CIM09 - 5th Conference on Interdisciplinary Musicology - UniversitÃ© ...

<strong>CIM09</strong>5 e Congrès de Musicologie Interdisciplinaire5 th <strong>Conference</strong> on Interdisciplinary MusicologyLA MUSIQUE ET SES INSTRUMENTSMUSIC AND ITS INSTRUMENTSParis, France, 26-29 octobre 2009RésumésAbstractsÉdition réalisée par Michèle Castellengo & Hugues GenevoisEdited by Michèle Castellengo & Hugues GenevoisLAM – Institut Jean le Rond d’AlembertCité de la Musiquemusée du quai BranlyUniversité Pierre et Marie Curie-Paris VIUniversité Paris Sorbonne-Paris IVavec le soutien du CNRS, de la SFA (Société Française d’Acoustique)et de l'Université Pierre et Marie Curie

Michèle Castellengo & Hugues Genevois (editors)<strong>CIM09</strong>5 e Congrès de Musicologie Interdisciplinaire5 th <strong>Conference</strong> on Interdisciplinary MusicologyParis, France, 26-29 octobre 2009Résumés / AbstractsCover design : Hugues GenevoisLayout : Hugues GenevoisCopyright 2009 by LAM - Institut Jean le Rond d’Alembert

INTRODUCTIONLe Congrès Interdisciplinaire de Musicologie (CIM) a pour objectif de favoriserl’existence d’interactions constructives entre la musicologie et les autres disciplinesautour d’objets d’études communs, qu’il s’agisse des sciences de l’Homme(ethnologie, histoire, linguistique, psychologie, sociologie…), des sciences physiques(acoustique, informatique, physiologie…) que de réflexions issues de pratiquesmusicales expertes (interprétation, analyse musicale, enseignement, factureinstrumentale…). L'objet du CIM est de promouvoir les collaborations entre sciences ethumanités, entre théorie et pratique, et ainsi de favoriser les échanges créatifs entredisciplines.LA MUSIQUE ET SES INSTRUMENTSDans le prolongement des thèmes précédents du CIM (timbre, chant, structuremusicale), le <strong>CIM09</strong> aborde la question des rapports que la musique entretient avecles instruments qui servent à la produire.Comment une culture et sa musique sont-elles liées à certains univers instrumentaux ?Quelles influences mutuelles s'exercent entre des instruments et des répertoires ?Comment des instruments, parfois créés en vue d'une musique particulière, suscitent-ilsd’autres musiques? Ou, inversement, que se passe-t-il quand il faut reconstruire desinstruments pour faire revivre une musique ?Voici quelques sujets qui, parmi d'autres, s'inscrivent dans la thématique : La musiqueet ses instruments :• Relations entre musiques, lieux, contextes et instruments• Liens entre l’histoire de la facture instrumentale et l’histoire des langagesmusicaux• Transcription instrumentale et transformations musicales• Nouveaux instruments et nouveaux gestes dans la musique contemporaine• Le compositeur et l’interprète face à l’instrument• Virtuosité, ergonomie et performance instrumentale• Instruments savants, instruments populaires ?• Reconstitution, restauration d'instruments : quel lien avec la musicologiehistorique ?• Transmission des savoirs techniques• Liens entre mécanique et acoustique des instruments et conséquences dansl’écriture musicale• Instruments, systèmes de hauteurs et accordages• Déclin, disparition et renaissance d’instruments (contraintes musicales, sociales,économiques)• Histoire des savoir-faire techniques dans la conception et le jeu des instruments• Art et instruments

INTRODUCTIONThe <strong>Conference</strong> on Interdisciplinary Musicology is a forum for constructive interactionamong all musically and musicologically relevant disciplines, including acoustics,aesthetics, anthropology, archeology, art history and theory, biology, composition,computing, cultural studies, education, ethnology, history, linguistics, literary studies,mathematics, medicine, music theory and analysis, perception, performance,philosophy, physiology, prehistory, psychoacoustics, psychology, semiotics, sociology,statistics, and therapy. CIM especially promotes collaborations between sciences andhumanities, between theory and practice, as well as interdisciplinary combinationsthat are new, unusual, creative, or otherwise especially promising.MUSIC AND ITS INSTRUMENTS<strong>CIM09</strong> will focus on relationships between music and the instruments used for itsproduction.How is the music of a given culture determined or influenced by the nature of itsmusical instruments? How do instruments influence repertoires? How are instrumentsthat have been developed in the context of given musical styles used in new styles?Conversely, what issues arise when old instruments are revived, or new instrumentsadapted, for the performance of early music?The following topic areas illustrate the depth and scope of the conference theme:• Relations between music, places, contexts and instruments• Historical links between musical style and instrument construction/acoustics• Historical and acoustical aspects of the recovery and restoration of earlyinstruments• New instruments and new gestures in contemporary music• Decline, loss and rebirth of instruments: musical, social, economic and culturalconstraints and implications• Ergonomics and virtuosity in instrumental performance• Physical, psychological and sociological interactions among composers,performers, instruments and audience• Compositional consequences of links between the mechanical and acousticproperties of instruments• Instruments, temperaments and tunings• Interdisciplinary knowledge transfer in the design and performance ofinstruments: history and current developments• Musical instruments and other arts• All of the above applied to different musical cultures

SOMMAIREMécanique de l'archet de violon : lien entre évolution et répertoire musical ....................................................... 2Imitations of bells: Correspondence between bell acoustics and the onomatopoeic texts................................... 4Tunings of Lithuanian Skudučiai............................................................................................................................. 6Piano et chanson(s) : enjeux sonores et symboliques............................................................................................. 8Implications of Ableton Live for improvisationally-based electronic music practice ....................................... 10Approche d’une signature sonore stravinskienne : qualités acoustiques de l’instrumentation.......................... 14Singing proficiency is associated with our ability to entrain to a beat................................................................ 18Expression du timbre au piano : contrôle gestuel, acoustique, perception et verbalisation............................... 20Modern Disappearance and Postmodern Rebirth of the Çeng (Turkish Harp)................................................... 24Les cordes demi-filées dans la pratique musicale de la viole de gambe............................................................. 26Les harpions – questions organologiques et musicales :quel(s) réglage(s) pour quel usage sur les harpes anciennes aujourd’hui ? ........................................................ 30Frettage du `ūd (luth arabe) dans la théorie musicale arabe et influence sur la pratique................................... 34Sounding aesthetics and recorder chamfers.......................................................................................................... 38Theatrical Expressivity of Berio’s Sequenza for Viola: Levels of Communication......................................... 40Le support sonore comme instrument de musique chez Christian Marclay ....................................................... 42A study of fret positions of tanbur based on automatic estimates from audio recordings................................. 46Approches culturelles et mécaniques dans le choix des bois en facture : cas des archets anciens.................... 48God vibrations! The Indian vina, a sustained sound concept and a symbol of cultural identity ....................... 52Les nouvelles lutheries : une reconfiguration de la notion d’instrument ? ......................................................... 54Re-configuring ancient greek music theory through technology:an adaptative electronic tuning system on a reconstructed ancient greek barbiton ........................................... 58Inharmoncity, timbre and pitch perception in the pipa ........................................................................................ 62Instruments à frettes et nouveaux accordages (micro tunings)............................................................................ 64Integral Curve versus Separate Bell. New Aspects on the Construction Modes of Crumhorns ....................... 66Céramiques sans fond et tambours préhistoriques : reconstitutions et interprétation ........................................ 68The McGill Digital Orchestra: Interdisciplinarity in Digital Musical Instrument Design................................. 70Lutherie Tools : un exemple d’outil d’aide à la lutherie...................................................................................... 72Instruments expérimentaux et sens haptique ........................................................................................................ 76Acoustical correlates of violin timbre descriptors................................................................................................ 80L’impact des archets de violons sur la qualité sonore résultante en situation de jeu musical........................... 82Analyse du fonctionnement acoustique du Cristal Baschet................................................................................. 86Contribution à l'analyse du rôle acoustique et vibratoire du cordier de violoncelle .......................................... 90Instrumental choreography in David Gorton’s Capriccio for solo cello............................................................. 94Double bass playing techniques and settings in Paris from the 18 th to 20 th century .......................................... 96Maurice Martenot. La poudre de l'enchanteur...................................................................................................... 98“Beethoven Piano Sonatas: From Fortepiano to Harmonic Pedal”................................................................... 102

Des instruments pour l’enfant, ou des instruments de musique tout simplement ?..........................................104E-Motion at the Instrument: An Essay in Visualization of Emotional States of a Performer .........................106The impact of psychological preparation on the vocal performance.................................................................108Effects of Instrument on Tonal Structure (Pitch Content) of Selected Worksby Johannes Brahms, Camille Saint-Saëns, Paul Hindemith, and Dmitri Shostakovich .................................110La guitare électrique comme instrument augmenté et outil de création musicale............................................112Entre l’Orient et l’Occident, « Transformations et survivances du luth monoxyle ».......................................116Peut-on envisager une organologie des traitements sonores temps réel,instruments virtuels de l’informatique musicale ?..............................................................................................118Investigating the history of the piano action using scientific calculus:The case of an Érard grand piano from 1802......................................................................................................122Violin playing techniques and settings in early 20th century ............................................................................124Étude perceptive et dynamique de la guitare électrique.....................................................................................126Piano Performance as Choreographic Practice in the Moving Image...............................................................130The musical instrument as a natural extension of the musician.........................................................................132“Sound and timing must be perfect.” Production aspects of the human beatboxing........................................134Bodies as (Critical) Instruments: Biomusic and its Discontents........................................................................136Digitizing Panamanian Mejorana Music: New MIDI Instruments for Composers..........................................138La cithare chinoise qin, contextes de jeu et enregistrement...............................................................................140Rabeca reborn: the revival of the Brazilian fiddle and the Historical Performance of Music.........................144Modernist representations of the guitar and the instrument’s classical revival in the 1920s...........................146Traditional Orchestral Japanese Music: The Correlation between Time and Timbre......................................148Le sampleur : de la machine à l’instrument ........................................................................................................150Investigating instrumental repertoire following the technique of parataxis: A case study ..............................152Drawing a parallel between the gaida (bagpipe) and the Zonarádikos line dance through Statistics.............154The player and the instrument: Analysis of bowing gestures in violin and viola performance.......................156Balance – brillance – nostalgie : des inventions d’instruments d’orchestre vers 1880....................................158Design and make a novel music instrument “Sorahi” .......................................................................................162Design and make a novel music instrument “Bam-Saz (Bass Satour)”.............................................................164The influence of the ‘full-Böehm’ system instrumenton the development of a Brazilian clarinet repertoire ........................................................................................166Changing Baglama Performance in Urban Culture of Turkey ..........................................................................168Sensorimotor synchronization in IF, a 5-year-old drummer prodigy................................................................170The Cretan lyre: an ethnomusicological and music acoustics approach ...........................................................172The nonlinear membrane of Chinese flutes: its impacts on timbre and performance techniques ...................176

<strong>CIM09</strong> 26-29 octobre 2009Mécanique de l'archet de violon :lien entre évolution et répertoire musicalFrédéric Ablitzer, Nicolas Dauchez, Jean-Pierre DalmontLaboratoire d’Acoustique de l’Université du Maine (LAUM) – UMR CNRS 6613 (France)Nelly PoidevinArchetière (Bow Maker), 18 rue François Luzel F-22100 DINAN (France)Mechanics of the violin bow:Relationship between evolution and musical repertoireBackground in the evolution of violin bowsSince Renaissance, violin bows have evolved through several steps leading to a lengthening of the stick along witha decrease in convexity, until achieving an inversion of the curvature, i.e. camber, with consequences on the choiceof wood [1]. For the last two centuries, the geometry has been subject to few changes and the preferred woodspecies is Pernambuco. Because of the cost and rarity of this species, an alternative material is currently looked for.Background in mechanics of the violin bowMost of the scientific studies on bows concern the bow-string interaction. However, the role of the stick on theplayability remains quite unknown [2-4]. A recent study [5] suggests a relationship between the quality of a bowand its behavior against the tension of the hair.AimsThe aim of the present work is to shed new light on the evolution of violin bows and corresponding styles ofplaying: influence of mechanical behavior, related to geometry and wood species, on the possibilities of musicalexpression.Main contributionSeveral reconstitutions of bows representative of different periods (Renaissance, Baroque, Classical, Modern) areselected for the study. Their mechanical properties are measured: inertia and stiffness of the stick, wood properties,influence of hair tension... These mechanical properties are confronted to different playing styles preferred in eachperiod. For example, the small inertia of baroque bows favors a smooth and articulated playing, whereas themodern bow favors sound power and long notes. Its lengthening makes it less able to withstand the tension of thehair. In order to counter this effect, the curvature is inverted and new wood species are introduced.ImplicationsThis work will lead to develop characterization and simulation tools. It is in line with the project “Plateformed'Aide à la Facture Instrumentale” (framework for assistance to musical instruments manufacturing) 2009-2012,supported by the French National Research Agency. The present analysis should also set on tracks for theadaptation of the geometry to the use of other wood species than Pernambuco.ETAT DE L’ART SUR L’EVOLUTION DES ARCHETS DE VIOLONDepuis la Renaissance, les archets de violon ont connu une évolution en plusieurs étapes tendant vers unallongement de la baguette qui s’accompagne d’une diminution de la convexité jusqu'à une inversion de lacourbure (cambre), avec des conséquences sur le choix du bois [1].Depuis deux siècles, la géométrie a peu changé et l’essence de bois privilégiée est le pernambouc. Le coûtet la rareté de cette essence font qu'un matériau de substitution est actuellement recherché.ETAT DE L'ART EN MECANIQUE DE L’ARCHET DE VIOLONLa plupart des études scientifiques sur l’archet concernent l’interaction crin-corde, mais le rôle de labaguette sur la « jouabilité » a été peu étudié [2-4]. Une étude récente [5] suggère un lien entre la qualitéde l’archet et son comportement face à la précontrainte exercée par la tension de la mèche.OBJECTIFSL’objectif du travail présenté est d’apporter un éclairage croisé sur l’évolution des archets et le type de jeuassocié : influence du comportement mécanique, lié à la géométrie et à l’essence de bois, sur les possibilitésd’expression musicale.CONTRIBUTION PRINCIPALEDes reconstitutions d'archets représentatifs de différentes époques (Renaissance, Baroque, Classique,Moderne) sont sélectionnées. Leurs propriétés mécaniques sont mesurées : inertie et rigidité de la baguette,caractéristiques du bois, influence de la tension…2 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>Ces propriétés mécaniques sont mises en regard des différents modes de jeu privilégiés à chaque époque.Par exemple, la faible inertie des archets baroques favorise un jeu souple et articulé, tandis que l’archetmoderne favorise la puissance sonore et les notes tenues. Son allongement le rend moins susceptible desupporter la tension du crin.Pour contrer cet effet, la courbure est inversée et de nouvelles essences de bois sont introduites. Uneanalyse mécanique de l’archet comme structure précontrainte [6], s’appuyant sur des mesures mécaniqueset des modèles numériques, permet de montrer en quoi l’archet moderne est un compromis abouti.RETOMBÉESCe travail amènera à développer des outils de caractérisation et de simulation. Il s’inscrit dans le cadre duprojet « Plateforme d’Aide à la Facture Instrumentale » (2009-2012) soutenu par l’Agence Nationale de laRecherche. L'analyse présentée devrait, par ailleurs, donner des pistes pour l'adaptation de la géométrie àl'utilisation de bois autres que le pernambouc.BIBLIOGRAPHIE1) Brémaud I., Poidevin N., Wood selection and processing in the evolution of musical instruments' design and realization, IASS2004 - Shell and Spatial Structures from Models to Realization, Montpellier, 2004.2) Askenfelt A., Guettler, K., The bouncing bow: Some important parameters, TMH-QPSR 38 (2-3), 53-57, 1997.3) Woodhouse, J., Galluzzo, P.M., The bowed string as we know it today, Acta Acustica United with Acustica 90 (4), 579-589, 2004.4) Chaigne A., Kergomard J., Acoustique des instruments de musique, Collection Echelles, Belin, Paris, 2008.5) Dauchez N., Génevaux J.M., Brémaud I., Qualité des archets de violons et instabilité de type flambement, Congrès Françaisd’Acoustique, Tours, 2006.[1] Brémaud I., Poidevin N., Wood selection and processing in the evolution of musical instrument's design andrealization, IASS 2004 - Shell and Spatial Structures from Models to Realization, Montpellier, 2004[2] Askenfelt, A. and Guettler, K., The bouncing bow: Some important parameters, TMH-QPSR, 38, 53-57, 1997[3] Woodhouse, J., Galluzzo, P. M., The bowed string as we know it today, Acta Acustica United with Acustica 90,579-589, 2004[4] Chaigne A., Kergomard J., Acoustique des instruments de musique, Collection Echelles, Belin, Paris,2008[5] Dauchez N., Génevaux J.-M., Brémaud I., Qualité des archets de violons et instabilité de type flambement,Congrès Français d’Acoustique, Tours, 2006[6] Ablitzer F., Dalmont J.-P., Dauchez N., Modélisation statique de l’archet de violon : influence de la tension ducrin sur la raideur latérale, Congrès Français de Mécanique, Marseille, 24-28 août 2009BIOGRAPHIESFrédéric AblitzerEtudiant en thèse de doctorat au Laboratoire d’Acoustique de l’Université du Maine (UMR CNRS 6613 – Le Mans)sous la direction de Nicolas Dauchez (Maître de Conférences) et Jean-Pierre Dalmont (Professeur des Universités)Ingénieur diplômé de l’Ecole Nationale Supérieure de Mécanique et des Microtechniques, Besançon (2008)CFEM de violon au conservatoire de Belfort (2003)Contact : frederic.ablitzer.etu@univ-lemans.frhttp://laum.univ-lemans.fr/Nelly PoidevinArchetière, spécialisée dans la reconstitution d’archets anciens, du Moyen Age à l’époque classiquePrix de la Facture Instrumentale, Musicora 2008Membre de l’Union Nationale de la Facture Instrumentale (UNFI)Contact : nelly.poidevin@wanadoo.frhttp://www.archets-poidevin.com<strong>CIM09</strong> 3

