Faire chanter la parole, faire parler la musique. Généalogie d'une instauration réciproque
Résumé
There is no evidence in taking for granted the Great Divide between musica and parola: Emerging
genres and practices constantly reinvent ways of redefining and connecting those entities. By presenting
contrasted ways of singing words, from ethnic ritual performances to religious cult, from opera
to French song or rap, this paper outlines ways in which all along history, speaking and singing have
re-formed each other through contrasted relationships. Following Foucault’s plea for “genealogy”
and Certeau’s concept of the “inversion of the thinkable”, it thus aims to address music history
without writing it backwards by drawing on categories that themselves are products of this history.
To sketch such a genealogy of its basic elements may help us rebuild our ways of making music of2019 I innsbruck university press, Innsbruck
ATeM I ISSN 2707-4102 I www.atem-journal.com
Nr. 4,1, 2019 I DOI 10.15203/ATeM_2019_1.04
OPEN ACCESS
Faire chanter la parole, faire parler la musique.
There is no evidence in taking for granted the Great Divide between musica and parola: Emerging
genres and practices constantly reinvent ways of redefining and connecting those entities. By presenting
contrasted ways of singing words, from ethnic ritual performances to religious cult, from opera
to French song or rap, this paper outlines ways in which all along history, speaking and singing have
re-formed each other through contrasted relationships. Following Foucault’s plea for “genealogy”
and Certeau’s concept of the “inversion of the thinkable”, it thus aims to address music history
without writing it backwards by drawing on categories that themselves are products of this history.
To sketch such a genealogy of its basic elements may help us rebuild our ways of making music of the past present again