creativecommons.org/licenses/by/4.0
date: 2025-12-17
publication date: 2025-12-17
doi: 10.62410/n0bt1b66

Create in spite of, create with, create together
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description: Introduction to volume 2, number 2.
subject: Introduction of the issue
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creator: Sophie Stévance
rights: Copyright (c) 2025 Sophie Stévance https://creativecommons.org/licenses/by/4.0
date: 2025-12-17
publication date: 2025-12-17
doi: 10.62410/55gana49

Lawrence English — WhiteOut: Between Anemoia, Memories and Real Experiences of the Territory [review]
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description: Review of Lawrence English's album, WhiteOut. Room40 RM4100, 2025.
subject: Reviews
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subject: Musicology
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subject: Creation
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creator: Ludovic Tourigny
rights: Copyright (c) 2025 Ludovic Tourigny https://creativecommons.org/licenses/by/4.0
date: 2025-12-17
publication date: 2025-12-17
doi: 10.62410/f6saaa81

The Unheard Walks: A Shared on-site Experience of Landscape Listening
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description: Starting from a reflection on the soundscape understood as a dynamic attentional space in which caring for listening becomes essential, this article explores how a relation with places may be cultivated through a headphone-based landscape listening experience, inviting a community of listeners to weave their attentions together in situ through augmented listening walks. We seek to bring to light the issues related to landscape within the Les Marches Inouïes dispositif, while also describing what is made audible in, through, and across the headphones: how these devices connect us to the sonic environment at the heart of a vibrant sphere of listening, and invite us to inhabit shared and lived landscapes differently, together, and through conscious immersion. This article aims to move beyond the observation of a possible “an-aesthesia” of “techno” listening, too often considered disconnected from the sonic environment to which only a “bio” listening could supposedly remain attuned and complicit. A phoNographic writing, porous to the sonic milieu, will serve here as a means of returning to the field, to the “real” (and its double?), through both reframing and displacement.
subject: Essays
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creator: Stéphane Marin
rights: Copyright (c) 2026 Stéphane Marin https://creativecommons.org/licenses/by/4.0
date: 2026-06-05
publication date: 2026-06-05
doi: 10.62410/h3z8dx62

Le mbilim comme vecteur de continuité et de changement chez les Noons du Sénégal [review]
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description: Review of Anthony Grégoire, Le mbilim comme vecteur de continuité et de changement chez les Noons du Sénégal. Recherches en musique. Québec: Presses de l'Université Laval, 2025, 376p. ISBN: 978-2-7663-0229-1
subject: Reviews
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subject: Musicology
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creator: Joanie Verviers-De Blois
rights: Copyright (c) 2026 Joanie Verviers-De Blois https://creativecommons.org/licenses/by/4.0
date: 2026-06-05
publication date: 2026-06-05
doi: 10.62410/6q6f2a11

La culture au Québec au temps de la pandémie. Réaction, adaptation, normalisation, résistance et hybridation [review]
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description: Review of Hervé Guay, Louis Patrick Leroux et Sandria P. Bouliane's book, La culture au Québec au temps de la pandémie. Réaction, adaptation, normalisation, résistance et hybridation. Montréal : Les Presses de l’Université de Montréal, 2024, 440p. ISBN : 9 782 760 650 329
subject: Reviews
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subject: Pedagogy
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subject: Musicology
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subject: Creation
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creator: Jean-Hugues Robert
rights: Copyright (c) 2025 Jean-Hugues Robert https://creativecommons.org/licenses/by/4.0
date: 2025-12-17
publication date: 2025-12-17
doi: 10.62410/dqqnah83