<strong>CIM09</strong> 26-29 octobre 2009Imitations of bells: Correspondence between bell acousticsand the onomatopoeic textsRytis AmbrazevičiusFaculty of the Humanities, Kaunas University of Technology, Kaunas (Lithuania)Renata BalsienėLithuanian Academy of Music and Theatre, Vilnius (Lithuania)BACKGROUND IN ETHNOMUSICOLOGYChurch bells played and still are playing important role in the life of communities, in Eastern Europe (cf.Sachs 1930: 54; Vilys 2000; Agapkina 1999). In Lithuania, sets of three to five bells are used; the techniquesof ringing and the sizes of bells are different for different announcements. These formulaic techniques arereflected in the vocal imitations of bells (layer of folklore). Some of the imitations feature qualities of lyrics,while the others are purely onomatopoeic. The recordings of the imitations are not abundant. The mainsource of the imitations is the collection by Kalvaitis (1905). Some samples are also found in severalarchives of Lithuanian traditional music. Yet the imitations of bells have not been studied at all.BACKGROUND IN ACOUSTICSThe basics of bell acoustics are well known (cf. Fletcher & Rossing 1998: 675-707). For the present study,the knowledge of the dominant bands in bell spectrum and the decay times for different partials (long forlow partials and short for high partials; cf. Perrin et al. 1983) seem to be the most relevant. On the otherhand, relevant features of voice acoustics are also well studied; namely, the dependence of vowel phoneticson two first formants as well as the features of nasals and plosives (cf. Kent & Read 2002). Phoneticanalogies of instrumental timbres were discussed (for guitar timbre: Traube & Depalle 2004, etc.). Someparallels between bell and voice acoustics were noticed for vocal Schwebungsdiaphonie (traditional ‘beatdiaphony’ found in Balkans, Lithuania, and elsewhere; Brandl 1989; Ambrazevičius 2005). These includemainly the correspondences between the dominant spectral bands and the features of inharmonic spectra.Yet the correspondences between bell acoustics and the acoustics of vocal bell imitations lackcomprehensive studies.AIMSWe aim to reveal the regularities in phonetics of Lithuanian bell imitations and their origins in bellacoustics.MAIN CONTRIBUTIONThe statistical analysis of bell imitations reveals some correspondence between bell size and phoneticquality of vowel. The largest bell more frequently evokes perception of [u] and [o], while the smallest oneresults in [i], [e], or [æ]. Some syllables are especially frequent in the imitations ([din], [dan], differentvowel diphthongs, etc.). Moreover, the largest bell (which is probably the most important in the culturediscussed) is frequently responsible for rhythmic patterns. The short and long notes in the patternscorrespond to the different vowels.On the other hand, the acoustical analysis of the bell spectra also reveals similar correspondencesbetween bell size and acoustic-phonetic quality of vowel (in terms of formants). What concerns theperception of consonants (first of all, the initial [d] and the final [n]), it can be attributed to the overalldynamics and the dynamic changes in the spectra (prominence of low partials in the end of sound due totheir slow decay, etc.). Differences in the phonetic quality of the short and long tones produced by a singlelarge bell can be also explained by the considerations of the spectrum dynamics.IMPLICATIONSPhonetics of vocal imitations of bells can be explained by features of bell acoustics collated to theacoustical phonetics. When discussing imitations of bells (as well as other examples of onomatopoeia),courses of ethnomusicology and musicology should take into account acoustical considerations.The present study could be further extended to other cases of onomatopoeia. It provides new data to theresearch of analogies between instrumental timbres and phonetics.A comprehensive account of the phenomena of folk onomatopoeia requires expertise in both thehumanities (ethnomusicology, music analysis, etc.) and the sciences (acoustics, statistics).4 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>IMPLICATIONSThe tunings of Skudučiai are loose; they show no resemblance with 12ET and peculiar pitchcategorization: roughly equal intervals with the tolerance of mistuning considerably higher than that in theusual usage of 12ET. The tunings are centered on the phenomenon of maximum roughness as ideal. Theinsights of the present study, possibly, can be extended to the studies of different musical cultures featuringexamples of Schwebungsdiaphonie.Obviously, a comprehensive account of the phenomena of tunings of folk music instruments requiresexpertise in both the humanities (ethnomusicology, music analysis, etc.) and the sciences (first of all,acoustics).REFERENCESAmbrazevičius, R. (2005). The perception and transcription of the scale reconsidered: Several Lithuanian cases.The World of Music, 47(2): 31–53.Ambrazevičius, R. (2008a). Psichologiniai muzikinės darnos aspektai. Jų raiška lietuvių tradiciniame dainavime.Kaunas: Technologija.Ambrazevičius, R. (2008b). Psychoacoustical and Cognitive Basis of Sutartinės. In: K. Miyazaki et al, eds. ICMPC10.Proceedings of the 10th International <strong>Conference</strong> on Music Perception and Cognition. 25-29 August 2008.Sapporo, Japan (CD). Adelaide: Causal Productions. 700–704.Kameoka, A., & Kuriyagawa, M. (1969). Consonance theory, part I: Consonance of dyads. Journal of theAcoustical Society of America, 45(6): 1451–1459.Šimonytė-Žarskienė, R. (2003). Skudučiavimas šiaurės rytų Europoje. Vilnius: Lietuvių literatūros ir tautosakos institutas.Žarskienė, R. (2004). Darna instrumentiniame muzikavime ir jos suvokimas. Tautosakos darbai, XX(XXVII): 125–132.BIOGRAPHIESRytis AmbrazevičiusCurrent position Assoc. Prof.; musical acoustics, speech acoustics, ethnomusicology,psychology of music, and statistics in musicology,Kaunas University of Technology, and Lithuanian Academy of Music and TheatreMain field of research Musical acoustics, psychology of music, ethnomusicologyMain research areas Voice acoustics, vocal performance, traditional singing,music cognition and transcriptionRelevant qualifications Master of Science (physics), Vilnius University, 1984 (graded cum laude)Ph.D. (musicology), Lithuanian Academy of Music and Theatre, Vilnius, Lithuania, 2005Book publications Notation and transcription of ethnic music (in Lith.; Vilnius, Lith. Ac. of Music, 1997)Psychological aspects of musical scales (in Lith.; Vilnius, Kaunas Un-ty of Technology, 2008)Membership ICTM (International Council for Traditional Music); Study Group on Computer Aided ResearchESEM (European Seminar on Ethnomusicology)board of Lithuanian Society of AcousticsContact http://www.rytisambrazevicius.hmf.ktu.ltrytisam@delfi.ltRūta ŽarskienėCurrent position Head of department of Folklore Archives (Institute of Lithuanian Literature and Folklore)Main field of research Ethnomusicology, ethnologyMain research areas Folk musical instruments and instrumental music making,historical sound sources, field researchRelevant qualifications Master of Violin performing,Lithuanian Academy of Music and Theatre, Vilnius, Lithuania, 1987Ph.D. (musicology), Lithuanian Academy of Music and Theatre, Vilnius, Lithuania, 1999Book publications Skudučiai and its relatives (in Lith.; Vilnius, ed. of journal “Visuomenė”, 1993)Music making with multi-pipe whistles in Northeastern Europe(in Lith.; Vilnius, Ins. of Lith. Lit. and Folkl., 2003)Membership ICTM (International Council for Traditional Music)ICTM Study Group on Folk Musical InstrumentsICTM Study Group on Historical SourcesESEM (European Seminar on Ethnomusicology)Contact ruta@llti.lt<strong>CIM09</strong> 7

<strong>CIM09</strong> 26-29 octobre 2009Piano et chanson(s) : enjeux sonores et symboliquesMichaël Andrieu, Cécile Prévost-ThomasUniversité Paris Sorbonne - Paris IV (France)Piano and song(s): sound and symbolic stakesThroughout its history, the piano occupied a singular place within the musical compositions by asserting itself onone hand as the ideal instrument accompanying the voice (from Schubert to Fauré), and being able on the otherhand, to serve as reducer of orchestra (Liszt reducing the symphonies of Beethoven, Horowitz creating a whim onCarmen) in aesthetic or educational purposes.Besides, the development of the instrumental invoice and the image conveyed by this instrument introduced itwithin various social categories (family instrument of the XIXth century’s upper middle classes; pillar of the stagesof jazz underground).The development of devices nomads, such as numeric keyboard and synthesizer, widely contributed to place thepiano practice in the center of numerous musical genres, learned or popular. Among them, the domain of theFrench song saw multiplying these last thirty years number of abbreviated scores allowing the amateur toreproduce easily the familiar tunes which he likes. At the same time, academies knew a significant development ofthe classes of orchestration within which the work of reduction stood out as a separate discipline.Since the first compositions of Mireille in the 1930s until Jeanne Cherhal's performances or BabX in the 2000s byway of those of Léo Ferré, Barbara, Jacques Higelin and Romain Didier during the XXth century, the piano wasalways an instrument privileged to discover the universe of interpreters and to understand the identity ofsong.This hypothesis confirms partially through the examination of works that have the verbal and\orinstrumental theme dedicated to the piano (Barbara, Femme Piano, Romain Didier, Dans ce piano tout noir, BabX,Sous le piano de ma mère).Without ignoring those who took from the classic directory (Gainsbourg / Chopin), others knew how to reveal orsupport their talent of melodist, by the play of this instrument (Renaud, Mistral Gagnant ; William Sheller, Unhomme heureux) and create songs very appreciated by the general public. On the last two decades, acousticconcerts and "piano-voice" recordings (Arthur H, Michèle Bernard, Claude Nougaro), confirmed how the pianocan makes sense, both in the creation and in the re-creation of songs, in the knowledge of the works and theacknowledgement of a kind, summoning at the same time the spirit of a musical classicism (a certain legitimacy…)and allowing an attention more supported in the listening of the words and in the identification of the voices.ETAT DE L’ART EN MUSIQUE ET MUSICOLOGIETout au long de son histoire, le piano a occupé une place singulière au sein des compositions musicales ens’affirmant d’une part, comme l’instrument idéal accompagnant la voix (de Schubert à Fauré), et pouvantd’autre part, servir de réducteur d’orchestre (Liszt réduisant les symphonies de Beethoven, Horowitz créantune fantaisie sur Carmen) à des fins esthétique ou pédagogique. En outre, le développement de la factureinstrumentale et l’image véhiculée par cet instrument l’ont introduit au sein de différentes catégoriessociales (instrument familial de la bourgeoisie du XIXe siècle ; pilier des scènes de jazz underground).Le développement des appareils nomades, tels le clavier numérique et le synthétiseur, a largementcontribué à placer la pratique pianistique au centre de nombreux genres musicaux, qu’ils soient savants oupopulaires. Parmi eux, le domaine de la chanson française a vu se multiplier ces trente dernières annéesnombre de partitions abrégées permettant à l’amateur de reproduire aisément les airs connus qu’ilaffectionne. Dans le même temps, les conservatoires ont connu un développement significatif des classesd’orchestration au sein desquelles le travail de réduction s’est imposé comme une discipline à part entière.ETAT DE L’ART EN SOCIOLOGIE DE LA CHANSONDepuis les premières compositions de Mireille dans les années 1930 jusqu’aux prestations de JeanneCherhal ou BabX dans les années 2000 en passant par celles de Léo Ferré, Barbara, Jacques Higelin etRomain Didier au cours du XXe siècle, le piano a toujours été un instrument privilégié pour découvrirl’univers de certains interprètes et pour mieux comprendre l’identité du genre chanson. Cette hypothèse seconfirme, en partie, à travers l’examen des nombreuses œuvres du répertoire dont la thématique verbaleet/ou instrumentale est justement consacrée au piano (Barbara, Femme Piano, Romain Didier, Dans cepiano tout noir, BabX, Sous le piano de ma mère).Sans ignorer ceux qui ont emprunté au répertoire classique (Gainsbourg/Chopin), d’autres, ont su, par lejeu de cet instrument, révéler ou soutenir leur talent de mélodiste (Renaud, Mistral Gagnant ; WilliamSheller, Un homme heureux) et donner ainsi naissance à des chansons très appréciées du grand public. Surles deux dernières décennies, de nombreux concerts acoustiques et enregistrements « piano-voix » (ArthurH, Michèle Bernard, Claude Nougaro), ont confirmé combien le piano est un instrument qui fait sens tant,dans la création que dans la re-création de chansons, dans la connaissance des œuvres et la reconnaissance8 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>d’un genre, convoquant à la fois l’esprit d’un classicisme musical garant d’une certaine légitimité etpermettant une attention plus soutenue dans l’écoute des paroles et dans l’identification des voix.OBJECTIFS- Présenter les pratiques et les représentations qui associent un instrument de tradition savante à ungenre populaire tant au niveau de la création des œuvres que de leur réception et de leur appropriation parle public.- Démontrer que le choix de recréer des chansons en version piano-voix prend pour les artistes un sensdouble : esthétique (instrument solo renvoyant à des images musicales, permettant des modes de jeuxdifférents et adaptés aux différentes facettes d’un même répertoire), et symbolique (place dans le parcours del’interprète, accès ou retour à des formes de spectacle plus classiques comme le récital qui anoblissent legenre chanson) alors qu’à l’inverse, quand elle est destinée au praticien amateur de chansons, sous forme departitions, la réduction pour piano appauvrit la composition initiale de l’œuvre.CONTRIBUTION PRINCIPALEAnalyse musicale et pianistique de plusieurs chansons issues du répertoire de Arthur H, Michèle Bernard,Claude Nougaro, William Sheller permettant de montrer les enjeux de la réduction piano dans le champ dela chanson française.Etude des fonctions symboliques du piano dans la chanson et des versions piano-voix des œuvressélectionnées dans le corpus.RETOMBÉESL’imaginaire créé autour du piano, l’histoire de l’instrument dans le champ de la chanson et la mise enperspective des versions piano-voix avec le parcours des artistes retenus dans le corpus permettentd’apprécier sous un nouveau jour un genre musical encore trop souvent qualifié de mineur. De plus, laconfrontation entre transcription pour piano et version originale d’une même œuvre permet de donner desnouvelles clés de compréhension musicologiques du genre pluriel que nous proposons d’étudier.BIBLIOGRAPHIEBARBARA, Il était un piano noir, Mémoires interrompues, Paris, Fayard, 1998.BECKER, Howard, Paroles et musique, Paris, L’Harmattan, 2003.BOUILLAGUET, Annick, L’écriture imitative – Pastiche, parodie, collage, Paris, Nathan, 1996BRELET, Gisèle, L’interprétation créatrice, Essai sur l’exécution musicale, L’exécution et l’œuvre, Tome 1,L’exécution et l’expression, Tome 2, Paris, PUF, 1951.ESCAL, Françoise, Aléas de l’œuvre musicale, éditions Hermann, Paris, 1996.SACRE Guy, La musique de piano, Paris, Robert Laffont, coll. « Bouquins », 1999.SCIORTINO, Patrice, Mythologie de la lutherie, Paris, L’Harmattan, 2000.BIOGRAPHIESMichaël AndrieuDocteur en musicologie, Michaël Andrieuest titulaire de : prix de piano, orchestration, harmonie-écriture-composition.Après avoir mené un ensemble de recherches sur la place des pratiques musicales en milieu carcéral, il concentre sonactivité de chercheur au sein de l’OMF (Observatoire Musical Français) sur les typologies et aspects signifiants desreprises et réinvestissement musicaux. Il enseigne à l’Université Paris Sorbonne – Paris IV ainsi qu’au conservatoire deNogent-sur-Marne.Ses dernières publications : « Quand l’utilisation de musiques préexistantes donne naissance à une forme musicalespécifique : la musique des films muets entre 1895 et 1927 », dans Philippe Lalitte (ed.), Influences et modèles,Observatoire Musical Français, série « Conférences et Séminaires », n° 35, 2008, p.53-63 ; Jean-Jacques Werner, milleponts entre un homme et sa musique, Delatour-France, 2008 ; Trois plagiats, pour piano, éditions Fertile Plaine, 2007.Cécile Prévost-ThomasDocteur en sociologie, Cécile Prévost-Thomas est spécialiste de la chanson francophone. Chercheur au sein de l’équipe« Jazz, Chanson et Musiques Populaires Actuelles » de l’OMF (Observatoire Musical Français), Paris Sorbonne,membre du CRILCQ (Centre de Recherche Interuniversitaire sur la Littérature et la Culture Québécoise) àl’Université du Québec Montréal, elle enseigne la sociologie de la musique à l’UFR de Musique et Musicologie del’Université Paris Sorbonne – Paris IV.Ses dernières publications : La chanson francophone engagée, (avec Lise Bizzoni, Montréal, Triptyque, 2008 ; "Septœuvres pour un genre pluriel : la Chanson. Léo Ferré, Evelyne Girardon, Camille, Marc Ogeret et GermaineMontéro", Dossier « Baccalauréat 2009 », Analyse musicale, n°57, septembre 2008, p.113-123.<strong>CIM09</strong> 9

