Raphaël
Brunner
Abstract
of the Communication presented the 11. of September 1997 at the Vth International Symposium on
Systematic and Comparative Musicology, Staatliches Institut für Musikforschung,
Berlin.
Musicology
remains traditionally bound to hermeneutics. That last area was sharply
suspected by structuralism during the fifties, but it took until
post-structuralism for the musicological approach to become modified.
Parallely, the logical impossibilities that striked the hermeneutical approach
to musicology contributed not only to reinforce the artefact of the immanence
of the musical work, but also to take the musicologist away from the musical
dynamic, his attention being focused on the reconstruction of production
strategies or on the reception of the musical work.
The aesthetic
of reception defended the contradictions mentioned earlier, but it remained
nevertheless inoperative when applied to the music composed during the period
after the Second World War, because of the lack of a reception that could truly
be held as relevant. As for the new genetical critique, it examined the
intention of the work itself and not the creative intention dear to
hermeneutics (rather than to focus on the apprehension of the listening or
composing subject, the interpretation comes from the reading of a formal and
languagial proceeding within the musical work); now, at the moment when it
opens some promising ways concerning the approach to the musical production of
the 50’s-60’s, the doubt occurs that the foretexts may disappear, that the proceeding
may settle in the work.
Today, the
problem that the approach to the musical fact faces could be expressed in the
following manner — and it questions the epistemological status of musical
semiotics : the decipherable content of the work would not only become so
by the use of the two lateral approaches that I have just mentioned — that
is, being in one case validated by a reception that would actualize a potential
meaning and being in the other case validated by reference to an always
potentially active matrix —, but it would become decipherable in the work
itself. The musical meaning would not have been deferred by the genesis or with
a view to reception, but it would rather act in the work, by the
predetermination of the « utteranciation » or by the fold on the
utterance. If, from the hermeneutical point of view, music was not supposed to
go as far as the text, even if it may do so, if, from the genetical point of
view, the sketch, the acoustical material were not supposed to head for the
work, even if they may do it, the situation would be about to reverse : the
work would integrate its own frame, its own meaning.
There are
works that reveal such an historical moment, of course at various degrees of
symbolisation. So is it the case for Helmut Lachenmann’s work, which gives us
the opportunity to listen to the critical point where the inaudible calls the
audible, and a content that magnificently protects itself well from a listening
folded on the utterance. So is it the case for Marc-André Dalbavie’s work, and
more specifically for Seuils (1991-93), which gives us the opportunity to
listen to the emergence of meaning in the heart of music itself (interpolation
between instrumental sounds and vocal sounds allows to reach the linguistic
meaning, at the risk of reaching it in the work itself and not in its
reception).
The approach
to the music composed during the after 1945 period can guide the musicological
reflection in a critical way by bringing its proposals back to an acceptable
threshold of tolerance.
LACHENMANN, Helmut, temA für Flöte,
Stimme (Mezzosopran) und Violoncello (1968), Spielpartitur BG 737 (Köln,
Musikverlag Hans Gerig, © 1971), Wiesbaden-Leipzig-Paris, Bärenreiter,
1980.
— temA, Particell, Basel, Paul Sacher
Stiftung, fonds “Helmut Lachenmann”.
— temA, ensemble Recherche, Paris, Montaigne, S.D.
DALBAVIE, Marc-André, Seuils pour soprano, ensemble instrumental et électronique (1991),
deuxième partie du cycle Logos,
Paris, Jobert, 1991.
— Seuils, Diadièmes, ensemble InterContemporain, dir. Pierre Boulez, Paris,
Ircam/Centre G. Pompidou, coll. “Compositeurs d’aujourd’hui”, 1995.
ADORNO, Theodor W., Philosophie
der neuen Musik, Frankfurt/M., Suhrkamp, 1958 (traduction française : Philosophie de la nouvelle musique,
Paris, Gallimard, 1962).
— Quasi una fantasia, Fankfurt/M.,
Suhrkamp, 1963 (traduction française : Paris, Gallimard, 1982).
BARTHES, Roland, « Le grain de la voix » in L’Obvie et l’Obtus. Essais critiques III, Paris, Seuil (coll. “Points/Essais”), 1982, pp. 236-242.
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de Pierre Boulez. Éléments pour une mise en perspective » in Dissonanz/Dissonance Nr 50, Zürich,
November/novembre 1996, pp. 4-14.
— « Universaux de genèse, universaux de réception : une interaction
finalisée » in Actes du “IVth
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GENETTE, Gérard, Seuils, Paris, Seuil (collection “Poétique”), 1987.
HINZ, Klaus-Michael, « Espaces de la jouissance » in Helmut Lachenmann, programme du Festival d’automne à Paris, Paris, Festival d’automne à Paris, 1993, pp. 20-21.
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n° 6), Paris, Ircam/Centre G. Pompidou, 1994.
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SZENDY, Peter (éd), Écritures musicales aujourd’hui (= Genesis n° 4), Paris, Jean-Michel Place, 1993.
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