Listening to the Aesthetics of Popular Culture
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description: In the last fifty years, Congolese popular dance music (also known as “Congolese rumba”) has become something of a musica franca for much of sub-Saharan Africa. As Congolese like to say, the captivating sound of their music, firmly grounded in Africa’s encounter with afro-Cuban culture, has “colonized the rest of the continent”, but the music has gone through a series of important aesthetic changes since it first emerged in the urban colonial centers of the Belgian Congo. Despite this rich history, limited research has been done on the subject and very little has been published on Congolese popular music from the point of view of aesthetics. By tuning in on local conversations about certain aspects of the music’s structure and form, this text attempts to understand how Congolese popular dance music attempts to transcend the ugliness of an ongoing political and economic crisis that has become increasingly acute since independence (la conjoncture) and how this particular expression of beauty enables us to better understand the relationship between aesthetics and politics more generally. The perception of “noise” in the analysis of popular music reveals more about our inability to understand non-Western aesthetic criteria than about popular music per se. Drawing from the philosophical hermeneutics of Hans-Georg Gadamer, the metaphor of listening is used to argue that the difficulty of hearing music from someone else’s point of view should not be used to justify a retreat into the self.
subject: Articles
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subject: Musicology
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creator: Bob W. White
rights: Copyright (c) 2025 Bob W. White https://creativecommons.org/licenses/by/4.0
date: 2025-12-17
publication date: 2025-12-17
doi: 10.62410/c1gmfm59

The place, nature, functions and uses of the model in music creation in secondary school
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description: The aim of this article is to consider the musical model when it appears in the creative process at school. While the very idea of a model may raise questions in the creative process, in situations of musical creation at school, it seems to be very much present. In order to understand its place, nature, functions and uses when it is mobilized in the situation of musical creation in the school setting, we analyze creative situations in music education at secondary school, as well as the verbatims of self-confrontations of these same situations. In the situation of musical creation at school, the model seems to be envisaged either as a “means” of creation to explain or suggest creative ideas, or as an “object” of creation as a musical idea to be mobilized in the creative process, and in both cases to facilitate entry into action. This raises the question of how the student uses the model to enter the creative process. How do student appropriate models to move from simple imitation to the invention of a new element?
subject: Articles
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subject: Pedagogy
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subject: Musicology
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subject: Creation
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creator: Frédéric Maizières
creator: Alexis Vachon
creator: Sébastien Blanquart
creator: Sandrine Liogier
rights: Copyright (c) 2025 Frédéric Maizières, Alexis Vachon, Sébastien Blanquart, Sandrine Liogier https://creativecommons.org/licenses/by/4.0
date: 2025-12-17
publication date: 2025-12-17
doi: 10.62410/3twwpr66

What music cleaves: a body, a place, a machine
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description: Introduction to volume 2, number 1.
subject: Introduction of the issue
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creator: Sophie Stévance
rights: Copyright (c) 2025 Sophie Stévance https://creativecommons.org/licenses/by/4.0
date: 2025-05-27
publication date: 2025-05-27
doi: 10.62410/4j53pj35

Environmental music creation fostering eco-aesthetic sensitivity towards urban soundscapes
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description: The composer and theorist Murray Schafer proposed the concept of soundscape, which transformed our understanding of our place in the world by questioning the extent to which sound can influence our relationship with our environment. The distinction made by Schafer and his colleagues between hi-fi and lo-fi soundscapes leads to a bias against urban spaces, whose significant activity is primarily viewed as a form of noise pollution. The focus then shifts to reducing this urban activity rather than exploring its aesthetic potential. This results in a divide between humanity and nature, which are then considered two distinct entities rather than two elements of a unified whole. We can therefore ask how the creation of environmental music, an aesthetic movement offering pieces composed from field recordings, might generate a new eco-aesthetic sensitivity towards urban soundscapes that would bridge the divide between humanity and nature? I propose to approach this issue through the lens of Guattari's ecosophy, using a research-creation approach that involves a dual immersion: in the creative process and in the landscape. My objectives are: 1) to collect sounds in an urban space; 2) to conduct a typological analysis based on parameters defined by the WSP (World Sound Project) to understand their perceptual and cultural roles in the space; 3) to create works of environmental music representative of the compositional practices of this movement; and 4) to manifest Guattari's ecosophy through the production and listening of environmental music.
subject: Articles
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subject: Musicology
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subject: Creation
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creator: Ludovic Tourigny
rights: Copyright (c) 2025 Ludovic Tourigny https://creativecommons.org/licenses/by/4.0
date: 2025-05-27
publication date: 2025-05-27
doi: 10.62410/dytzp793