<strong>CIM09</strong> 26-29 octobre 2009Implications of Ableton Live for improvisationally-basedelectronic music practiceMelvin BackstromMcGill University, Montréal (Canada)Elisa NegrettoUniversity of Padua (Italy)BACKGROUND IN MUSICOLOGYOf significant concern to contemporary musicology is the reciprocally constitutive relationship betweencommunities and the forms of music—both their production and consumption—by which they are, at leastpartly, defined (Fornäs, 1995; McLeod, 2001). However, although attention has been paid in this regard tothe mediatory role played by increasingly common laptop-based performance practice (Cascone, 2000;Turner, 2003; Wang and Cook, 2004; Zadel and Scavone, 2006) this has often focused on narrowlytechnical questions in academic and gallery contexts without giving due consideration to the widerpotentialities and consequences of the musical interfaces most utilized by laptop musicians today in lessexclusive, and far more common performance spaces; thus, replicating the high-art/low-art dichotomy fromwhich musicology, and cultural studies more broadly, has only recently, and still not completely, overcome(Tagg, 1987; Fink, 1998). What is therefore now needed is an interrogation of the commonplaces of laptopbasedmusic in order to better understand what results from such a radically new, but already sowidespread and influential paradigm of musical creation.BACKGROUND IN MUSIC PHILOSOPHYIn recent years, an increasing amount of philosophical consideration has been given to improvisationalmusical practice as its processes seem to offer potential insights into the ways in which inter-subjectiveexpression is both constrained by, and enabled through contextual determinations (Alperson, 1984; Crease,1994; Nardone, 1996; Nicholls, 2005). Music, particularly in live contexts, has strong communicative andexpressive power, and finds complex social and perceptual realizations (Kivy, 2002; Meyer, 1956).Following a phenomenological perspective that emphasizes and interprets the relations of the living beingwith the environment in which he/she is immersed, studying the social aspect of musical improvisationalpractice becomes a way to better understand the constitution of the self within its social and culturalcontexts (Merleau-Ponty, 1945). The advent and use of new instrumentation and technology offers newinsights to this philosophical investigation, as well as to the comprehension of the musical, and morebroadly social experience of both performers and audience members (Benson, 2003).AIMSThat the advent and development of digital audio over the last few decades has revolutionized the waymusic is produced, consumed, exchanged and performed borders on, if not entirely crosses into, the realm ofplatitude (Kusek, Leonhard and Lindsay, 2005; Bockstedt, Kauffman and Riggins 2005). But there has beenrelatively little theorizing of some of the musical performance possibilities opened up by the proliferation ofportable, high-speed computers. In this paper we will attempt to redress this imbalance through adiscussion and brief exploration of Ableton Live; a program notable not only on account of its popularity(Irving, 2006), but for its meta-instrumental capabilities. By acting as an interface between synthetic andnon-synthetic, pre-recorded and live sound sources Live allows the realization of a sonic amalgamation thatchallenges, if not entirely disrupts, the hither-to-ostensible dichotomy of live versus recorded music(Auslander, 2002; Ashline, 2003; Jaeger, 2003). Yet, Sterne’s application of Bourdieu’s social theory offersimportant insights into the “constructedness” of such technological objects, as well as of the musicalpractices that it engenders, and thus warns against a naive acceptance of their seeming objectivity (Sterne,2003).MAIN CONTRIBUTIONThe performance possibilities that Live engenders are vast as many DJs, instrumentalists and electroacousticcomposers have discovered (Ableton, 2009). But the effect that such a meta-instrumental, andimprovisationally-adaptable interface might have on the musical experience of performers and audiencemembers deserves greater consideration. Given the value, argued by many (Alterhaug 2004; Fischlin andHeble 2004; Lewis 2004), of improvised music in challenging the hierarchical relationships that havehistorically suffused musical practices Live may exemplify the progressive potentiality of contemporary10 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>music. But locked in front of their laptop screens manipulating minutiae that audience members, andpossibly other performers, cannot see nor, perhaps, comprehend, such a musical practice might well onlyincrease performers’ tendencies towards self-absorption and isolation (Turner, 2003). This is especiallyproblematic in terms of realizing any kind of progressive praxis since it is precisely on account of itsdialogicality—its enabling of freely constituted, non-coercive, inter-personal relationships—thatimprovisation is so highly valued.CONCLUSIONSReal-time musical interfaces such as Ableton Live have the potential to realize a more interactive andimprovisational laptop-based musical practice than has hither-to been possible; thereby providing apotential solution to some of the problems seen with older forms of electronic music (Rothenberg, 1996;Pennycook, 1997; Laubier, 1998; Pinch and Bijsterveld, 2003). Analysis of such practices can in turn aid inunderstanding the musical experience of contemporary audience members and performers. But, although itopens new musical possibilities, such highly mediated, and increasingly complex systems also carry the riskof further isolating the performer-composer from audiences and fellow performers, thus problematizingthese potential benefits.IMPLICATIONSA number of questions result from these deliberations that we will begin to answer but that also deservefurther research. What does “live” mean in the context of the real-time manipulation of sampled, live andsynthetic sounds? Is it still a meaningful concept? (Auslander, 2002; Belet, 2003) Is there a model, aestheticor otherwise, by which laptop-based music performance should be understood? (Garnett, 2001; Monroe,2003; Irving, 2006) And what can be made of the virtual absence of the body in its performativeconstitution? (Emmerson, 2001; Ostertag, 2002)REFERENCESAbleton AG. 2009. Artists, , March 27, 2009.Alperson, P. 1984. On Musical Improvisation. The Journal of Aesthetics and Art Criticism 43(1): 17-29.Benson, B. E. 2003. The Improvisation of Musical Dialogue: A Phenomenology of Music. CambridgeCambridge University Press.Cascone, K. 2000. The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer MusicComputer Music Journal 24(4): 12-18.———. 2004. Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music.Intelligent Agent 4(1).Cox, C. and Warner, D. 2004. Audio Culture. Readings in Modern Music. New York: Continuum.Crease, R. P. 1994. The Improvisational Problem. Man and World 27: 181-93.Davies, S. 2001. Philosophical Perspectives on Music’s Expressiveness. In Music and Emotion: Theory and Research,edited by P. N. Juslin and J. A. Sloboda. New York: Oxford University Press. p. 23-44.———. 2007. Philosophical Perspectives on Art. New York: Oxford University Press.———. 2003. Themes in the Philosophy of Music. New York: Oxford University Press.Emmerson, S. 2001. From Dance! to “Dance”: Distance and Digits. Computer Music Journal 25(1): 13-20.Fink, Robert. 1998. Musicology and Popular Music Studies at the Twilight of the Canon. American Music 16(2): 135-79.Fischlin, D. and Heble, A. 2004. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. InFischlin and Heble (ed.) The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue.Middletown, Connecticut: Wesleyan University Press.Fornäs, J. 1995. The Future of Rock: Discourses that Struggle to Define a Genre. Popular Music 14(1): 111-125.Garnett, G. E. 2001. The Aesthetics of Interactive Computer Music. Computer Music Journal 25(1): 21-33.Graham, G. 2007. Music and Electro-sonic Art. In Stock (ed.) Philosophers on Music: Experience, Meaning, andWork. Oxford: Clarendon Press.Jaeger, T. 2003. The (Anti-)Laptop Aesthetic. Contemporary Music Review 22(4): 53-57.Kivy, P. 2002. Introduction to a Philosophy of Music. New York: Oxford University Press.Koopman, C. and Davies, S. 2001. Musical Meaning in a Broader Perspective. The Journal of Aesthetics and ArtCriticism 59(3): 261-273.Kusek, D., Leonhard, G. and Lindsay, S.G. 2005. The Future of Music: Manifesto for the Digital Music Revolution.Boston: Berklee Press.De Laubier, Serge. The Meta-Instrument. Computer Music Journal 22(1): 25-29.Lewis, George. 2004. Gittin’ To Know Y’all: Improvised Music, Interculturalism, and the Racial Imagination. CriticalStudies in Improvisation 1(1): http://journal.lib.uoguelph.ca/index.php/csieci/article/view/6/15Merleau-Ponty, M. 1945. Phenomenology of Perception. London : Routledge & K. Paul.McLeod, K. 2001. Genres, Subgenres, Sub-Subgenres and More: Musical and Social Differentiation WithinElectronic/Dance Music Communities. Journal of Popular Music Studies 13: 59-75.Meyer, L. B. 1956. Emotion and Meaning in Music. Chicago: The University of Chicago Press.Monroe, A. 2003. Ice on the Circuits/Coldness as Crisis: The Re-subordination of Laptop Sound. ContemporaryMusic Review 22(4): 35-43.<strong>CIM09</strong> 11

<strong>CIM09</strong> 26-29 octobre 2009Nardone, P. L. The Experience of Improvisation in Music: A Phenomenological Psychological Analysis. PhD diss.,Saybrook Institute.Nicholls, T. 2005. It Does Too Matter: Aesthetic Value(s), Avant-Garde Art, and Problems of Theory Choice. PhDdiss., McGill University.Ostertag, B. 2002. Human Bodies, Computer Music. Computer Music Journal 12: 11-14.Pennycook, B. 1997. Live Electroacoustic Music: Old Problems, New Solutions. Journal of New Music Research26(1): 70-95.Pinch, T. J. and Bijsterveld, K. 2003. Should One Applaud?: Breaches and Boundaries in the Reception of NewTechnology in Music. Technology and Culture 44: 536-59.Rothenberg, D. 1996. Sudden Music: Improvising Across the Electronic Abyss. Contemporary Music Review 13(2)23-46.Sterne, J. 2003. Bourdieu, Technique and Technology. Cultural Studies 17(3/4): 367-89.Straw, W. 1991. Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music.Cultural Studies 5(3): 368-88.Tagg, P. 1987. Musicology and the Semiotics of Popular Music. Semiotica 66(1): 279-98.Timothy D. T. 2001. Strange Sounds: Music, Technology, and Culture. New York,Turner, T. 2003. The Resonance of the Cubicle: Laptop Performance in Post-digital Musics.Contemporary Music Review 22 (4): 81-92.Wang, G. and Cook, P. R. 2004. On-the-fly Programming: Using Code as an Expressive Musical Instrument.Proceedings of the 2004 <strong>Conference</strong> on New Interfaces for Musical Expression (NIME04), Hamamatsu,Japan: 138-43.Zadel, M and Scavone, G. 2006. Laptop Performance: Techniques, Tools, and a New Interface Design.Proceedings of the International Computer Music <strong>Conference</strong>: 643–48.BIOGRAPHIESMelvin BackstromCurrent position: PhD student, McGill University (Montreal, Canada)Main research discipline MusicologyMain research areas Musical improvisation, popular music, jazz, ontology of musicRelevant qualifications Combined Honours Bachelor of Arts in Music and Philosophy(2005, University of Alberta)Thesis title: “A Critique of Adorno’s Theory of Popular Music:On Improvisation and the Realization of Difference.”Contact melvin.backstrom@mail.mcgill.caElisa NegrettoCurrent position Doctoral student, Univerisity of Padua (Italy)Main research disciplines Philosophy, music cognitionMain research areas Musical expectations, music comprehension, temporal structure of human perception,improvisation social practice.Relevant qualification Master of philosophy (mag.phil.) in Philosophy and Public Ethics(2006, University of Padua). Thesis title: “The Universals of Music Perception” (in Italian).Contact elisa.negretto@virgilio.it12 <strong>CIM09</strong>

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<strong>CIM09</strong> 26-29 octobre 2009Approche d’une signature sonore stravinskienne : qualitésacoustiques de l’instrumentationMarie-Cécile BarrasUniversité de Bordeaux (Bordeaux IV-IUFM / Bordeaux3 - Département de musique) (France)Boris DovalLAM – Institut Jean le Rond d'Alembert, UPMC Université de Paris 6 (France)Approach to Stravinsky’s sound fingerprint: acoustic qualities of instrumentationBackground in musicologyMusicians and musicologists agree that Stravinsky has a ‘stylistic fingerprint’ in his music (Sadaï, 1993) beyondthe question of different styles (Russian, neoclassic, serial). This ‘stylistic fingerprint’ is due to the structuralproperties of the discourse, the composition, and to the special quality of his instrumentation (predilection forwoodwinds, timbre individualisation) and his orchestration, which gives the characteristic Stravinskian sound(Erickson, 1975).Background in perceptual analysesStudies have been conducted on instrumental timbre, outside the musical repertory, especially concerning theperception and blend of simultaneous timbres of wind instruments (Kendall & Carterette, 1993).Some rare works (Cogan, 1984) have studied the musical expression of musical works through the directperception of sound qualities (timbre, texture). While it is difficult to prove that sound qualities recognized by amajority of listeners belong exclusively to one composer, it is possible through psychoacoustic tests applied to amusical corpus to verify the presence of a sound characteristic considered as representative of a composer (workhypothesis). This would show a continuum of sonority from one musical work to the other (Barras, 1998).Background in musical acousticsThe classical tools used to analyze sounds are spectral or spectrogram analysis, but “only sound synthesis is ableto verify the auditory relevance of features extracted from analysis” (Risset, 1994). In addition to the new tools ofanalysis-synthesis and synthesis by physical models, large sound sample databases are used for studyingcomputer-aided orchestration (Carpentier, 2008), composition or instrumental acoustics (Rose & Hetrick, 2007).These databases allow the reconstruction of Stravinskian chords to be tested. However, these reconstructions needto be checked in order to maintain a realistic orchestral identity.AimsThe aim of the study was to characterize one of the aspects of the Stravinskian ‘sound’, bringing to light therelevance of the acoustical qualities that are used in the instrumentation beyond the features of the composition.Main contributionHypothesis and experiment: chords were taken as a reference of the Stravinskian sonority. We postulate that thefeatures of this sonority may be found in other chords from works of the composer’s whole career: these chords(defined features, short duration allowing the musical discourse to be set aside) should then exhibit an objectiveand perceptible degree of sound similarity with the reference (compared by pairs). Chords evaluated as similarwould be considered to verify the hypothesis, thus establishing a sonority continuum in Stravinsky’s completeworks, a continuum whose characteristics still remain to be clarified by spectral analyses.Method: a first psycho-acoustic experiment was conducted on 104 adolescents (around 15 years old) followingtheir musical lessons at school and on 16 “experts” (musicians, musicologists). Based on these experimental results,acoustic analyses were conducted.Results: Some Stravinskian chord pairs exhibited a similarity that can be related to the spectral distribution, and isdue in particular to the instrumentation (beyond the notes of the chords). To investigate the sound specificity ofthese chords, we propose to assess the influence of the instrumentation in the recognition of these chords. Thismight lead to the definition of a spectral prototype. Underlying issues are how much can a chord be modified sothat it keeps its Stravinskian characteristic? What dynamic ratio should be kept in the sound shape? Newinstrumental configurations of these chords will be tested (from the orchestral sound sample databases).ImplicationsFrom a scientific point of view, few works have dealt with sonority, because of the complexity of the task due tothe numerous parameters in play. Trying to define a phenomenon that is more easily attributed to the listener’sinsight than to a quantifiable entity is a stimulating challenge. From a pedagogical point of view, the initiallistening test conducted on the adolescents met with the complete agreement of their teacher, who was then ableto work on subtle listening to the sound qualities in XXth century music.ETAT DE L’ART EN MUSICOLOGIEMusiciens et musicologues s’accordent à reconnaître chez Stravinsky l’existence d’une « empreintestylistique », « reconnue spontanément comme telle, à travers toute son œuvre, malgré l’incontestableévolution que celle-ci subit », mais difficile à définir en termes analytiques (Sadaï, 1993). Cette empreintestylistique, qui transcende donc la question des différents « styles » ou langages (russe, néoclassique, sériel)14 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>mis en œuvre par le compositeur est due aux propriétés structurelles du discours, à l’écriture, mais aussi à laqualité particulière de son instrumentation (prédilection pour les instruments à vents, individualisation destimbres) et de son orchestration qui participe d’un « son » stravinskien (Erickson, 1975).ETAT DE L’ART EN ANALYSE PERCEPTIVEDes études ont été menées sur le timbre instrumental, hors répertoire musical, notamment sur laperception et le mélange de timbres simultanés d’instruments à vent (Kendall & Carterette, 1993). De rarestravaux (Cogan, 1984) se proposent d’étudier l’expression musicale des œuvres par la perception directe quel’on a des qualités du son [timbre, texture]. S’il est difficile d’apporter la preuve que des qualités de sonreconnues par une majorité d’auditeurs appartiennent en propre à un compositeur, il a été possible, à l’aidede tests psycho-acoustiques, de vérifier au sein d’un corpus musical la présence d’une caractéristique sonoreprise comme représentative du compositeur (hypothèse de travail), témoignant ainsi d’un continuum desonorité d’une œuvre à l’autre (Barras, 1998).ETAT DE L’ART EN ACOUSTIQUE MUSICALELes outils classiques d’analyse des sons sont l’analyse spectrale ou par spectrogrammes, mais « seule lasynthèse sonore permet de vérifier la pertinence auditive des caractéristiques extraites de l’analyse »(Risset, 1994). Parallèlement aux nouveaux outils d’analyse-synthèse et de synthèse par modèle physique,se développent des banques de données de sons utilisées pour l’orchestration assistée par ordinateur(Carpentier, 2008), la composition ou l’étude de l’acoustique instrumentale (Rose & Hetrick, 2007). Cesbanques de données permettront d’expérimenter des reconstitutions d’accords stravinskiens. Il est toutefoisindispensable de s’assurer que ces reconstitutions conservent une identité réaliste du point de vueorchestral.OBJECTIFSIl s’agit de tenter de caractériser un des aspects du « son » stravinskien, en mettant en évidence, au-delàdes caractéristiques de l’écriture, l’importance des qualités acoustiques mises en jeu dans l’instrumentation.CONTRIBUTION PRINCIPALEHypothèse et expérience : des accords sont pris comme référence de sonorité stravinskienne et on postulequ’on peut retrouver les traits de cette sonorité dans d’autres accords extraits d’œuvres jalonnantl’ensemble de la carrière du compositeur : ces accords (caractéristiques définies, durée brève permettant defaire abstraction du discours) devraient donc présenter un degré objectif et perceptible de ressemblancesonore avec la référence (comparaisons par paires). On considèrera que les accords jugés ressemblantsvérifieront l’hypothèse et établiront un continuum de sonorité dans l’œuvre stravinskienne- continuum dontles caractéristiques resteront à expliciter par des analyses spectrales.Méthode : le premier test psycho-acoustique a été effectué auprès de 104 collégiens dans le cadre d’uncours d’éducation musicale (classe de 3ème, environ15 ans), et auprès d’un public de 16 « experts »(musiciens, musicologues). Sur la base des résultats de ce test, des analyses acoustiques ont été effectuées.Résultats : il est montré que certaines paires d'accords stravinskiens témoignent d'une "ressemblance"entre eux, que les points communs entre les accords de ces paires se rapportent à la répartition spectrale,due notamment à l'instrumentation (au-delà des notes jouées des accords). Pour approcher encoredavantage la spécificité du son de ces accords, on se propose de mesurer le degré d’incidence del’instrumentation dans la reconnaissance de ces accords et peut-être pourra-t-on en établir un prototypespectral. Jusqu’où peut-on modifier l’accord pour qu’il conserve sa caractéristique stravinskienne? Que doitonmaintenir comme rapports (dynamiques) dans la forme sonore ? De nouvelles configurationsinstrumentales de ces accords seront expérimentées (construction à partir de banques de données de sons del’orchestre) et testées.RETOMBÉESDu point de vue scientifique, les travaux ayant trait aux questions de sonorité ne sont pas nombreux enraison de la complexité de la tâche due à la multiplicité des paramètres en jeu. Tenter d’objectiver unphénomène plus facilement attribué à l’intuition de l’auditeur qu’à un fait quantifiable est donc une gageureà laquelle il est stimulant de se mesurer.Du point de vue pédagogique, le test d’écoute initial effectué auprès d’un public de collégiens a eu toutl’aval du professeur qui a travaillé ensuite sur une écoute fine de qualités du son dans la musique du XX esiècle.<strong>CIM09</strong> 15

