Edited and published by Mathilde Catz
Foreword by Anne Roubet
Introduction of Mathilde Catz
This book is devoted to the news of the teachings of musical culture (history of music, analysis, aesthetics, mediation...) in specialized arts institutions: conservatories, music schools, poles of higher education. It brings together the acts of the congress of the Association of Professors of Musical Culture (April 2016) augmented by new contributions. The first part ("New Realities - Culture and Mediation") focuses on contemporary cultural mutations and their impact on the teachings, in relation to the evolution of musical taste in our "postmodern" era. The authors question the place of music in cultural life and upset the theories of musical autonomy; they record the recent developments in mediation in the perspective of the links between music (s) and the public (s). An overview of the organization of higher education poles allows us to situate pedagogical developments in relation to institutional and territorial changes. The second part ("Mirror of the Other: International Openness") presents different forms of international exchange. The results of a Europe-wide survey open up a concerted harmonization of harmonic analysis practices. Other texts question more fundamentally the pooling of distant traditions (Hungary, Palestine). They come to feed a reflection on territoriality and decentralization, universalism and pluralism. A third part, "Directories, Analysis, Interpretation," confirms and encourages the specificity of music analysis in arts education institutions, based on continuity with musical interpretation and perception. Interpretation of ancient repertoires, theory of harmonic functions, paradoxical polarization by the "absent note", phenomena of accentuation in music, these are the in-depth subjects. The last two parts ("Pedagogies in practice", "Musical culture and creation") reflect the inventiveness and richness of the teachings. They bring together valuable testimonials, including the documented one-year relationship in Olivier Messiaen's analysis class. Lastly, they promote scenic productions and collective compositional approaches calling for the transmission and reinvention of the repertoire.
Texts by: Christian Accaoui, Sylvie Pébrier, Sylvain Perret, Claire Laplace, Claude Abromont, Hugues Seress, Mathilde Vittu, Gérard Geay, Philippe Gantchoula, Jean-Philippe Guye, Philippe Gouttenoire, Nicolas Dufetel, Claire Lapalu, Coline Miallier, Sabine Bérard, Alain Louvier, Laetitia Chassain, Alain Besson, Katia-Sofia Hakim et Martin Moulin.