Kinok: From a cinematic concept to a fusion of music and dance. A unique approach by Thierry de Mey and Anne Teresa De Keersmaeker
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description: This article focuses on the study of the phenomenon of the simultaneous exploration of musical and choreographic writing, a phenomenon that has been gradually developing in contemporary Western artistic creation. Renowned collaborations, such as that between Igor Stravinsky and George Balanchine for Agon, or between John Cage and Merce Cunningham during their happenings, serve as notable examples, although distinct in their approaches. Emerging at the end of the 20th century, Kinok by Thierry De Mey and Anne Teresa De Keersmaeker illustrates this desire for reciprocity through a formal process inspired as much by mathematical as by poetic logic, juxtaposing the physical writing of dance with sound composition. Stimulated by Dziga Vertov's concept of "Kino-Oki," De Mey explores its principle to guide co-creation with the choreographer. How can this cinematic logic, capturing multiple perspectives simultaneously, be adapted to co-integrate musical and dance writing? And how far can the joint exploration of a compositional process be taken? The objective of this article stems from this question and aims to reveal the methods employed by the composer of Kinok. To carry out this study, a paradigmatic approach was favored. Through the creation of "layers" based on observation of the video recording and the tracking of the score, we gathered diverse information on the same sequences at both macro and micro levels. These gestural and sonic elements made it possible to identify key structural "nodes" in the composition, highlighting "points of divergence" and facilitating the understanding of the overall form, as well as essential compositional processes. A heuristic approach was also employed through the collection of various sources, including interviews with the creators, which are crucial for understanding the creative process.
subject: Articles
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subject: Musicology
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subject: Creation
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creator: Vera Geslin Potapova
rights: Copyright (c) 2025 Vera Geslin Potapova https://creativecommons.org/licenses/by/4.0
date: 2025-05-27
publication date: 2025-05-27
doi: 10.62410/c2qw2z47

The "sound libraries" of Senegalese beatmakers: origins, uses and creative processes
type: item
description: Based on a doctoral dissertation defended at EHESS in March 2023, which examines musical creation in the digital era among Senegalese hip-hop producers (or "beatmakers"), this article highlights the central role of the "sound library" in creative processes. Drawing on ethnographic data collected in studios, as well as interviews with musicians and cultural actors in Senegal, the objective of this study is to demonstrate that these libraries are not merely the sum of the samples they contain. Their organization reflects classification strategies and criteria (by theme, type, date, or origin). Moreover, the computer desktop, where these sound banks are stored, constitutes a site of knowledge that is also inherently connected, embedded within multiple scales, from the local to the global. The sound banks of beatmakers thus offer insight into how they navigate these dynamics, shedding light on the relationships between samples in terms of their origin and use.
subject: Articles
  topic: section
subject: Creation
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subject: Array
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creator: Maël Péneau
rights: Copyright (c) 2025 Maël Péneau https://creativecommons.org/licenses/by/4.0
date: 2025-05-27
publication date: 2025-05-27
doi: 10.62410/a29ffp67

Review - Béla Bartók in Italy: The Politics of Myth Making
type: item
description: Review of Nicolò Palazzetti's book, Béla Bartók in Italy: The Politics of Myth Making. Woodbridge : Boydell Press, 2021. 302p. ISBN : 9781783276202.
subject: Reviews
  topic: section
subject: Musicology
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creator: Jade Huard
rights: Copyright (c) 2025 Jade Huard https://creativecommons.org/licenses/by/4.0
date: 2025-05-27
publication date: 2025-05-27
doi: 10.62410/tsgg2r43

Introduction to volume 1, number 2
type: item
description: Introduction to volume 1, number 2.
subject: Introduction of the issue
  topic: section
subject: Array
  topic: keywords
creator: Sophie Stévance
rights: Copyright (c) 2024 Sophie Stévance https://creativecommons.org/licenses/by/4.0
date: 2024-12-13
publication date: 2024-12-13
doi: 10.62410/d1f4eq71