<strong>CIM09</strong> 26-29 octobre 2009BIBLIOGRAPHIEBarras Marie-Cécile, 1998. La spécificité acoustique des accords signalétiques chez Stravinsky. Approche d’unesignature sonore stravinskienne, Mémoire de Prix de la classe d’acoustique musicale du CNSMDP.Carpentier Grégoire, 2008. Approche computationnelle de l’orchestration musicale. Optimisation multicritèresous contraintes de combinaisons instrumentales dans de grandes banques de sons, Thèse de Doctorat(Informatique), Université Pierre et Marie Curie - Paris 6.Cogan Robert, 1984. New images of musical sound, London, Harvard University Press.Kendall Roger A. & Carterette Edward C., 1993. “Identification and blend of timbres as a basis for orchestration”,in Contemporary Music Review, vol.9: Music and the Cognitive Sciences 1990, pp.51-67.Risset Jean-Claude, 1994. “Le timbre dans la musique contemporaine”, in Psychologie de la musique, sous ladirection d’A.Zenatti, Paris, PUF.Rose François & Hetrick James, 2007. « L’analyse spectrale comme aide à l’orchestration contemporaine », SQRMvol. 9, Univ. de Montréal.Erickson Robert, 1975. Sound structure in music, Univ. of California Press.Sadaï Yizhak, 1993. « D’une phénoménologie du style musical », in Analyse musicale n° 32, pp. 34-39.BIOGRAPHIESMarie-Cécile Barrasmarie-cecile.barras@u-bordeaux4.frUniversité de Bordeaux. Agrégée de l’université et Maître de conférences à l’Université de Bordeaux IV-IUFM /Bordeaux3-Département de musique (Histoire de la musique –première moitié du XXème siècle-, analyse, perceptionauditive)Thèse de doctorat : "Stravinsky et la voix" (1994)Premier prix d’acoustique musicale du Conservatoire national supérieur de musique de Paris, 1998, (classe de MichèleCastellengo)Boris Dovalboris.doval@upmc.frEquipe Lutheries, Acoustique, Musique de l’Institut Jean Le Rond d’AlembertMaître de conférence à l’université Pierre et Marie CurieThèse de doctorat : « Estimation de la fréquence fondamentale des signaux sonores » (1994)Premier prix de fugue du CNSMDP16 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Singing proficiency is associated with our ability to entrainto a beatMagdalena BerkowskaDepartment of Cognitive Psychology, University of Finance and Management in Warsaw (Poland)Simone Dalla BellaBRAMS, Montreal (Canada)BACKGROUND IN PSYCHOLOGICAL STUDIES OF ENTRAINMENTMusic allows us to predict when the next beat is going to fall. This makes the musical pulse a cardinaldevice for coordinating the behaviour of several individuals in a synchronized performance. Humans have anatural tendency to entrain to the temporal properties of external auditory stimuli (e.g., music). A recenthypothesis suggests that beat entrainment may have emerged during evolution as a byproduct of selectionfor vocal learning. It is convergent withrecent animals’ observations that they displaying some form of motor entrainment (e.g., parrots),moreover they are also vocal learners (Schachner et al., 2008). This idea pursues to predict a strong linkbetween the mechanisms underlying vocal performance and beat entrainment.BACKGROUND IN NEUROPSYCHOLOGY OF MUSICWhen we think about musical performance we always focus on its two basic dimensions: the pitch and thetime. Moreover, evidence suggests that humans might have neurological specializations for musicprocessing.Most people without musical training find it particularly pleasurable to sing and do it quite preciselycompared to professional singers (Dalla Bella et al., 2007). Furthermore, occasional singers exhibit accuratememory for initial pitch and tempo of popular songs (e.g. Bergeson & Trehub, 2002; Levitin & Cook, 1996)but poor vocal pitch matching abilities (e.g. Amir et al., 2003).Nevertheless, as we noticed, occasional singers who had problems with synchronization with the beatthey had also difficulties with sing proficiency (they made more errors on the pitch and on the time). It wasobserved especially when they sang on /la/. Participants did not exhibit any form of vocalization duringthe tapping task.AIMSIn that study we aimed to examine whether accuracy in sung performance is associated with accuracy insensorimotor synchronization tasks (i.e., requiring beat entrainment).MAIN CONTRIBUTIONWe examined fifty occasional singers who were asking to perform a sensorimotor synchronization task.In that task they tapped their index finger with a sequence of isochronous stimuli (IOI = 600 ms).Moreover, we asked the participants to imitate three familiar melodies (i.e., “Brother John”, “Jingle Bells”,and “Sto lat”) with lyrics, and on the syllable /la/ with controlled slow tempo. The results showed thatsinging proficiency varies with accuracy in the synchronization task.We noticed that participants who displayed low accuracy in the synchronization task (i.e., with largeasynchrony between the taps and the pacing stimuli, and high variability) were also poor singers (i.e., theysang out-of-tune and out-of-time). We observed that kind of association when participants sang with lyricsand when they sang on /la/.IMPLICATIONSThe findings of the present study indicate that the ability to sing proficiently and to entrain covary in thegeneral population. In the future, it would be essential to examine possible links between vocal control andentrainment mechanisms in humans.18 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCESAmir, O., Amir, N., & Kishon-Rabin, L. (2003). The effect of superior auditory skills on vocal accuracy. Journal of theAcoustical Society of America, 113(2), 1102-8.Bergeson, T.R., & Trehub, S.E. (2002). Absolute pitch and tempo in mothers’ songs to infants. PsychologicalScience, 13(1), 72-75.Dalla Bella, S., Giguère, J-F., & Peretz, I. (2007). Singing proficiency in the general population. Journal of theAcoustical Society of America, 121, 1182-1189.Levitin, D.J., & Cook, P.R. (1996). Memory for musical tempo: Additional evidence that auditory memory isabsolute. Perception & Psychophysics, 58, 927-935.Schachner, A., Brady, T. F., Pepperberg, I., & Hauser, M. (2008). Spontaneous entrainment to auditory rhythms invocal-learning bird species. Poster presented at The Neurosciences and Music III, Montreal, Canada.Poster.BIOGRAPHIESMagdalena BerkowskaMagdalena Berkowska is a Ph.D candidate in the Department of Cognitive Psychology at the University of Financeand Management in Warsaw (Poland).She completed a M.Sc. in speech therapy (Kazimierz Wielki University, Poland) and worked with children sufferingfrom speech disorders.Her research mainly focuses on singing proficiency in healthy participants and in patients with developmental learningdisorders.Simone Dalla BellaSimone Dalla Bella is Associate Professor in the Department of Cognitive Psychology at the University of Finance andManagement in Warsaw (Poland).He completed his Ph.D. (University of Montreal) under the supervision of Isabelle Peretz and received post-doctoraltraining under the supervision of Tomas Paus (Montreal Neurological Institute) and Caroline Palmer (Ohio-StateUniversity).Simone Dalla Bella’s present research interests concern music performance (in particular singing and sensory-motorsynchronization) in normal and brain-damaged individuals.<strong>CIM09</strong> 19

<strong>CIM09</strong> 26-29 octobre 2009Expression du timbre au piano :contrôle gestuel, acoustique, perception et verbalisationMichel Bernays, Caroline TraubeLaboratoire informatique, acoustique et musique (LIAM)Observatoire international de la création et des cultures musicales (OICCM)Laboratoire international de recherche sur le cerveau, la musique et le son (BRAMS)Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT)Faculté de musique, Université de Montréal (Canada)Expression of piano timbre: gestural control, acoustics, perception and verbalizationBACKGROUND IN MUSIC PEDAGOGYInstrumental gesture, as a conveyor of creativity from the performer of a composition, is a prime topic ofenhancement within high-level music performance pedagogy. Pianists have empirically developed uncannyabilities to control timbre through gesture, in their day-to-day practice as well as through pedagogical methodsand treatises, wherein twentieth century masters such as Matthay, Neuhaus [5] and Kochevitski highlighted theimportance of gesture in developing one’s proper “sound”. Timbre therefore is a key to the musical expressivity ofvirtuosi pianists, who display exceptional dexterity in controlling the instrument, and an acute aural sensibility tothe slightest sonic variations. This acumen regarding timbre results in an extensive vocabulary describing a widerange of nuances [3]: timbre can be qualified as round, bright, velvety…[2]. But those terms remain subjectiveand restrained by its context of learning, at the professional-level, which focuses essentially on the transmission,from master to student, of abstract concepts and terms linking timbre directly to the emotion it ought to instill,thus bypassing its concrete ways of production through instrumental gesture.BACKGROUND IN MUSIC COGNITIONNumerous studies in systematic and cognitive musicology were devoted to studying instrumental gesture and itsinfluence on musical expressivity. The case of piano performance and its gestural control is illustrated by works onarticulation [8], fingering patterns [7] or synchronism and intensity [4]. However, there remain to establishcorrelations between gesture and piano timbre, as the musical parameter of timbre in itself is very complex, and astimbre control still is misconceived as contrived to a strict relation to the intensity of key stroke (studied in [6]).AIMSThis study attempts to determine the parameters of instrumental gesture, acoustical and perceptive correlates andverbal description that relate to timbre in pianistic performance, as a performer-controlled, and not instrumentbound,entity. In detail, we wish to determine whether the timbre-describing vocabulary, its perceptual meaningand the sound-producing gesture form a consensus among the pianists’ community, through the analysis ofrelations between timbre, articulation et dynamic register. The goal is to establish correlations between theproduced timbre and the performer’s gesture.MAIN CONTRIBUTIONThe most common timbre descriptors were selected from a large corpus [1], then submitted to high-level pianistsfor them to identify and name from listening to sound excerpts colored in those timbres. Those excerpts werecollected from performances carried out by a professional pianist we invited to play three short pieces (especiallycomposed for the study) several times, with different timbres each time (as defined by the descriptors bright, dark,distant, full-bodied, harsh, matt, round, shimmering). With the computer-controlled recording acoustic grandpiano Bösendorfer CEUS, we could record key positions and hammer velocities. This data set was then computedto extract the gestural features. The timbre perception test results show significant identification accuracy (onethird of right answers, thus three times more as chance, p

26-29 octobre 2009 <strong>CIM09</strong>Le timbre s’avère ainsi un paramètre significatif pour les grands pianistes, qui ont su développer uncontrôle très pointu de l’instrument grâce à leur dextérité exceptionnelle, ainsi qu’une sensibilité auditiveaccrue et formée aux plus subtiles variations. Cette perception fine du timbre se manifeste par unvocabulaire très détaillé décrivant une vaste palette de nuances [3] : le timbre est qualifié de rond, brillant,velouté,… [2]. Mais ces termes restent subjectifs et conscrits par leur contexte de diffusion, de professeur àélève, oralement, en acquisition par essai/erreur. Un timbre donné ne se retrouve alors pas toujours associéconsciemment au geste qui le génère.ETAT DE L’ART EN COGNITION MUSICALENombre d’études en musicologie systématique et cognitive se sont portées sur l’étude du gesteinstrumental et son influence sur l'expressivité dans l'interprétation musicale.Le cas du piano est illustré notamment par les travaux sur l’articulation [8], le doigté [7] ou lesynchronisme et l’intensité [4]. Mais les corrélations entre geste et timbre au piano restent toujours àétablir, et semblent entravées par la complexité du paramètre timbral et par une conception du contrôle detimbre limitée à la vitesse d’enfoncement d’une touche (relation étudiée dans [6]).OBJECTIFSCette étude vise à déterminer les paramètres du geste instrumental, les corrélats acoustiques et perceptifset la description verbale liés au timbre dans l’interprétation au piano.L'objet de cette étude est donc le « timbre au piano » et non le « timbre du piano ». En particulier, nouscherchons à déterminer si le vocabulaire descripteur de timbre, sa signification perceptive et le gesteproducteur des sons associés forment un consensus parmi les pianistes, à travers l’analyse des relationsentre timbre, articulation et registre dynamique. L’objectif est d’établir des corrélations entre le timbreproduit et le geste du pianiste.CONTRIBUTION PRINCIPALELes verbalisations les plus courantes du timbre au piano ont été sélectionnées parmi un large corpus dedescripteurs verbaux [1], puis soumises à des pianistes de haut niveau ayant pour tâche d’identifier etnommer le timbre à partir d’extraits sonores issus d’interprétations.Ces dernières ont été accomplies par un pianiste professionnel, invité à jouer trois courtes pièces(composées spécialement pour l’étude) en les affectant de timbres différents à chaque fois (désignés par lestermes brillant, dur, lointain, mat, plein, rond, scintillant, sombre).Grâce au piano à enregistrement numérique Bösendorfer CEUS, les positions des touches et vitesses desmarteaux ont pu être enregistrées, puis traitées pour en extraire les caractéristiques gestuelles.Les résultats du test de perception du timbre témoignent d’une capacité d’identification significative (plusd’un tiers de bonnes réponses, soit trois fois plus que le hasard, p

<strong>CIM09</strong> 26-29 octobre 2009BIBLIOGRAPHIE[1] Bellemare, M. & Traube, C. (2006). Investigating piano timbre: Relating verbal description and vocal imitationto gesture, register, dynamics and articulation. Actes de l’ICMPC9, Bologne, Italie, 22-26 août.[2] Cheminée, P., Gherghinoiu, C. & Besnainou, C. (2005). Analyses des verbalisations libres sur le son du pianoversus analyses acoustiques. Actes du CIM05, Montréal, 10-12 mars.[3] Faure, A. (2000). Des sons aux mots, comment parle-t-on du timbre musical ? Thèse doctorale, Ecole desHautes Etudes en Sciences Sociales, Paris.[4] Goebl, W., Bresin, R. & Galembo, A. (2005). Touch and temporal behaviour of grand piano actions. Journal ofthe Acoustical Society of America, 118, p.1154.[5] Neuhaus, H. (1971). L'art du piano. Traduit du russe par O. Pavlov & P. Kalinine, Luynes, éds. Van de Velde.[6] Ortmann O. (1962). The Physiological Mechanics of Piano Technique. New York, Dutton. (édition originale :New York, Dutton, 1929).[7] Parncutt, R., & McPherson, G.E. (éds.) (2002). The science and psychology of music performance. New York,Oxford University Press.[8] Repp, B. (1997). Acoustics, perception, and production of legato articulation on a computer-controlled grandpiano. Journal of the Acoustical Society of America, 102(3), pp.1878–1890.BIOGRAPHIESMichel BernaysPoste courant Doctorant, Faculté de musique, Université de MontréalDiscipline principale MusicologieDomaines de recherche Analyse du geste instrumental, cognition musicaleFormation Master recherche « Art, Science, Technologie »,Institut National Polytechnique de Grenoble, France, 2006.Contact michel.bernays@umontreal.caCaroline TraubePoste courant Professeure adjointe, Faculté de musique, Université de MontréalDiscipline principale Acoustique musicaleDomaines de recherche Etude du timbre des instruments de musiqueFormation Ingénieur civil en télécommunications - Faculté Polytechnique de Mons, Belgique, 1996.Engineer degree, Stanford University/CCRMA, USA, 2000.PhD music technology, McGill University, Canada, 2004.Contact caroline.traube@umontreal.ca22 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Modern Disappearance and Postmodern Rebirth of theÇeng (Turkish Harp)Şehvar BeşiroğluState Conservatory of Turkish Music, Istanbul Technical University (Turkey)Ali ErgurDepartment of Sociology, Galatasaray University (Turkey)BACKGROUND IN ORGANOLOGYÇeng is a musical instrument with 14 to 24 strings Antique Asia civilization originated that is played bytwo hands and keeping perpendicular to the lap. It is classified as “open harps” under the sub-category ofharp of main category chordophone in Hornbostel-Sachs system received as the recent classification in 20thcentury.This type of instrument exists today in Burma, China, Central Asia, Central Africa and Europe. As it is inthe case of several other instruments, it has been subject to a fluctuating history, with periods of ascendanceand followed by those of relative oblivion, due to sociological as well as technical reasons.BACKGROUND IN SOCIOLOGYModernization as the sociological axis in Turkey, had transformed, since the eighteenth century, thetraditional forms of socialization, while creating institutional regulations in full conformity with anintensifying urban life, and a variety of cultural representations that correspond to it.The inevitable abandon of low-volume musical instruments, reflects the systematic proliferation of asocial need for some popular forms with significantly higher voices. The çeng is one of the best examples ofsuch a natural elimination. Moreover, as the actual process of globalization seems to revalue the local andthe authentic through an articulation with the global market, the çeng is reentering the cultural scene innew synthetic musical expressions, as well as in strict authentic performances.AIMSThis proposal aims to discuss the historical evolution of the çeng, in accordance with both therationalization observed during the Turkish modernization, and the reevaluation of local and authenticcultural issues through the global articulation.MAIN CONTRIBUTIONWe estimate to satisfactorily demonstrate that the historical evolution of the musical instruments isneither linear nor value-charged. On the contrary, functions and meanings attributed to an instrument aretotally context-dependent. Thus, the case of the çeng, towards post-industrial, global cultural articulations,as well as the modern rational standardizations and consequent natural selections, can be considered as asign of the social construction of musical norms and tastes, proving thus that instruments can disappearand rebirth, according to the cultural specificities and the relations of production of a specific historicalperiod.IMPLICATIONSThree main implications are deriving from this analysis:(1) There is a variety of studies on musical instruments in Turkish musicology, but, nearly none of themtake into account that there are socially determined. This study tries to place the history of a musicalinstrument in a sociological context.(2) A vast variety of analyses on popular culture tend to be positioned on a sharply polarized debatewhich consider it either as a process of manipulation of masses or an over-valorization of the interactiveautonomies. This study aims to expose, through the example of the çeng, the coexistence of both tendencies,under the global conditions that make music as a both capitalistic activity and interactive encounter withthe local and the authentic.(3) Few studies have been made on the çeng. Our proposal will try to discern the features of theinstrument as a contribution to organological studies as a sociological phenomenon.Thus, this analysis can help to reposition every instance of the musical practice in close relation with itssociological meaning, especially in music schools of Turkey, where such a wide-perspective view seems tosystematically lack.24 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCESADORNO, Theodor W. Introduction à la sociologie de la musique (Introduction to the sociology of music)(Paris : Editions Contrechamps, 1994)AND, Metin, 16.yy da Istanbul (Kent, Saray, Gunluk Yasam) (Istanbul in the 16th century, City, Palace, EverydayLife) (Istanbul: Akbank Yayinlari, 1993)FELDMAN, Walter, Music of the Ottoman Court, (Berlin: InterCultural Institute, 1996)SACHS, HORNBOSTEL, edt. MYERS, Helen, Organology, An Introduction(USA: The Norton/ Grove Handbooks in Music, 1992)YEKTA, RAUF, Turk Musikisi (Turkish Music), (Istanbul: Pan Yayincilik, 1986)WEBER, Max, Sociologie de la musique. Les fondements rationnels et sociaux de la musique (Sociology of music,The rational and sociological foundations of music), (Paris : Métailié, 1998)BIOGRAPHIESŞehvar BeşiroğluCurrent position Professor of musicology, Istanbul Technical University, TurkeyMain field of research MusicologyMain research areas Turkish Historical Musicology, Organology, Ethnomusicology, Gender StudiesRelevant qualifications Master of Arts (Turkish Music), Istanbul Technical University, Turkey,1988DMA (Turkish Music), Istanbul Technical University, Turkey 1993Post Doctoral (Ottoman History and Music) Harvard UniversityBook publications “Turk Sanat Muzigi”, “Kanun” (“Turkish Art Music”, “Qānūn”)ed: Korukcu, Cetin, (Istanbul: Hurriyet, 1998)“Fadime Kimdir?” (Whos is Fadime?) “Fadimeler’in Aglamalari”(The lamenting of Fadimes), ed: Kolivar,A., Çelik,L., (Istanbul: Heyamola, 2007)Advisory boards ITU Social Science JournalAkdeniz University Art JournalDokuz Eylul University 7Plus JournalAli ErgurCurrent position Associate professor of sociology, Galatasaray University, Istanbul, TurkeyMain field of research SociologyMain research areas Technology and society, sociology of musicRelevant qualifications Master of social sciences (sociology), Marmara University, Istanbul, 1992Ph.D. (sociology), Middle East Technical University, Ankara, Turkey, 1997Book publications Portedeki Hayalet: Muzigin Sosyolojisi Uzerine Denemeler(Phantom of the stave: Essays on the sociology of music) (Istanbul: Baglam 2002)Gorkemli Unutus (The Wonderful Oblivion) (Istanbul: Baglam, 2006)Le technocentrisme: Promesses et menaces de l’ère informatique (Paris: L’Harmattan, 2009)Muzikli Aklin Defteri (The Notebook of the musical mind) (Istanbul: Pan, 2009)Advisory boards Journal of Interdisciplinary Musicology<strong>CIM09</strong> 25

