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Conserver la musique enregistrée, 1877-2017. Document, œuvre, expérience : trois paradigmes témoins d’un rapport changeant à la musique

Abstract : Although the desire to preserve music as a performance and to ensure its long-lasting accessibility dates back to the Romanticism, preservation only became technically feasible when phonography was invented. This paper analyses the relation­ships between recording, performance and preservation throughout an extended twentieth century (1877-2017). It exposes the interde­pendence between provisions for recording music and the different processes of producing and preserving performances in order to make them available. This interdependence leads to the shifts of status and others concerning the nature of performance as well as of the planning of its storage between three paradigms which appea­red successively but coexist today: the scientific paradigm, accor­ding to which performance is a document; the artistic paradigm, considering performance as an artwork; and the experiential paradigm, considering performance first and foremost as a live experience.
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https://hal.archives-ouvertes.fr/hal-03262050
Contributor : Culture & Musées <>
Submitted on : Wednesday, June 16, 2021 - 12:03:14 PM
Last modification on : Tuesday, July 13, 2021 - 3:13:49 AM

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Sophie Maisonneuve. Conserver la musique enregistrée, 1877-2017. Document, œuvre, expérience : trois paradigmes témoins d’un rapport changeant à la musique. Culture et Musées, Avignon Université, 2021, pp.43 - 59. ⟨10.4000/culturemusees.1072⟩. ⟨hal-03262050⟩

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