Review - Une phénoménologie de l'écoute
type: item
description: Review of Bruno Deschênes' book, Une phénoménologie de l’écoute. Ouverture Philosophique. Paris : Éditions L’Harmattan, 2024. 332p. ISBN :978-2-336-44711-7.
subject: Reviews
  topic: section
subject: Musicology
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subject: Array
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creator: Ludovic Tourigny
rights: Copyright (c) 2024 Ludovic Tourigny https://creativecommons.org/licenses/by/4.0
date: 2024-12-13
publication date: 2024-12-13
doi: 10.62410/vd5xyb57

The Reception of Béla Bartók in Italy: From the Cultural History of Fascism to Contemporary Debate
type: item
description: This essay provides a detailed account of the reception of the Hungarian composer, ethnomusicologist, and pianist Béla Bartók (1881–1945) in Italy through an analysis of periodicals, public and radio broadcasts of his concerts, and private correspondence. The 20th-century Italian reception of Bartók serves as a prime case study for understanding the genesis and dissemination of the myth of Bartók as an anti-fascist hero. The essay also considers, from a comparative perspective, Bartók’s reception in France. Appreciated in Italy as early as the 1910s, Bartók’s music achieved considerable success under Mussolini’s regime despite the composer’s hostility to fascist violence. Bartók was later associated with anti-Nazi cultural resistance in the early 1940s and ultimately became a martyr for freedom in the aftermath of World War II. The “Bartók wave” that finally took hold in Italy during the Cold War resulted from the fusion of the myth of Bartók as a “musician of freedom”—a definition coined in 1947 by the anti-fascist musicologist Massimo Mila—and the myth of national rebirth. This fusion had its origins in the soundscape of the fascist dictatorship and the Resistenza. While providing French-speaking readers with essential reference points on the Italian reception of the Hungarian composer, this essay also examines the “Bartók myth.” This issue has sparked debate within contemporary musicology and may have implications for reassessing the composer’s international reception.
subject: Essays
  topic: section
subject: Musicology
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subject: Array
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creator: Nicolò Palazzetti
rights: Copyright (c) 2024 Nicolò Palazzetti https://creativecommons.org/licenses/by/4.0
date: 2024-12-13
publication date: 2024-12-13
doi: 10.62410/ppa3a286

Facilitate the synchronization of young students' movements to the pulse of a musical work played in the classroom
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description: In French-speaking Switzerland, school curricula recommend that young students synchronize their movements with the beat of music through walking. Our research sought to determine whether, at the age of 5 years (+/- 6 months), locomotor functions are more suitable than non-locomotor functions for achieving bodily synchronization with music. Young students attempted to synchronize their movements with the beat of a piece by Vivaldi, either by walking or by clapping while seated. Our results show that for the students in our sample (n = 9), synchronized walking was too complex, unlike clapping while seated. We develop some ideas for classroom organization and management to introduce rhythm teaching at the beginning of schooling.
subject: Articles
  topic: section
subject: Pedagogy
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creator: François Joliat
creator: Antonio Trajanoski
rights: Copyright (c) 2024 François Joliat, Antonio Trajanoski https://creativecommons.org/licenses/by/4.0
date: 2024-12-13
publication date: 2024-12-13
doi: 10.62410/55cf5z11

Musics: for a breaking down of disciplinary barriers
type: item
description: Introduction to Musics: for a breaking down of disciplinary barriers (vol. 1, n° 1).
subject: Introduction of the issue
  topic: section
subject: Array
  topic: keywords
creator: Sophie Stévance
rights: Copyright (c) 2024 Sophie Stévance https://creativecommons.org/licenses/by/4.0
date: 2024-05-22
publication date: 2024-05-22
doi: 10.62410/gjmhcv67