<strong>CIM09</strong> 26-29 octobre 2009Les cordes demi-filées dans la pratique musicale de la violede gambeCharles Besnainouluthier-acousticien, LAM – Institut Jean le Rond d'Alembert – UPMC/CNRS/MCC (France)Christophe Coinvioliste, CNSMDP (France)Half-spun strings in the viola da gamba practiceState of art 1Until recently, the bass strings for lutes and viola da gambas have posed a problem for musicians. When oneincreased the diameter of animal-gut strings to obtain lower sounds, it was always at a cost of flexibility, therebyruining the sonic qualities of these strings. More contemporary wound strings are, by contrast, incapable ofsatisfying the instrumentalist and representing the subtlety of ancient musical writing.One sees that, during the medieval period, the tessitura of stringed instruments (harps, vièles and lutes) wasreduced (2 octaves) and that it did not extend in the lower register because of the quality of animal-gut strings.At the beginning of the Renaissance, when the tessitura of all string instruments was extended towards the lowerregister (3 or 4 octaves), we see an indication that new techniques for string manufacturing were developed tobetter answer composers’ musical needs.In principal, modern strings should be able actualize the intentions of ancient composors, especially with respect topitch-accuracy and dynamics when notes and ornaments are attacked. Contemporary viol strings in the lowerregister that come from wound strings –a metallic « thread » which is wound around a core– introduce severaldefects : even if their flexibility gives them very good accuracy that causes harmonic richness and a powerfulsound, they lack a strong fundamental due to their inertia. Moreover, they are unsuitable for short transients andornaments.The invention of wound catgut strings is mentioned only in the middle of the 17th century. [1] These stringsonly became commonplace a century later. Thus, viols (and lutes) present us with a history where bass stringswere made of unwound bowel. This is attested to by these instruments’ abundant iconography.Half-spun strings are an extension of the discoveries made during the 16th century in the "tortillage" (twisting) ofintestines.State of art 2The ancients were motivated by the desire to invent solutions so that the low-register gut strings retained enoughflexibility to ensure musically rich sounds. Modern attempts to reconstruct these strings using large diameters (2to 4mm) have proven unsatisfactory to musicians.The western musical paradigm is built on the concept of consonance, that is to say the property of simultaneoussounds that do not produce beats, instead sharing geometrically proportional relationships. This means thatsounds are harmonic, ie. that the frequency of each component is a multiple of the fundamental. It is this propertyof harmonicity with which the ancients managed to obtain "large strings for contra basses for double bass violins" [2]using the skills of artisan craftsman.Traditional techniques of manufacturing gut strings merely consist of twisting together the intestines of sheep anddrying them under tension. This torque was thought to be a first determinant of strings’ harmonic properties.It was long thought [3] that these "new" strings were constructed in the same manner that one makes maritimeropes, using several strands that have already been twisted. Today, the musical quality of these strings arerecognized to be effectively unutilisable for a large bass in spite of the fact that they constitute a minorimprovement over their unwound cousins.What is needed, then, is a thorough analysis of maritime rope making, especially with respect to the structuralstability of the process, to understand how these strings were actually made.AimsThis research lies the crossroads of musical writing, playing, iconography, lutherie, and artisan craftmanship.Physical and acoustic research shows, using graphical representations, [2] [4] that these new manufacturingtechniques are rooted in the same principles as one finds behind the design of catapults and ballista that militaryengineers have been constructing since ancient times! Moreover, many paintings throughout the 16th, 17th andeven 18th century provide for us, with the precision of photography, striking examples of instruments fitted withsuch "twisted" and "half spun » strings [4].Our principal goal is to find manufacturing technologies allowing for twisted gut strings that satisfy musicians.Traces of this knowledge abound in ancient texts, right up to the Great Encyclopedia of Diderot & d'Alembert[5].Main contributionBy means of very simple devices, a reconstruction is proposed which answers the 1588 text published in Paris bythe engineer Agostino Ramelli. This reconstruction also adheres to the sonic exigences of quality lute and violstringing.To the untrained eye, the texture of the rope’s so-called garochoir resembles that of maritime ropes obtained bytraditional rope making processes. In fact, such techniques are actually diametrically opposed. A strong reverse26 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>twist can cross the boundaries of structural instability to reach a new state of stability that is rather elastic. Thiselasticity of the cord « en garochoir » allows for bass strings to be more flexible. Furthermore, these strings can becomprised of one sole wound strand or several. Our research concludes with an analysis of the mechanical andacoustic behavior of these reconstituted strings, with musical examples given to support their efficacy.The half-spun string, which combines the aforementioned twisting techniques with increased linear density via ametallic thread (copper, silver) that is twisted to fill the grooves in the string, represents the pinnacle of thistechnology.ConclusionFor lutes, these strings en garochoir constitute a clear advantage compared to the low-register spun srings becausethey present a reduced duration of extinction unlike " spun bourdons that unfortunately dominate the higher strings,obfuscating their decays with their large sound" [6].For viols, these half-spun strings, being thinner than the simple garochoirs, are quicker to react under the bow.This renders the musical articulation more intelligible.ETAT DE L’ART 1Les cordes graves des luths et des violes de gambe ont toujours été problématiques –jusqu’à aujourd’hui–pour les musiciens. Lorsque le diamètre des cordes de boyau augmente pour obtenir des sons graves, ellesperdent leur flexibilité ce qui ruine leurs qualités sonores. Les cordes filées modernes ne donnent passatisfaction tant pour le jeu de l’instrumentiste que pour rendre les artifices de l’écriture musicale.On peut constater que durant la période médiévale la tessiture des instruments à cordes (harpes, vièles etluths) était réduite (~2 octaves) et qu’elle ne s’étendait pas dans le grave du fait de la qualité des cordes.Lorsque au début de la Renaissance, tous les instruments à cordes voient leur tessiture s’étendre vers legrave (3 ou 4 octaves), cela est l’indice que de nouvelles techniques de fabrication des cordes furentdéveloppées répondant mieux à l’écriture des compositeurs.Mais faut-il encore que les cordes puissent rendre l’intention des compositeurs, en particulier des qualitésde justesse et des qualités dynamiques dans les attaques et les ornements. Les cordes modernes actuelles,dans le registre grave des violes, sont issues de la lignée des cordes filées –un « trait » métallique est guipéautour d’une âme– présentent plusieurs défauts : même si leur flexibilité leur confère une excellentejustesse, associée à une richesse harmonique, et en même temps une puissance sonore, elle manque defondamental et surtout, du fait de leur inertie, sont inaptes aux transitoires courts et aux ornements.Or, l’invention des cordes filées n’est mentionnée qu’au milieu du 17ème siècle [1] et elles nes’imposeront qu’un siècle plus tard ; ainsi pendant toute l’histoire des violes (et des luths) les basses étaientfaites de boyau. Ceci est attesté par une abondante iconographie.Les cordes demi-filées constituent une extension des découvertes faites au 16ème siècle dans le «tortillage » des boyaux.ETAT DE L’ART 2Les anciens ont donc dû inventer des solutions pour que les cordes graves de boyau conservent de bonnespropriétés de flexibilité afin d’assurer des sons musicaux. Mais, les tentatives de reconstitution modernes decordes graves de gros diamètres (de 2 à 4mm) ne donnent pas satisfaction.Le paradigme musical occidental s’est construit sur la notion de consonance, c’est-à-dire sur la propriétéque des sons simultanés ne produisent pas de battements –en résumé que leurs fréquences soient entre ellescomme des multiples simples… Ce qui veut dire que les sons doivent êtres harmoniques, c’est-à-dire dont lafréquence de chacune des composantes est multiple du fondamental.C’est cette propriété d’harmonicité que les anciens ont réussi obtenir même pour « les grosses cordes desbasses-contres des gros violons » [2] en utilisant les ressources de l’art des cordiers.Les techniques traditionnelles de fabrications des cordes de boyau consistent simplement à entortillerensemble des intestins de mouton, et laisser sécher les cordes sous tension ; la quantité de torsiondéterminant en première approximation les qualités harmoniques.On a longtemps pensé [3] que ces « nouvelles » cordes étaient construites selon les techniques ducommettage des cordages de marine, en utilisant plusieurs brins déjà entortillés. Or, les qualités musicalesde ces cordes, même si elles constituent une légère amélioration, deviennent inutilisables pour les grossesbasses.Une analyse fine des techniques de commettage s’avère indispensable ; les questions de stabilitéstructurelle du commettage étant le point clef à prendre en compte.OBJECTIFSCette recherche, à la croisée de l’écriture musicale, de l’interprétation, de l’iconographie, de la lutherie, desarts & métiers, de la physique et de l’acoustique, montre avec des documents iconographiques [2][4], queces nouvelles techniques de fabrication trouvent leur origine dans le savoir-faire des catapultes et autresbalistes que les ingénieurs militaires pratiquaient depuis l’Antiquité ! De plus, de nombreuses peintures,tout au long des 16ème, 17ème et même 18ème siècle nous donnent avoir, avec la précision de la<strong>CIM09</strong> 27

<strong>CIM09</strong> 26-29 octobre 2009photographie, des exemples saisissants d’instruments montés avec de telles cordes « tortillées » et « demifilées » [4].Retrouver les techniques de fabrication de cordes tortillées en boyau qui satisfassent les musiciens. Destraces de ce savoir faire se retrouvent jusque dans la Grande Encyclopédie de Diderot & d’Alembert [5].CONTRIBUTION PRINCIPALEÀ l’aide de dispositifs très simples, une reconstitution est proposée qui répond au texte publié en 1588, àParis, par l’ingénieur Agostino Ramelli, en même temps qu’aux exigences de qualité sonore des luths et desvioles. Pour un œil non exercé, la texture des cordages dits en garochoir ressemblent à celle des cordagesde marine obtenu par commettage direct, mais ils sont exactement la négation dialectique de ceux-ci. Untortillage inverse intense permet de franchir les limites des instabilités structurelles pour atteindre unnouvel état de stabilité qui présente des propriétés d’élasticité géante, et qui donc confère de bonnespropriétés de souplesse (flexibilité) à ces cordes graves. Ces cordes en garochoir peuvent se décliner aussibien avec un seul brin qu’avec deux brins. Des analyses du comportement mécanique et acoustique de cescordes reconstituées complètent cette recherche, exemples musicaux à l’appui.La corde demi-filée, qui combine ces techniques de tortillage avec l’augmentation de la masse linéiqueavec un trait métallique (cuivre, argent) remplissant le sillon laissé par l’opération de tortillage, représentede summum de cette technologie.RETOMBÉESPour les luths, ces cordes en garochoir constituent un net avantage sur les cordes filées gravespuisqu’elles présentent une durée d’extinction réduite à la différence des « bourdons filés [qui] ontl'inconvénient de dominer trop sur les autres cordes, et d'en faire perdre le son final par la durée du leur… »[6].Pour les violes, ces cordes demi-filées, étant plus fines que les garochoirs simples démarrent plus vitesous l’archet, l’articulation devient plus lisible.BIBLIOGRAPHIE[1] Playford, The Dancing Master, London, 1653.[2] Agostino Ramelli, Le diverse et artificiose machine, Paris, 1588.[3] Ephraïm Segermann and Dgila Abbott, Gut Strings, Early Music.1976; 4: 430-438[4] Michel Boyer, Basse, cahier de musique et épée, 1693, Musée du Louvre, rés. MI1094[5] Diderot & d’Alembert, Grande Encyclopédie, § Corderie (Page 4:215), Paris, 1765.[6] L'Encyclopédie Méthodique : l'Art du faiseur d'instruments, Paris 1785.BIOGRAPHIESCharles BesnainouCharles Besnainou, chercheur au sein de l’équipe LAM (Institut Jean le Rond d'Alembert) pour l’étude des savoir-fairede luthiers, est professeur de la classe d’acoustique musicale au CNSMDP.charles.besnainou@upmc.frChristophe CoinChristophe Coin, concertiste, violiste, directeur de l'Ensemble Baroque de Limoges, violoncelle du quatuor« Mosaïque », est professeur de la classe de viole de gambe au CNSMDP.Ccoin@cnsmdp.fr28 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Les harpions – questions organologiques et musicales :quel(s) réglage(s) pour quel usage sur les harpes anciennesaujourd’hui ?Charles BesnainouLAM – Institut Jean le Rond d'Alembert – UPMC Université Paris VI (France)Véronique Musson-GonneaudCentre de Musique Médiévale de Paris (France)Braypins: Musical and organological questions: which set-up, for what use on early harpstoday?State of art in music and musicologyBraypins are 'obstacles' which modify the vibrations of the strings of the harp. They are shown in iconographyand referred to in texts up until the 18th century. It appears that the particular tone produced when usingbraypins was appreciated in different ways according to the era 1. For example, Mersenne [1] and Trichet [2].Today, braypins reconstructed by most luthiers raise aesthetic problems for musicians. This is because the soundis so different from that which the modern ear associates with the harp. The leads musicians who have bray pinson their harp to avoiding using them. They then justify their presence in the iconography for secondary reasons 2 .It is our opinion that if you want to play polyphonic music on the harp and be able to sustain sounds, that usinggood stable braypins is one way to achieve thisIconography always appears to indicate that on Gothic Harps, braypins were set up to make the strings " buzz" [ 3].This subject is as problematic for the historian of art, as for the organologue. As Pierre Abondance says 3 , they areoften obliged “to make suppositions ". And he uses the example of braypins to try “to light the interaction which existsbetween the object and the image ".But comparison of sources, plus musical intuition drawn from experience and knowledge of the repertoire leads usto the conviction that the current reconstruction of braypins on modern reconstructions of medieval andrenaissance harps is probably not correct and that other ways deserve to be investigated.State of art in acousticsModern reconstructions look like hooks which lightly touch the string at a certain distance from the nut on thesoundboard. The main disadvantage of this design is that it acts only when the amplitude of the vibration isenough to reach the hook ; then contact occurs, but when the amplitude of the vibration decreases, the soundcreated by the braypins breaks off abruptly which creates a break in the timbre and in the sound. In addition, themusician cannot play homogeneous nuances.However, on the double harp preserved in the Brussels Museum, we can see that some of the braypins are cut sothat the contact is tangencial to the string, so the " good curvature " makes the best sound, whereas the otherswhich do not make such a contact do not produce the sustain of the sound throughout the vibration. This remindsus of the “flat bridges” of many stringed instrumets of India.The distinctive sound produced by flat bridges finds its origin in a precursor which was reset every time the stringtouched the bridge to whatever amplitude the vibration was. [5]. It is this effect which gives a sustain to thesound which appears to the listener to be a continuous sound.AimsBy combining musicology, musical acoustics and performance of the medieval repertoire, this research aims for thereconstruction of braypins which satisfy all the requirements of today’s musicians. In particular, the aim of thiswork is to develop a system of contact which gives a dynamic range from pp to FF on all the notes of theinstrument, while allowing for the accuracy of notes. An in-depth study of both types of geometry, "hook" and"tangent" braypins is indispensable, particularly in regards to the set up of the spectral quality of the producedsounds.Main contributionIconography, texts, preserved instruments, comparison of sources with the science of the acoustician and otherinstruments with obstacles of living tradition allows us to propose musically satisfactory solutions which seem inperfect agreement with the repertoire.1 Mersenne, op.cit., p169 : « Mais il faut remarquer que les chordes ne touchent pas leurs chevilles à la sortie de leurs trous,comme elles le font lorsque l’on use d’harpions, ou de chevilles, qui les font n’azarder, dont on a quitté l’usage pour éviter cetteimperfection ».2 Certains pensent que la fonction des harpions est aussi de faire les ½ tons. La plupart du temps, les harpistes ne les utilisentque pour des bourdons sur les notes les plus graves de la harpe, c’est-à-dire là où, sur les reconstructions modernes, ils sonnent le mieux.3 L’historien de l’art et l’organologue ne peuvent, selon lui, que se contenter de « croire à un procédé bien que le nazardementaujourd’hui ne soit plus de mise ». Il leur est difficile, dans ces conditions, d’aider à la recréer des harpions : « Nous en sommes réduits àfaire des suppositions », op.cit. p. 278.30 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>By using the knowledge of instruments makers of the Ethiopian bagéna [6] and the Indian tanpura family [7], welooked at their set up of flat bridges. We were inspired by those on the vina and Indian sitar and adapted theshape of braypins similarily, so that the contact lasted throughout the duration of the vibration. We also noted that"hook" braypins are more similar to the sound of the Ethiopian bagéna.The effect obtained according to the acoustic principles of the jawari of the tanpura is the length and duration, theamplification and the stability of the sound. Acoustic analyses confirm these results. This realization brings to themusician a completely satisfactory solution which seems to suit the repertoire.Further researchThe harp is one of the rare medieval instruments which can play down to the Gamma C. To be able to hold longnotes, thanks to braypins, with a sound powerful, regular and rich in harmonics, is particularly interesting formusical performance. This work could also have ramifications on other instruments, such as the lute [8], andcertain keyboard instruments [9].ÉTAT DE L’ART EN MUSIQUE & MUSICOLOGIELes harpions sont des “obstacles” qui modifient les vibrations des cordes de la harpe. Ils sont attestés parl’iconographie et par les textes jusqu’au XVIIIe s. Comme en témoignent, par exemple, Mersenne [1] etTrichet [2], la sonorité particulière aux harpions semble avoir été appréciée de façon différentes suivant lesépoques . Aujourd’hui, les harpions reconstitués par la plupart des luthiers posent des problèmes esthétiquesaux musiciens qui évitent de les utiliser. Ils cherchent alors à justifier leur présence dans l’iconographiepour des raisons annexes . La question de l’usage des instruments dans la musique médiévale est complexe :on en sait peu de choses. Pour la harpe, l’exigence de harpions justes, stables et qui tiennent le son, estévidente dés lors que l’on veut jouer le répertoire polyphonique.Concernant les harpes gothiques, l’iconographie indique cependant que les harpions sont toujours enposition de faire “nazarder” les cordes [3].Ce sujet est éminemment problématiques pour l’historien de l’art, comme pour l’organologue qui en sontsouvent réduits — selon le mot de Pierre Abondance , qui prend précisément l’exemple des harpions pour «essayer de mettre en évidence l’interaction qui existe entre l’objet et l’image » — à faire des suppositions »[4].Mais la confrontation aux sources, l’intuition du musicien, ses expériences musicales, et sa maîtrise desrépertoires mènent à la conviction que la reconstruction actuelle des harpions sur les harpes médiévales etrenaissances n’est sans doute pas la bonne et que d’autres voies méritent d’être explorées.ÉTAT DE L’ART EN ACOUSTIQUELes reconstitutions modernes qui ressemblent à des crochets effleurent la corde à une certaine distance dupoint de fixation de la corde à la table. Cette disposition a l’inconvénient d’agir uniquement lorsquel’amplitude de la vibration est suffisante pour atteindre le crochet, alors l’effleurement se produit, maislorsque l’amplitude de la vibration diminue, le phénomène d’enrichissement du son s’interromptbrusquement : ce qui crée une rupture dans le timbre et dans le son. De plus le musicien ne peut jouer denuances homogènes.Le son caractéristique produit par les chevalets plats trouve son origine dans l’entretien d’un précurseurqui est réinitialisé à chaque fois que la corde touche le chevalet et ceci quelque soit amplitude de la vibration[5]. C’est cet effet qui donne un prolongement au son qui l’apparente à un son entretenu. Sur la harpedouble conservée à Bruxelles , on peut remarquer que certains des harpions sont taillés de telle façon quel’effleurement s’effectue tangentiellement dès la fixation de la corde, ainsi la « bonne courbure » réalise lemeilleur réglage sonore, tandis que d’autres qui ne réalisent pas cet effleurement ne produisent pas leprolongement du son tout au long de la vibration.OBJECTIFSAu croisement de la musicologie, de l’acoustique musicale et de l’interprétation des répertoiresmédiévaux, cette recherche à pour objet la reconstitution de harpions qui satisfasse l’ensemble des exigencesdes musiciens d’aujourd’hui. En particulier, l’ambition de ce travail est de mettre au point un systèmed’effleurement qui agisse dans la durée du pp au ff sur toute la tessiture de l’instrument tout en permettantde conserver la justesse des notes. Une étude approfondie des deux types de géométrie, harpion « crochet »et harpion « tangent » s’avère indispensable, en particulier l’incidence des réglages de l’effleurement sur laqualité spectrale des sons produits.CONTRIBUTION PRINCIPALELa comparaison des sources, iconographie, textes, instruments conservés, avec la science de l’acousticien,et à d’autres instruments à obstacles de tradition vivante permet de proposer des solutions musicalementsatisfaisantes qui semblent en parfaite adéquation avec le répertoire .En s’appuyant sur le savoir faire d’instruments comme la bagéna éthiopienne [6] et la tanpura indienne[7], nous sommes inspirés du réglage des chevalets plats de la vina ou du sitar indien et nous avons adapté<strong>CIM09</strong> 31

<strong>CIM09</strong> 26-29 octobre 2009la forme des harpions de telle sorte que l’effleurement perdure tout au long de l’extinction de la vibration.Par contre, les harpions « crochets » s’apparentent plus au son de la bagéna éthiopienne.L’effet obtenu d’après les principes acoustiques du jawari de la tanpura est la prolongation, l’amplificationet la stabilité du son. Des analyses acoustiques confirment ces résultats.Cette réalisation apporte au musicien une solution tout à fait satisfaisante qui semble en parfaiteadéquation avec le répertoire.RETOMBÉESLa harpe est l’un des rares instruments médiévaux qui puisse descendre jusqu’au Gamma ut. Pouvoirtenir, grâce aux harpions, des notes longues avec un son à la fois puissant, régulier et riche en harmoniques,est particulièrement intéressant pour l’interprétation. Ce travail pourrait également avoir des retombées surd’autres instruments, notamment le luth [8], et certains instruments à clavier [9].RÉFÉRENCES[1] Mersenne M., Harmonie Universelle, 1636.[2] Trichet P., Traité des instruments de musique, vers 1940.[3] Cook, R. ''The presence and use of brays on the gut-strung harp through the 17th century: a survey andconsideration of the evidence”, Historical Harp Society Bulletin, vol. 8 n°4, Seattle, États-Unis, été 1998.[4] Pierre Abondance, « Protection de l’objet par l’image, authentification de l’image par l’objet », ImagoMusica IV, 1987, p.271-282.[5] Valette C., Cuesta C., Besnainou Ch., Castellengo M., “The tanpura bridge as a precursive wavegenerator ”, Acustica 74, 1991.[6] Weisser S., La bagéna éthiopienne, Thèse de doctorat, Bruxelles, 1999.[7] Bertrand D., Les instruments à chevalet plat de l’Inde, éditions de la Maison des Sciences de l’Homme deParis, 1993.[8] Capirola Vincenzo, Compositione, c. 1517[9] Neven A., “l’Arpicordo”, Acta Musicologica 42, International Musicological Society, déc. 1970.BIOGRAPHIESCharles BesnainouCharles Besnainou, chercheur au sein de l’équipe LAM pour l’étude des savoir-faire de luthiers, est professeur de laclasse d’acoustique musicale au CNSMDP.charles.besnainou@upmc.frVéronique Musson-GonneaudVéronique Musson-Gonneaud, s’est spécialisée dans la pratique des harpes anciennes après des études de philosophieet musicologie. Concertiste, elle dirige l’ensemble Musica Humana. Professeur d’Enseignement Artistique, titulaire duCertificat d’Aptitude, elle enseigne la harpe et la musique ancienne en conservatoire au Centre de Musique Médiévalede Paris.veromuse@gmail.comhttp://www.harpes-anciennes.com32 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Frettage du `ūd (luth arabe) dans la théorie musicale arabeet influence sur la pratiqueAmine Beyhom, Hamdi MakhloufPLM (Centre Patrimoines et Langages Musicaux), Université de la Sorbonne – Paris IV (France)The fretting of the `ūd (arabian lute) : musical theory and practiceMusicological and theoretical backgroundThe fretting of the `ūd is one of the most controversial issues of Arabian musicology. Many studies published inthe 20th century have conflicting opinions on a subject the essence of which appear to stretch beyondorganological issues.Among all the manuscripts of the Arabian golden age from the 8th to the 11th century, only two describe a “fret”system made from actual ligatures tied at specific places on the finger-board, or fret-board of the `ūd. The firstdescription is from Al-Kindī, nick-named the ‘Philosopher of the Arabs’, writing in the 9th century. The second isfrom Ibn A-ṭ-Ṭaḥḥān, in the 11th century. He was an Egyptian Fatimid court musician. Both give relativelycomplete descriptions of `ūd ligatures contradicting important assertions of philosophers and theorists such as Al-Fārābī, in the 9th and 10th centuries – he was known as the ‘Second Master’, Aristotle being the first – and IbnSīnā, known to the West as Avicenna, and nick-named ‘the Commentator’ – of Aristotle, and also with other laterwriters such as Urmawī, a musician and theoretician of the 13th century and Shirwānī in the 1<strong>5th</strong> century.Furthermore, only few contemporary authors have studied the possibility of the `ūd fretted according to ancientdescriptions.Musical background (Early and contemporary practice)The `ūd was the favoured theoretical tool for musicologists at that time and also the favourite instrument for mostof the Abbasid musicians. Among them Isḥāq Al-Mawṣilī and Manṣūr Zalzal who introduced the “neutral third”ligature. Later, Avicenna called it the ‘Zalzalian wusṭā’ – the Zalzalian middle finger ligature. It is very likely,however, that early Arabian music theory, mainly inspired by the Ancient Greeks, were quite disconnected fromcontemporary music practice.Both theory and practice use the instrument as a common denominator although practice of traditional musicremains mainly oral. Furthermore, recent research [Beyhom, 2005a] has shown the antecedence of the `ūd and itsinfluence on contemporary musical repertoire. Significant peculiarities of the modern instrument, such as the semiconicalshape of the neck, smaller gap between strings and finger-board, but also contemporary practice of subtlevariations of intonation, remote from any temperament-based systems, all contradict the premise that frets, oractual “solid” ligatures were used. This led to the broadly accepted assertion that the modern `ūd, unlike themediaeval instrument, is unfretted. However, descriptions of early practice also contradict this assertion.AimsThere are three mains questions:1. On which ground did the hypothesis that the instrument was fretted arise and does this assumption fit in withhistorical and iconographic descriptions?2. Why were the two descriptions of the fretting of the `ūd by Kindī and Ṭaḥḥān so important to musicologiststhat they overcame other descriptions of renowned authors?3. How would the instrument respond should it be fretted as described by Kindī and Ṭaḥḥān.Beyond the practical problem, this issue addresses the theoretical system used by Ancient Arabs and itsimportance for Western and Arabian musicologists.Main contributionThese are four questions considered:I. The examination of the frets thesis, and conclusive arguments.II. Discussion of these arguments, and further historical input from known sources.III. Organological difficulties arising from the descriptions of Kindī and Ṭaḥḥān.IV. Practical fretting of the `ūd, testing in modern and ancient practice, supported by photographs and video.ImplicationsBeyond the organological issue of fretted versus unfretted `ūd, this research brings up clues about theoretical andperhaps ideological views in the conflicting debate documented in the first part of this paper.ÉTAT DE L’ART EN MUSICOLOGIELe frettage du `ūd est un des serpents de mer de la musicologie arabe : de nombreuses études ont paru auXXe siècle, avec des avis discordants sur un sujet dont l’essence semble dépasser les enjeux organologiquesmêmes, puisque ce sont les systèmes musicaux utilisés du temps de l’Âge d’or arabe (VIIIe – XIe siècle) quisont en jeu.De tous les écrits de la période, deux seulement décrivent un frettage effectif basé sur des ligatures solides(par opposition à un « marquage » de la touche), par le «Philosophe des Arabes» Al-Kindī (IXe siècle) oupar le musicien fatimide (Égypte) Al-Ṭaḥḥān (XIe siècle), alors que des indications contemporaines de ces34 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>deux écrivains, comme celles de Al-Fārābī (IXe – Xe siècle, surnommé le « deuxième maître » – aprèsAristote) et d’Avicenne (surnommé le « Commentateur » – du même, au siècle suivant), ou ultérieurescomme celles de Urmawī (musicien et théoricien – XIIIe siècle) ou du pseudo-Jurjānī (probablement XVIesiècle) précisent que les « ligatures » utilisées à leur époque étaient en fait des marques sur la touche du `ūd.Ce qui est en contradiction complète avec les indications de Kindī et Ṭaḥḥān… Les écrits de ces deux auteurssont cependant d'une extrême importance puisque, contrairement aux autres, ils nous livrent également desdescriptions relativement complètes du `ūd. Néanmoins, ils ne font état de ces ligatures « physiques » quedans le cadre d’un apprentissage de l’instrument, et non en jeu pendant la performance. Par ailleurs, peud’auteurs contemporains ont abordé le sujet sur le plan de la faisabilité organologique du « ligaturage » …ÉTAT DE L’ART EN MUSIQUE (PRATIQUE), CONTEMPORAINE ET ANCIENNEIl faut préciser, à ce stade, que les théories musicales arabes anciennes, notamment inspirées des théoriesgrecques, semblent avoir peu de points de contact avec la pratique musicale de ce temps. La description deṬaḥḥān semble la plus proche de la réalité musicale, ce qui serait en faveur de la thèse du « frettage » ; parailleurs, l'articulation essentielle entre les domaines de la théorie et de la pratique se fait toujours autour del'instrument «`ūd» — aussi bien l'outil privilégié de la démonstration théorique que l'instrument favori desgrands interprètes du temps des abbassides (comme Isḥāq Al-Mawṣilī et son oncle Manṣūr Zalzal, le dernierétant réputé avoir introduit la tierce appelée « zalzalienne », ou tierce «neutre») que des musicienscontemporains — à tel point qu'il a été surnommé le sultan des instruments.Or la pratique et l’organologie du `ūd, ancien (voir Beyhom 2007a) comme moderne, semble néanmoinsinfirmer la thèse de « frettes physiques »…En effet, des recherches récentes (Beyhom 2006) ont permis deconfirmer cette prééminence de l'instrument et son influence sur le répertoire musical contemporain.Plusieurs particularités de l'instrument moderne — tels la forme semi-conique du manche, l'espace réduitentre le plan des cordes et la touche, et la quasi-inexistence actuelle d'un quelconque système de frettage, letout couplé à une pratique contemporaine extrêmement non tempérée et basée sur des variationsintonationelles complètement incompatibles avec un tempérament quelconque, à part celui de l’accordagedes cordes à vide de l’instrument (et encore : voir Beyhom 2007b, avec une analyse du jeu de Makhlouf) —font que la thèse du frettage semble de nos jours assez coupée de la pratique musicale .Nous montrerons également (extraits de manuscrits et reconstructions de descriptions anciennes àl’appui) que l’organologie a été souvent utilisée comme un véhicule privilégié des spéculationscosmogoniques.OBJECTIFSUne double problématique peut être évoquée en l'occurrence :1. En quoi et pourquoi les deux descriptions de Kindī et Ṭaḥḥān, très minoritaires au sein de la littérature,ont-elles été tellement montées en épingle pour affirmer l’existence courante d’un frettage du `ūd ?2. Peu de défenseurs de la thèse du « frettage » se sont penchés sur l’organologie effective du `ūd – ancienou moderne – et sur la faisabilité des « ligaturages » préconisés par ces deux auteurs : que donneraientcomme résultats, sur le plan musical, ces additions, qu’apporteraient-elles de plus ou de moins à lapratique musicale ?En synthèse de ces deux questionnements, la problématique effective qui est traitée est celle de ladétermination des enjeux théoriques, sinon « idéologiques », du « frettage » par rapport à la réalité pratiquede la musique.CONTRIBUTION PRINCIPALEPour répondre à ces questions, nous allons reprendre ces deux descriptions, dans une première étape, enappliquant le système de ligaturage mentionné et en vérifiant s'il peut effectivement se faire sur le `ūd oupas, s'il est jouable ou pas, et si les indications des théoriciens sur le jeu ainsi que sur la pratique sontcompatibles avec ce système de frettage ou pas.Cette expérience sera appuyée par des démonstrations photo et vidéo montrant clairement le montagedes « frettes » et les essais de jeu instrumental (Makhlouf), ainsi que par une revue rapide des descriptionsorganologiques de l’instrument dans la littérature ancienne (avec reproduction par l’image des élémentsclef), pour vérification ou infirmation de la compatibilité du manche avec les instruments modernes.Dans une deuxième étape, nous essayerons de commenter les différents résultats obtenus d'un point devue théorique (Beyhom) et nous modifierons les positions des frettes selon les indications de Kindī etd’autres auteurs afin de comparer le jeu en résultant avec la pratique contemporaine du `ūd (Makhlouf etBeyhom).<strong>CIM09</strong> 35

<strong>CIM09</strong> 26-29 octobre 2009RETOMBÉESCette recherche devrait nous permettre de vérifier si le système de frettage du `ūd a une raison d'êtreautre que théorique et, sinon, si ce frettage peut avoir été utilisé autrement que dans un cadre limité àl’initiation au jeu de l’instrument ; elle permettra de mettre en valeur les influences réciproques del’instrument et de la théorie et, à travers eux, les interactions avec la pratique musicale. Un parallèle rapidesera proposé avec le frettage du luth européen, et avec ses causes probables.BIBLIOGRAPHIEBeyhom, Amine, 2006, « Approche systématique de la musique arabe : genres et degrés système » – in De lathéorie à l’art de l’improvisation, Mondher Ayari (éd.), Delatour, Paris, p. 65-114.Beyhom, Amine, 2007a, « Arabité et modernité en musique, ou de quel modèle se démarquer » au Congrès desMusiques dans le Monde de l’Islam, Assilah (Maroc), 8-14 août 2007,http://www.mcm.asso.fr/site02/music-w-islam/articles/Beyhom-2007.pdf.Beyhom, Amine, 2007b, « Dossier : Mesures d’intervalles - méthodologie et pratique », Revue des TraditionsMusicales des Mondes Arabe et Méditerranéen (RTMMAM n°1), publications de l’ISM-UPA, Baabda –Liban, p. 181-235.Remarque :nous avons évité de citer la bibliographie complète – très fournie – du sujet, vu le format réduit de ce résuméBIOGRAPHIESHamdi MakhloufHamdi Makhlouf est `ūdiste, compositeur-interprète et doctorant en musique et musicologie à Paris IV-Sorbonne.Il se produit régulièrement sur scène, en France et en Tunisie ; ses recherches sont centrées sur l’analyse musicale et surla composition et l’interprétation de la musique du `ūd de concert.Il a participé au 6ème Congrès Européen d’Analyse musicale à Freiburg (Allemagne 2007) et a modéré une série deconférences sur la musique et l’émotion au centre culturel d’Egypte à Paris.Il a publié deux articles :- « Composition, interprétation et figuralisme dans la musique du `ūd de concert » dans le 3ème numéro de larevue multimédia musimediane (www.musimediane.com)- « Dimension musico-thérapeutique du rite Stumbâlî de Sfax (Tunisie) » dans le 2ème numéro de la revueRTMMAM (Revue des Traditions Musicales des Mondes Arabes et Méditerranéen.Actuellement, il co-dirige un ouvrage collectif avec Mondher Ayari (Maître de conférence à l’Université de Strasbourg,chercheur à l’RCAM) dans le cadre de la collection Culture et cognition musicale chez Delatour France et prépare lapublication de sa communication présentée à Freiburg (Actes du congrès).Amine BeyhomAmine Beyhom est musicologue (PLM Paris IV – Sorbonne) et a enseigné l’organologie ainsi que diverses autresmatières aux universités Libanaise et Antonine (Liban).Il est également guitariste, producteur, et `ūdiste amateur.Ses recherches sont centrées sur les théories musicales de la modalité.Il a publié plusieurs articles dans le domaine de la modalité arabe et européenne (populaire), ainsi que concernant lesrelations de l’instrument `ūd avec les théories et pratiques musicales actuelles.36 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Sounding aesthetics and recorder chamfersFrançois Blanc 1 , Philippe Bolton 2 , Pierre-Yves Lagrée 3 , Benoît Fabre 11- LAM – Institut Jean le Rond d'Alembert – UPMC Université Paris VI (France)2- Recorder maker (France)3- FCIH – Institut Jean le Rond d'Alembert – UPMC Université Paris VI (France)BACKROUND IN INSTRUMENT MAKINGRecorder makers probably began to put chamfers on their instruments, at the windway exit, very earlyon. They can be seen on most of the surviving original recorders from the Renaissance to the Baroqueperiods, and probably existed on recorders earlier still.Their size varies from 0.5 to 1.5 mm, and their angle is often around 45°, but can be steeper or shallower.Their adjustment is intricate, but they do make all the difference to the sound quality and speech of therecorder. An instrument without chamfers is uncertain in speech on some notes, and unstable on others.There does not seem to be any known rule concerning them, and each maker seems to have his style, whichinteracts with the other parameters of the windway and bore profile.Makers usually know what they are aiming for when they cut and adjust the chamfers at the end of thewindway and the block, but have little knowledge as to why they have this effect on the instrument'smusical quality.BACKGROUND IN PHYSICSIn the recorder, an unstable jet blown by the player interacts with the labium, resulting in aeroacousticalsources. The resonator of the instrument amplifies the acoustic field around its resonance frequencies. Theacoustic field from the resonator disturbs the jet in return, and the perturbations grow along the path of thejet before reaching the labium. This leads to an auto-oscillation. A model has been developed, showing howthe jet receptivity to an acoustic perturbation depends on the shape of the exit of the channel.AIMSThe model developed may give clue to the understanding of the maker's gestures. In particular, it isexpected to partially explain why rounded geometries are usually forbidden in the making of recorders.Then, one may explore the possibility given by geometries different from the one traditionally used in themaking of recorders.MAIN CONTRIBUTIONDifferent recorders are played and recorded. Each instrument is made according to the making rules froma certain musical era, and witnesses of a sounding aesthetics. The main differences between the instrumentsstand in the bore. The sound are analysed, and differences in the spectral contents are exhibited.A prototype recorder, which channel exit can be changed, is also played. Measurements of the blowingpressure allows to focus on the differences in playing, depending on the geometry. Changing the geometryof the channel exit changes the overall tone and appropriate blowing of the instrument, and may inducedifferent sound aesthetics.REFERENCESSégoufin, C.; Fabre, B.; Verge, M.; Hirschberg, A. & Winjnands, A. P. J. (2000). Experimental study of the influenceof the mouth geometry on sound production in a recorder-like instrument windway length and chamfer.Acta Acustica united with Acustica, 86, 649-661.Fabre, B. & Hirschberg, A. (2000). Physical Modeling of flue instruments: a review of lumped model. Acta Acusticaunited with Acustica, 86, 599-610.Verge, M.; Fabre, B.; Mahu, W. E. A.; Hirschberg, A.; van Hassel, R. R.; Wijnands, A. P. J.; de Vries, J. & Hogendoorn,C. (1994). Jet formation and jet velocity fluctuations in a flue organ pipe.Journal of the Acoustical Societyof America, 95(2), 1119-1132.Wolfe, J.; Smith, J.; Tann, J. & Fletcher, N. H. (2001). Acoustic impedance spectra of classical and modern flute,243(1), 127-144.Coltman, J. W. (1968). Sounding mechanism of the flute and organ pipe. Journal of the Acoustical38 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>BIOGRAPHIESFrançois BlancFrançois Blanc is a PhD student in the field of the physics of the flue instruments at the UPMC university, in Paris.BoltonPhilippe Bolton is a recorder maker based in Villes-sur-Auzon, in France.<strong>CIM09</strong> 39