Symphonie pour le jour où brûleront les cités (Art Zoyd) as a gateway for the undercommons
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description: To what extent can music influence our lives? This is a question that long preoccupied the researcher's mind as it accompanied his journey. Not just any music: the music of Art Zoyd, a band from Maubeuge whose trajectory and message influenced his own path and choices. Was he more receptive to this music, which explored new dimensions, or was it simply part of the "undercommons"? Tracing the history of this period, this article seeks the opportune moments that allowed him to realize that, through these "undercommons," another destiny was possible.
subject: Articles
  topic: section
subject: Pedagogy
  topic: category
subject: Musicology
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subject: Array
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creator: Noël Jouenne
rights: Copyright (c) 2024 Noël Jouenne https://creativecommons.org/licenses/by/4.0
date: 2024-12-13
publication date: 2024-12-13
doi: 10.62410/mad4nv32

Recognizing the work of artists employed at the university: Funding for research and creation in Quebec and Canada
type: item
description: This contribution aims to identify and better understand the consequences of what we will call acts of persuasion within the university ecosystem in Canada. Taking into account sociological, political, and ethical factors, as well as the facts revealed by this scientific work, this article identifies four key areas of study: 1) an ambiguity in the composition of grant evaluation panels within research funding bodies, leading to 2) confusion in the use of research funds allocated to creative projects and, in turn, generating 3) a troubling confusion (this time of a semantic nature) in the definitions of research and creative projects (and consequently of "research-creation"), all of which is further fueled by 4) administrative problems and possible collusion that persist within this ecosystem between artists and decision-making administrators. Based on these markers, which point to a complex and thorny situation, the article outlines possible solutions to better understand the place and role of artistic culture at the university, and to recognize the contribution of artists at its true value, in particular by proposing a more appropriate way of managing research and creation funds, especially for students.
subject: Articles
  topic: section
subject: Musicology
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subject: Creation
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subject: Array
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creator: Sophie Stévance
creator: Serge Lacasse
rights: Copyright (c) 2024 Sophie Stévance, Serge Lacasse https://creativecommons.org/licenses/by/4.0
date: 2024-05-22
publication date: 2024-05-22
doi: 10.62410/apz4dw38

A Missa Brevis for Jumping Timelines
type: item
description: Jean-François Charles’s Missa brevis Abbaye de Th​é​l​è​me interleaves texts of the Mass Ordinary with French poems from the fifteenth to the nineteenth centuries. These poems interpret the mass texts, and conversely the mass texts weave the poems into a rite, and a ritual space. The album sonifies the gargantuan, utopian abbey described by the ex-Franciscan friar François Rabelais in the first book of Gargantua and Pantagruel (ca. 1532). Rabelais’s Thelema Abbey is the basis of Alistair Crowley’s Thelema spiritual movement, the sole principle of both being “fais ce que voudras” (the first words on the album). I show that the poems’ supplementation of the mass texts in their musical context evokes the will aligning one with divine love. I explicate this supplementation with reference to sympathetic elements in the exegesis of Philip K. Dick. Charles’s mass triangulates us between (1) a heartfelt search for God in the midst of war and inner turmoil (highlighted in the Sanctus and Benedictus), (2) a conflict between unloving zealots and willful iconoclasts (spelled out in the Kyrie and Agnus Dei), and (3) a utopia of divine love (seen especially in the Gloria and Credo). Dick similarly shares actual memories of alternative timelines, triangulating us between (1) a so-called “black iron prison police state world” in which Christianity is illegal (2), this world, partially good and partially bad, in which we and Dick exist, and (3) a paradise presided over by Aphrodite, the goddess of love. In listening to / visiting the mass/abbey, to borrow a phrase from Gurnemanz in Richard Wagner’s Parsifal, “time becomes space.” Through the mass’s prayer, we can aim to jump timelines, as if they were arrayed in space, making Arcadia more real for us, at least for the duration of the album, if not permanently.
subject: Reviews
  topic: section
subject: Musicology
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subject: Array
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creator: Matthew Arndt
rights: Copyright (c) 2024 Matthew Arndt https://creativecommons.org/licenses/by/4.0
date: 2024-05-22
publication date: 2024-05-22
doi: 10.62410/gwyh0z15