<strong>CIM09</strong> 26-29 octobre 2009Theatrical Expressivity of Berio’s Sequenza for Viola:Levels of CommunicationBlanka BogunovićInstitute for Educational Research and University of Arts, Faculty of Music, Belgrade (Serbia)Tijana Popović MladjenovićDepartment of Musicology, University of Arts, Faculty of Music, Belgrade (Serbia)Ivana PerkovićDepartment of Musicology, University of Arts, Faculty of Music, Belgrade (Serbia)BACKGROUND IN MUSIC PSYCHOLOGYDifferent levels of communication – expressional and kinesthetical – and their interactions are the core ofthis study. We focus on the tetrad: composer – viola – performer – audience. During the communicationflow performer conveys messages by interpretation, but also by non-verbal channels inducing a kind of‘motor mimicry’ and emotional apperception. We searched for answers to the questions such as: How doexpressive movements, posture, gesture and mime of the performer induce response of the listener? Towhich extent is the specific timbre of viola responsible for inducement of mood, related fantasy andmetaphor contents on the part of the listeners/spectators? What is the connection between visual andauditory expression and the personal experience of the audience?BACKGROUND IN MUSIC HISTORYIn Sequenzas Luciano Berio requires the ‘virtuosity of knowledge’ from the performer, a virtuosity thatoften entails a thoroughgoing understanding of the history of instrument. Sequenza VI for viola (written in1967 for Serge Collot) is a work of considerable difficulty which continuously repeats, develops andtransforms the same basic harmonic sequence (Berio). It draws researcher’s attention to the history of theinstrument on one side and analytical presentation of the work, on the other side. In performance actions,the body of the player and the body of the instrument become a single entity. The expectations ofperformer's behavior and of instrument's sound work reciprocally to exploit and challenge assumptions ofaudience: unusual physical gestures are leading the instrument to sound strangely, while unusual musicalgestures are causing the performer to move in unanticipated ways. Physical theatricality is also found inaural and visual drama of Sequenza VI (Halfyard).AIMSWe aim to reveal the quality of musical/auditive, expressional, metaphorical and kinesthetic levels ofcommunication in the tetrad: Berio’s Sequenza VI, viola performer, his instrument and the audience, todiscover the content, scope and directions of their interactions, as well as to confirm possible differencesconsidering age and professional expertise.MAIN CONTRIBUTIONOur method is a pilot action research that includes live performing in front of the selected audience, andindividual and mutual responses of viola player and group of listeners on musical, cognitive, expressionaland kinesthetic level. Subsequently, qualitative analysis of participants’ reports, narratives, and visualexpressions has been done, as well as the systematic empirical evaluation of the performer’s and audiencemovements that took place at the parallel/same time recorded by three cameras. Luciano Berio’s SequenzaVI for viola solo is played live by eminent Serbian performer. Sample is consisted of 23 participants dividedinto the three groups, based on the level of expertise: 1. viola students of different age (high school, BAstudents, PhD students) 2. exceptional performers, composers and theoreticians and 3. nonmusicians ofdifferent professional profiles. The results suggest that there are patterns of musical, expressional andkinesthetic interactions viewed through the psychological and social context of communication. Theatricalexpressivity induced psychical and emotional responses in the majority of participants, but metacognitiveelaborations were more in the domain of musical experts. A certain number of participants directlyassociated music to drama, tragedy, theater and film. It has been confirmed that there are significantdifferences in scope of responses concerning different age and professional groups, especially in the scope ofcognitive and expressive responses.40 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>IMPLICATIONSThis study is introductory that will provide basis for further research ideas in the realm ofcommunication within the musical tetrad. Berio’s music demonstrates that expression does not comenecessarily from any sentimentalism: the capacity of expression is written in the human nature. The musicinvents on this reality which is made of time, of movements, of gestures, of multiform languages (Imberty).This knowledge could be used in the music education for defining differential strategies of using andfreeing body movements in a function of musical expression and live interaction with audience.REFERENCESBerio, L. (2006). Remembering the Future (The Charles Eliot Norton Lectures). Harvard: Harvard University Press.Grittten A. & King E. (Eds.). (2006). Music and Gesture. Burlington: Ashgate.Halfyard, J. K. (Ed.). (2007). Berio’s Sequenzas. Essays on Performance, Composition and Analysis. Burlington:Ashgate.Imberty, M. (2005). La musique creuse le temps. De Wagner à Boulez : Musique, psychologie, psychanalyse. Paris:L’Harmattan.Juslin, P. & Sloboda, J.A. (2001). Music and Emotions. Theory and Research. Oxford: Oxford University Press.Purncutt, R. & McPherson, G. E. (2002). The science and psychology of music performance: creative strategies forteaching and learning. Oxford, New York: Oxford University Press.Williamon, A. (2006). Musical Exellence. Oxford: Oxford University Press.BIOGRAPHIESBlanka BogunovićCurrent position Senior Researcher, Institute for Educational Research, Belgrade, SerbiaAssistant Professor of Psychology/Music Psychology, Faculty of Music,University of Arts, Belgrade, SerbiaMain field of research Music psychology, Educational PsychologyMain research areas Giftedness in arts, socio-psychological factors of performanceand musical success, specialized music education, motivation,Relevant qualifications Bachelor of Music (flute), University of Arts, Belgrade, Serbia, 1983.Ph.D. in Psychology, Faculty of Philosophy, University of Belgrade, 2004.Book publications Musical Talent and Successfulness (2008). Belgrade (Serb.)Co-editor of School-Family Cooperation (2007). Belgrade (Serb.)Editorial boards Journal of the Institute for Educational Research, Belgrade, SerbiaContact jubo@kbcnet.co.rs /bbogunovic@rcub.bg.ac.yuTijana Popović MladjenovićCurrent position Assistant Professor of Musicology, University of Arts,Faculty of Music, Belgrade, SerbiaMain field of research Music history, theory and analysisMain research areas Fin-de-siècle music; Contemporary music;Processes of musical thinkingRelevant qualifications Ph.D. in Musicology, Department of Musicology, University of Arts, Belgrade, 2007.Book publications Musical Writing (1996). Belgrade (Serb.)E lucevan le stele – Selected Excerpts from Italian and French Operatic Traditioned. (1997). Gornji Milanovac (Serb.)Claude Debussy and His Time (2008). Belgrade (Serb.)Processes of Panstylistic Musical Thinking (2009). Belgrade (in press) (Serb.)Editorial boards Musical Wave, musicological magazine (Belgrade)Contact mitide@yubc.netIvana PerkovićCurrent position Assistant Professor of Musicology, University of Arts,Faculty of Music, Belgrade, SerbiaMain field of research Music history, theory and analysisMain research areas Orthodox music, medieval and contemporary;19th century Serbian music; Classical styleRelevant qualifications Ph.D. in Musicology, Department of Musicology,University of Arts in Belgrade, 2005.Book publications Music of Serbian Oktoechos (2004). Belgrade (Serb.)From Angelic Chant to Choral Art. Serbian Choral Church Music in the Periodof Romanticism (2008). Belgrade (Serb.)Contact ivanaper@beocity.net<strong>CIM09</strong> 41

<strong>CIM09</strong> 26-29 octobre 2009Le support sonore comme instrument de musique chezChristian MarclayBruno BossisUniversité Rennes 2 / Université Paris-Sorbonne Paris IV (France)Christian Marclayplasticien, performeur, improvisateur (USA)Frédéric DufeuUniversité Rennes 2 (France)The Recording Medium as Instrument in Christian Marclay’s WorksChristian Marclay is an artist and musician whose work explores the intersection between visual art and sound.He is well known for his work in a wide range of media, including sculpture, video, collage, photography, andmusic. For almost 30 years, Marclay has been engaged in an exploration of the visual and the audible, and createswork in which these two distinct sensibilities enrich and challenge each other. Marclay has pioneered anexperimental use of records and turntables in performances since the late 1970s, while engaged in collectiveimprovisation with many instrumentalists from very diverse backgrounds.Most of the writing on Marclay is by visual arts historians (Criqui, 2007; Ferguson 2003, Gonzáles et al., 2005).The artist’s own writing is rare and mostly published in the form of interviews published in various journals orbooks (Marclay, 2000, 2003). Lately the interest of musicologists for Marclay has been growing (Bosseur, 2008 ;Bossis, Dufeu, 2009). However, until now, no study has specifically focused on Marclay’s sound production.The aim of our proposal is to focus on Christian Marclay’s instrumental practice, especially his relationship tovinyl records, turntable manipulations, and recording. This study will highlight the originality of Marclay’smisappropriation of the recording medium, the instrumental gestures associated with it, and the aesthetic results.This study will show how the artist has developed a very personal music, strongly influenced by Fluxus and Cage,if less so by pop deejays, and how influential his practice has been.At the center of this study will undoubtedly be Christian Marclay himself, who will describe his artistic practice,while assisted by musicologists from MIAC (Music and Image: Analysis and Creation) from Rennes, and MINT(Music, Computer Science and New Technologies) from Paris-Sorbonne, two laboratories of musicologyresearches. In this study, artistic production, performance and music are closely linked, highlighting a new sort ofinstrumentality and questioning the methodology of this approach.ÉTAT DE L’ART (PRATIQUE MUSICALE)Christian Marclay est un plasticien, performeur, improvisateur et compositeur né aux États-Unis en1955. Son œuvre se situe à la frontière de la performance et des arts plastiques. Il s’est particulièrementintéressé aux relations entre les sons et les images (Marclay, 2000). Depuis la fin des années soixante-dix,une grande partie de son travail explore le détournement des platines et des disques vinyles, qu’iltransforme en instruments d’expression musicale. Sa démarche, très différente des pratiques populaires, l’aconduit à s’investir dans l’improvisation collective avec des instrumentistes d’origines diverses. Sareconnaissance et son influence internationales n’ont cessé de se développer depuis de nombreuses années.ÉTAT DE L’ART (MUSICOLOGIE)La plupart des nombreux ouvrages généraux ou catalogues mentionnant ou se concentrant sur le travailartistique de Christian Marclay ont été écrits par des spécialistes des arts plastiques (Criqui, 2007 ;Ferguson, 2003 ; Gonzáles et al., 2005). L’artiste lui-même a collaboré à des textes parus dans diversouvrages ou revues (Marclay, 2000). Cependant, l’engagement de l’artiste dans la sphère musicale a suscité,ces dernières années, l’intérêt des musicologues. Jean-Yves Bosseur a publié un important article surMarclay dans son dernier livre (Bosseur, 2008). Enfin, un ouvrage important sur l’artiste est sur le point deparaître, faisant suite à la journée d’étude Phonophilia : l’art à l’épreuve des sons qui s’est tenue àl’Université Rennes 2 en 2008. Cette publication comprendra un article consacré à la diversité des pratiquesmusicales de Marclay (Bossis, Dufeu, 2009). Cependant, aucune étude ne s’est précisément attachée àl’instrumentalisation du support sonore chez Marclay.OBJECTIFSLe but de notre proposition est l’examen de la pratique instrumentale de Christian Marclay, centrée surles relations entre disque, platine, son enregistré et production musicale. L’étude des utilisationsremarquables des supports de son et particulièrement des disques vinyles comme instruments à part entièrepeut s’appuyer sur l’analyse de l’enregistrement des performances de l’artiste. Elle mettra en évidence42 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>l’originalité des détournements de ces objets, des gestes instrumentaux qui leur sont associés et del’esthétique qui en résulte. Le travail sur le timbre, la préparation de l’objet lui-même et les techniquesinstrumentales de Marclay sont très éloignés des utilisations habituellement opérées par les DJs. Cet articlemontrera comment l’artiste a développé une pratique musicale très personnelle, fortement influencée parFluxus et les œuvres de Nam June Paik ou de John Cage. La performance artistique se nourrit d’uneinstrumentalité renouvelée au travers d’une large expérience de l’improvisation.CONTRIBUTION PRINCIPALELe contributeur central de cette recherche est sans conteste Christian Marclay lui-même, dont le regardpermet de témoigner directement de ses intentions artistiques. Les musicologues associés à l’artiste pour cetarticle appartiennent aux laboratoires MIAC (Musique et Image : Analyse et Création) de l’UniversitéRennes 2 et MINT (Musique, Informatique et Nouvelles Technologies) de l’Université Paris-Sorbonne. Lepremier centre de recherche interroge les relations entre arts visuels et pratiques musicales au sein de lacréation contemporaine ; le second étudie l’intervention des technologies dans la musique, notammentl’histoire de la lutherie électronique et ses conséquences esthétiques.RETOMBÉESDans cette recherche, production artistique, performance et musicologie sont étroitement liées. Ce travailà la croisée de différents domaines permet non seulement d’éclairer une instrumentalité encore trop peuétudiée en profondeur, celle qui agit à même le son enregistré par l’intermédiaire d’interfaces gestuellesdétournées, mais aussi de poser la question de la méthodologie à adopter lorsque l’interdisciplinarité estmise en jeu. Tout en complétant des réflexions théoriques sur l’improvisation (Levaillant, 1996 ; Rivest,2003 ; Siron, 2007), cet article pourra ainsi montrer l’avancée des recherches en musicologie sur l’art de laperformance à partir des productions, du vécu et de la pensée de l’un des grands plasticiens-performeurs denotre temps.BIBLIOGRAPHIEBOSSEUR, J.Y. (2008). Christian Marclay et le sound art. in La musique du XXe siècle à la croisée des arts. Paris,Minerve, p. 180-191.BOSSIS, B., DUFEU, F. (2009). De l’enregistrement silencieux à la partition photographique dans l’œuvre deChristian Marclay. in MAVRIDORAKIS, V., PERREAU, D. (éd.), Christian Marclay : Snap !, Dijon, Les Presses duRéel, coll. Domaine Mamco (Genève), p. 75-92.CRIQUI, J.P. (éd.) (2007). Replay Marclay. Catalogue de l’exposition Christian Marclay : Replay, Paris, Musée de lamusique, du 9 mars au 24 juin 2007. Paris, Réunion des musées nationaux et Cité de la musique.FERGUSON, R. (éd.) (2003). Christian Marclay. Catalogue de l’exposition éponyme, Los Angeles, UCLA HammerMuseum, du 1er juin au 31 août 2003. Los Angeles, UCLA Hammer Museum et Göttingen, Steidl.GONZALES, J., GORDON, K., HIGGS, M. (éd.) (2005). Christian Marclay. Londres, Phaidon Press Limited.LEVAILLANT, D. (1996). L’improvisation musicale. Essai sur la puissance du jeu. Arles, Actes Sud.MARCLAY, C. (2000). Le son en images. in SZENDY, P. (éd.), L’écoute. Paris, L’Harmattan et Ircam – CentreGeorges Pompidou, coll. Les cahiers de l’Ircam, p. 85 111.RIVEST, J. (2003). Aléa – Happening – Improvisation – Œuvre ouverte. In NATTIEZ, J.J. (éd.), Musiques, Uneencyclopédie pour le XXIe siècle, vol. 1, Musiques du XXe siècle, Arles, Actes Sud et Paris, Cité de laMusique, p. 474 483.SIRON, J. (2007). L’improvisation dans le jazz et les musiques contemporaines : l’imparfait du moment présent. inNATTIEZ, J.J. (éd.), Musiques, Une encyclopédie pour le XXIe siècle, vol. 5, L’unité de la musique. Arles,Actes Sud et Paris, Cité de la Musique, p. 690 711.BIOGRAPHIESBruno BossisAprès avoir enseigné les transmissions numériques dans les Télécommunications, Bruno Bossis est maintenant Maîtrede conférences en analyse et informatique musicale à l’Université Rennes 2 (associé au laboratoire MIAC). Il estégalement chargé de cours et chercheur permanent à l'Université Paris-Sorbonne Paris IV (laboratoire OMF/MINT).Bruno Bossis a collaboré ou collabore avec des institutions comme University of California Center of Paris, l’INRIA,l’UNESCO, le CCMIX, le GRM et l’Ircam.Il est l’auteur du livre La voix et la machine, la vocalité artificielle dans la musique contemporaine, Rennes, PressesUniversitaires de Rennes, collection Æsthetica, 2005 et de nombreux articles sur la musique électroacoustique.bruno.bossis@uhb.frChristian MarclayPlasticien, performeur, improvisateur et compositeur Christian Marclay expérimente, depuis 1979, avec des disquesvinyles. Il a donné des représentations en Europe, Japon, Canada, États-Unis et à New York où il vit. En plus del’enregistrement de ses propres compositions, il a collaboré avec de nombreux compositeurs et musiciens, tels Elliott<strong>CIM09</strong> 43