The Yoruba Rythmic Deities: A Brief Analysis of Chucho Valdés’s Use Of Yoruba Rhythms related to My Own Performance Practice
type: item
description: Yoruba rhythms have been an endless source of inspiration to musicians around the world since their African birth. As the Yoruba religion has played a major role in shaping Cuban culture since the massive arrival of West African slaves on the island in the nineteenth century, a multitude of Cuban instrumentalists and composers have shown undeniable Yoruba influences. Chucho Valdés is one of the most famous figures to illustrate this phenomenon. For more than five decades, he has performed, improvised, arranged, composed, mixed, mastered and edited music that not only uses Yoruba rhythms but also strongly celebrates the general Afro-Cuban legacy. Valdés is a pioneer and model to most Cuban musicians, including myself, because he has developed a unique and personal style through the hybridization of two powerful and distinct musical genres: jazz and Afro-Cuban music. I have been greatly influenced by this pianist since I started learning music, and I believe I have been following his path in my recent quest for hybrid creative music. In this essay, I will discuss the personality of the Yoruba deities in relationship with their rhythms. Then, I will do a brief analysis of Chucho Valdés’ performance practice and use of Yoruba rhythms. Finally, I will tend to in related Chucho’s approach to my own approach. I will attempt to define and analyze both ways of approaching piano performance, improvisation, and composition and will illustrate the main differences. I will then explain why I have chosen this musical direction and sketch out my personal path within the broader perspective of contemporary jazz performance practice.
subject: Essays
  topic: section
subject: Creation
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subject: Array
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creator: Rafael Zaldivar
rights: Copyright (c) 2024 Rafael Zaldivar https://creativecommons.org/licenses/by/4.0
date: 2024-05-22
publication date: 2024-05-22
doi: 10.62410/gg2zcd09

Serial vocalizations: Cyclic twelve-tone series
type: item
description: Some dodecaphonic series are cyclic, that is, they are based on a sequence of 2, 3, 4 or 6 intervals, repeated at an ascending or descending interval x. This study explores the characteristics of this type of series, the means to generate them, as well as their number.
subject: Essays
  topic: section
subject: Musicology
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subject: Array
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creator: André Papillon
rights: Copyright (c) 2024 André Papillon https://creativecommons.org/licenses/by/4.0
date: 2024-05-22
publication date: 2024-05-22
doi: 10.62410/f7wevt31

The echo of romantic bells in Vincent d'Indy's Le Chant de la Cloche
type: item
description: This study focuses on the role and symbolism of the bell in Vincent d’Indy’s opera Le Chant de la Cloche (Opus 18, subtitled “Dramatic Legend”). Composed for the fourth edition of the City of Paris Music Competition in 1885, this work is based on Friedrich Schiller’s poem Das Lied von der Glocke (“The Song of the Bell”), published in 1799. The main thesis of this article is to demonstrate that the prominent role of the bell throughout this composition—whether it appears in imitation of the various instruments of the orchestra or actually on stage for the final scene—places Vincent d’Indy within a Romantic tradition, in which the bell holds a unique position: it is a sacred object that not only rings out across all ages but also unites people through its unparalleled sonic intensity, its religious character (the bell is baptized), and its harmonious sound. In this lyrical work composed by Vincent d’Indy, the bell rings at all the important stages of the protagonist Wilhelm’s life, a bell ringer by trade. The emphasis is placed on the bell’s successive appearances throughout the musical work and on the role assigned to it by the composer. This musical study is complemented by historical and sociological elements. Indeed, numerous archival documents attest to a multitude of “bell incidents” in the 19th century, as demonstrated by Alain Corbin’s work on the soundscape of the French countryside during that period. Consequently, such a musical work presents, in addition to its musical and literary interest, a historical significance, since it allows for the reconstruction of a soundscape that has now vanished.
subject: Articles
  topic: section
subject: Musicology
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creator: Lucas Berton
rights: Copyright (c) 2024 Lucas Berton https://creativecommons.org/licenses/by/4.0
date: 2024-05-22
publication date: 2024-05-22
doi: 10.62410/v7wnyw33