<strong>CIM09</strong> 26-29 octobre 2009Sharp, John Zorn, Butch Morris, David Moss, Zeena Parkins, Christian Wolff, Ikue Mori, Günter Müller, le KronosQuartet, Sonic Youth, Fred Frith et Otomo Yoshihide, parmi tant d’autres.Des expositions personnelles de ses sculptures, videos, et installations lui ont été consacrées tant dans des galeries quedans les musées internationaux, comme par exemple le Musée d’art moderne et contemporain, Genève (2008) ;Australian Center for the Moving Image, Melbourne (2007) ; Cité de la musique, Paris (2007) ; Moderna Museet,Stockholm, Sweden (2006) ; Barbican Art Gallery, London (2005) ; Seattle Art Museum, Seattle (2004), Tate Modern,London (2004) ; UCLA Hammer Museum, Los Angeles (2003) ; SFMoMA, San Francisco (2001) ; Kunsthaus Zurich(1997) ; Musée d’art et d’histoire, Genève (1995) ; Hirshhorn Museum, Washington DC (1990).cm33rpm@gmail.comFrédéric DufeuFrédéric Dufeu est doctorant en musique et musicologie, responsable du studio électroacoustique et moniteur eninformatique musicale à l’Université Rennes 2. Après un Master en Arts et Technologies Numériques, il prépare unethèse intitulée Mémoires artificielles et outils de création musicale, sous la direction d’Antoine Bonnet. Ses activitésmusicales sont principalement consacrées à la programmation d’environnements informatiques en relation au jeuinstrumental, dans le cadre de musiques écrites ou de pratiques d’improvisation libre.frederic.dufeu@gmail.com44 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009A study of fret positions of tanbur based on automaticestimates from audio recordingsBarış Bozkurt , Ali C. GedikAudio Processing Lab., Department of Electrical and Electronics Engineering, Izmir Institute ofTechnologyCem ÇırakState Conservatory of Turkish Music, Ege University (Turkey)BACKGROUND IN MUSIC THEORYTanbur (or tambur) is the common name of a long-necked, fretted, plucked lutes of the Middle East andCentral Asia (Hassan et al., 2009). The studies of the earliest theorists such as Al-Fārābī (d 950) and Safī aldīn(d 1294) based on the fretting of tanbur for the description of tuning systems shows the importance oftanbur in traditional art musics of this wide geograpical region. The first analytical study on tanbur kebirtürki (‘great Turkish tanbur’) which forms a basis for the theory and practice of traditional Turkish artmusic (TTAM) is presented by Dimitrie Cantemir (1673–1723) in his treatise, Edvar-i musiki (‘Textbook ofmusic’) (Popescu-Judetz, 2000). Therefore there is a strong relationship between the fretting of tanbur andthe tuning system of TTAM.However due to the divergence of theory and practice in TTAM (Gedik&Bozkurt, 2009) the fretpositions of tanbur is still an open topic of research: there exists no agreed standard among theoreticians,musicians and instrument makers. Since early 20th Century, various tuning theories have been proposed inTurkey (Bozkurt et al., 2008b) with varying number of pitches used in an octave: 24, 29, 41,53, 79, etc.Today, the number of frets still varies due to personal choice and instrumental tractates provide alternativefret locations according to this or that musician (Akan, 2007).BACKGROUND IN COMPUTING, MATHEMATICS, AND STATISTICSFirst computational study on tanbur is presented by Erkut and Valimaki (2000). However this studyfocus on acoustic features of tanbur rather than frettings. Automatic analysis methods for the tuninganalysis of traditional Turkish art music (TTAM) recordings is recently presented by Bozkurt (2008). Thealgorithms applied in tuning analysis are as follows: pitch frequency analysis pitch histogram computation,histogram alignment and histogram template construction on large audio databases containing recordingswith non-standard tuning frequencies. These algorithms have been successfully used to study theorypracticemismatches in TTAM (Bozkurt et al, 2008).AIMSPrimarily we present an automatic analysis method that can estimate fret positions of a tanbur given acollection of recordings. We study the problem of fret positions by comparing the estimated fret locationsof various master tanbur players of 20th century and those specified in literature.MAIN CONTRIBUTIONThe algorithm first finds the tonics of recordings, estimates intervals played from pitch histograms,merges all information extracted based on the tonic of the makam and maps the overall information to thefret position space. Given this tool, first the reliability of the method is tested by recording solos with atanbur, estimating fret locations automatically from the recordings and comparing these results with actualmeasurement of fret locations on the instrument.Secondly, a literature study is carried to collect tables of theoretical fret locations for tanbur. Followingthese steps, various master tanbur players are selected (such as Tanburi Cemil Bey, İzzettin Ökte andFahrettin Çimenli) and their solo recordings are collected. Fret locations are estimated for each musician.Finally estimated fret locations are compared with the theoretical ones.CONCLUSIONSMain contributions of this study are: Presentation of a methodology to study fret positions fromrecordings in a fully automatic manner and comparison of theoretical information with measured values fortanbur fret positions for master musicians.46 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>IMPLICATIONSThe presented algorithm is potentially applicable in tuning studies and research on tanbur education andproduction.REFERENCESAkan, E.(2007). Tanbur metodu. İstanbul: Çağlar Musiki Yayınları, p.49-51.Bozkurt, B. (2008). An automatic pitch analysis method for Turkish maqam music. Journal of New Music Research,37(1), 1-13.B. Bozkurt, O. Yarman, M. K. Karaosmanoglu & C. Akkoc, (2008).Weighing Diverse Theoretical Models On TurkishMaqam Music Against Pitch Measurements, SubmittedErkut, C. and V. Välimäki, (2000) Model-Based Sound Synthesis of Tanbur, a Turkish Long-Necked Lute, in theInternational <strong>Conference</strong> on Acoustics, Speech and Signal Processing, vol. 2, (Istanbul, Turkey), pp. 769-772, June 5-9 2000.Gedik, A. C. and Bozkurt, B. (2009) , Evaluation of the Makam Scale Theory of Arel for Music Information Retrievalon Traditional Turkish Art Music, Journal of New Music Research, (In press)Popescu-Judetz, E. (2000) Prens Dimitrie Cantemir, trans. S. Alemdar, Pan Yay., İstanbul.Scheherazade Qassim Hassan, et al. "Tanbūr." Grove Music Online. Oxford Music Online. 22 Mar. 2009 biographiesBarış BozkurtCurrent position Assist.Prof., Electrical and Electronics Eng.Izmir Institute of Technology Electrical and Electronics Eng.Izmir Institute of TechnologyMain research disciplines Audio signal processingMain research areas Audio and speech signal processing, automatic music transcriptionRelevant Publications Bozkurt, B. (2008). An automatic pitch analysis method for Turkish maqam music.Journal of New Music Research, 37(1), 1-13.Gedik, A. C. and Bozkurt, B. ,Evaluation of the Makam Scale Theory of Arel for Music Information Retrievalon Traditional Turkish Art Music, Journal of New Music Research, (In press)Gedik, A. C. and Bozkurt, B. , Pitch frequency histogram based musicinformation retrieval for Turkish music, Signal Processing,doi:10.1016/j.sigpro.2009.06.017Membership of editorial Journal of Interdisciplinary Music StudiesRelevant qualification BS in Electrical and Electronics Eng., Bogazici Unv. (1997),MS in Biomedical Engineering, Bogazici Unv. (2000),PhD in Electrical Engineering, Faculté Polytechnique De Mons (2005)Contact http://www.iyte.edu.tr/~barisbozkurtbarisbozkurt@iyte.edu.trAli C. GedikCurrent position PhD. Student, Electrical and Electronics Eng.Izmir Institute of TechnologyMain research discipline Etnomusicology, Music Information RetrievalMain research areas Popular music studies, traditional Turkish art musicRelevant qualifications Bachelor of Science (1996), Electrical and Electronics Eng., Hacettepe Unv.Master of Science(2007), Musicology, Dokuz Eylul University.Relevant Publications Gedik, A. C. and Bozkurt, B. , Evaluation of the Makam Scale Theory of Arelfor Music Information Retrieval on Traditional Turkish Art Music,Journal of New Music Research, (In press)Gedik, A. C. and Bozkurt, B. , Pitch frequency histogram based musicinformation retrieval for Turkish music,Signal Processing, doi:10.1016/j.sigpro.2009.06.017Advisory boards Journal of Interdisciplinary Music StudiesContact www.musicstudies.org/ali.htmla.cenkgedik@musicstudies.orgCem ÇırakCurrent position Undergrad. Student, State Conservatory of Turkish Music, Ege UniversityMain research discipline Music performanceMain research areas Traditional Turkish art music, tanburRelevant qualifications Tanbur playerContact cemcirak@hotmail.com<strong>CIM09</strong> 47

<strong>CIM09</strong> 26-29 octobre 2009Approches culturelles et mécaniques dans le choix des boisen facture : cas des archets anciensIris BrémaudLaboratoire de Mécanique et Génie Civil, CNRS-Université Montpellier II, (France) / Faculty ofAgriculture, Kyoto Prefectural University, (Japan)Nelly PoidevinArchetière, 18 rue François Luzel F-22100 DINAN (France)Cultural and mechanical approaches in the choice of woods in instrument making : the caseof early bowsBackground in organology and in the history of instrument bowsAs the constitutive material of many musical instruments, woods contribute to their identity (musical, structural,aesthetical) and play a role in their design and/or evolution [1]. Since the introduction of bows in Europe, theyunderwent successive developments in their shapes and in the chosen wood species, in link with evolutions inperformance modalities and in repertoire [2,3], before the adoption of the modern model of bow and ofpernambucco wood. But the range in historically used woods is very little known.Background in mechanics and wood sciences applied to instrumentsThe different parts/functions of musical instrument involve different categories of physical and mechanical,including vibrational, properties [4]. But the vast majority of studies concern a few archetypal woods for westerninstrument in their modern configuration. Thereby, in the case of bows, characterizations mostly addressed themechanical properties of pernambucco [5-10], while the properties of woods that were used before thegeneralization of its use are virtually unknown.AimsThe general goal is to better understand the contribution of wood choice to the cultural and musical identity ofinstruments, depending on regions or epochs. More specifically, this paper aims at exploring the relationshipsbetween the evolutions in playing modes that are associated to different models of bows on one hand, and themechanical properties of the different woods that were used in history.Main contributionA survey of woods used in instrument making from different culture has been made. Such uses can be set against adatabase on mechanical properties of 450 species, which gathers numerous experimental characterizations togetherwith synthesis of existing literature data. A research into historical sources (written and iconographic, survivingbows) has led to an inventory of different species that may have been used in European bows from Middle Age tothe XIXth century. Mechanical properties were assessed on woods actually used in the building of reconstructionsof bows for the interpretation of early music. The possible relationships between wood properties, shapes of thebows, and possibilities of playing modalities are explored. Woods used in the reconstruction of different historicalmodels show distinct ranges of properties. The comparison, allowed by the database that has been created, of theproperties of numerous other species used across centuries suggests progressive transitions in terms of woodchoice. Availability of wood resources seems to have played an important role in the evolution of bows, andprobably of that of musical possibilities, insofar as baroque and later bows probably could not have been developedwithout the woods of very high density and rigidity imported from Latin America.ImplicationsPresented works allow to better understand the relationships between wood choice (including availability),evolution of the making and structures, and possibilities of musical expression. Some « transitional » epochs arecharacterized by their variety of experimentations. Notably, the beginnings of the modern bow in pernambuccocoexist with quite a few other used species, before the standardization of the XIXth century. Such historical trendsin the common evolution or adaptation between the bow structure and materials can provide inspiration sourcesfor future development. Notably, the data collected about the diversity of mechanical properties of woods could, incombination with analyses on the structure per se, [3], open the way to novel adaptations between woods andgeometry to overcome the foreseeable difficulties in pernambucco wood availability.CONTEXTE EN FACTURE INSTRUMENTALE & ORGANOLOGIEEn tant que matériau constitutif de nombreux instruments de musique, les bois participent à leur identité(musicale/sonore, structurelle, esthétique), et interviennent dans la conception et/ou l’évolution de lafacture [1]. Leur choix peut être modulé par des aspects de culture artisanale, d’évaluation empirique despropriétés, ainsi que de disponibilité de la ressource. Depuis l’introduction de l’archet en Europe, desdéveloppements –souvent conjoints- dans les formes et dans les espèces de bois choisis se sont succédé, enlien avec des évolutions de mode de jeu et de répertoire musical, avant l’adoption du modèle moderne,associé au bois de Pernambouc. On envisagera ici les variations de choix de bois du point de vue de leurcontribution à l’histoire des techniques et celle de la musique.48 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>CONTEXTE EN MÉCANIQUE ET SCIENCES DU BOISPlusieurs études se sont penchées sur les propriétés mécaniques et vibratoires des bois d’instruments demusique [2], mais elles portent presque toujours sur un nombre restreint d’essences « archétypes » pourdes instruments occidentaux dans leur configuration moderne. Ainsi, pour les archets, les caractérisationsconcernent surtout le Pernambouc [3,4], mais les propriétés mécaniques des bois employés avant lagénéralisation de son usage sont quasiment inconnues. On cherchera dans ce travail à relier des aspects demécanique des matériaux et d’ethnobotanique.OBJECTIFNotre travail a pour objectif général de mieux appréhender la contribution des choix de bois dansl’identité culturelle et musicale des instruments, et leur permanence ou divergence selon les régions ouépoques. Cette présentation vise plus spécifiquement à repérer et caractériser les essences employées aucours de l’histoire dans les archets Européens, en regard de changements dans les contextes musicaux, defacture, et de ressource.CONTRIBUTION PRINCIPALEA partir de campagnes expérimentales extensives portant sur des bois utilisés ou utilisables en factureinstrumentale, complétées par une analyse de nombreuses sources de la littérature, une base de donnéesrelationnelle dédiée aux bois employés en facture d’instruments de différentes aires géoculturelles a étécréée [5]. Elle permet de relier de façon dynamique les informations sur les usages en facture, les espècesbotaniques, et les propriétés vibratoires des bois. Cet outil ouvre la voie à des analyses comparatives desmatériaux choisis, selon les cultures musicales et matérielles. Le travail spécifique aux bois employés dansl’histoire pour les archets européens s’appuie sur 3 démarches complémentaires : (i) recherched’informations historiques (disponibilité de la ressource, archets conservés, analyse de sources écrites et/ouiconographiques) ; (ii) tests dans la reconstitution de modèles anciens ; (iii) caractérisation expérimentaledes propriétés mécaniques des bois repérés, à partir d’échantillons jumeaux des archets réalisés. Lesrésultats montrent des associations modèle-matériau assez clairement définies, et indiquent une adaptationde la conception à un contexte (musical et de ressource). Ainsi, le développement des archets baroques avraisemblablement été rendu possible par l’importation de bois Sud-Américains de densité et rigiditéextrêmes, tandis que les modèles antérieurs sont adaptés aux propriétés de bois européens. Par ailleurs,avant l’adoption du Pernambouc comme bois quasi exclusif des archets modernes, les choix ont couvert unecertaine diversité d’espèces et d’expérimentations, mais au sein de laquelle on peut retrouver des ensemblescohérents en termes de propriétés des bois.IMPLICATIONSLes résultats obtenus permettent d’éclairer les relations entre disponibilité d’une ressource, culturematérielle et culture musicale. Les artisans ont ainsi sélectionné, parmi une large biodiversité, des boisadaptés à des cultures différentes, tandis que l’apparition de bois « nouveaux » a pu susciter des innovations.Ils illustrent également que la sélection de matériau en facture suppose une adaptation à un contexte, plutôtqu’une seule maximisation de paramètres mécaniques. En parallèle, les travaux engagés peuvent s’inscriredans des problématiques actuelles, en permettant par exemple de proposer des pistes de bois alternatifs auPernambouc, inscrit depuis 2007 à la CITES. On peut ainsi envisager que les co-évolutions forme-matériauobservées au cours de l’histoire puisse trouver une prolongation dans l’adaptation à de nouveaux bois.REFERENCES[1] Brémaud, I. and N. Poidevin (2004). "Wood selection and processing in the evolution of musical instrument'sdesign and realization". IASS 2004 - IASS Symposium Shell and Spatial Structures from Models to Realization,September 2004, Montpellier, France.[2] Bucur, V. (2006). "Acoustics of wood". Berlin Heidelberg NewYork, Springer-Verlag.393 p.[3] Matsunaga, M., M. Sugiyama, K. Minato and M. Norimoto (1996). "Physical and mechanical propertiesrequired for violin bow materials." Holzforschung 50:pp 511-517.[4] Wegst, U. G. K., S. Oberhoff, M. Weller and M. F. Ashby (2007). "Materials for violin bows." International Journalof Materials Research 98(12):pp 1230-1237.[5] Brémaud, I., B. Thibaut and K. Minato (2007). "A database linking woody species, vibrational properties, anduses in musical instruments of the world". ISMA (International Symposium on Musical Acoustics) 2007, 9-12September 2007. Barcelona, Spain.<strong>CIM09</strong> 49

<strong>CIM09</strong> 26-29 octobre 2009BIOGRAPHIESIris BrémaudPost-Doctorat au Laboratory of Forest Products Circulating Circles, Kyoto Prefectural University, JapanDoctorat en Mécanique au Laboratoire de Mécanique & Génie Civil, U. Montpellier II, & CIRAD : « Diversité desbois utilisés ou utilisables en facture instrumentale »DEA en Sciences du bois, Nancy, après maîtrise en biologie végétale, Montpellier.Apprentissage de la facture de guitares et luths.Contact : iris_bremaud@hotmail.comNelly PoidevinArchetière, spécialisée dans la reconstitution d’archets anciens, du Moyen Age à l’époque classiquePrix de la Facture Instrumentale, Musicora 2008Membre de l’Union Nationale de la Facture Instrumentale (UNFI)Contact : http://www.archets-poidevin.comnelly.poidevin@wanadoo.fr50 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009God vibrations! The Indian vina, a sustained soundconcept and a symbol of cultural identityPhilippe BruguièreMusée de la musique (France)Sandie Le ConteResearch and restoration laboratory of the Musée de la musique (France)BACKGROUND IN ORIGIN AND HISTORY OF THE VINAThe Indian stick and tube zithers exerted a prominent influence in South Asia over instrumental musicfrom the 6th century till the end of the 18th century [1]. The earliest known evidence of a stick zitherappears in Ajanta at the end of the Gupta period. The evolution of the organological features are clearlytraceable through centuries in a rich and consistent iconography. Canonical texts and musicologicalliterature emphasise the close relation between the metaphysical concept of sound in the Indian though andthis most respected musical instrument. Different types of vina are precisely described in a majormusicological treatise of the medieval India, the Sangitaratnakara, a work written between 1200 and 1247.From the Sultanate period till the end of the 18th century, the North Indian vina or bin became with theIndian rabab, the most respected musical instrument in the Muslim and Indian courts. It solely interpretedthe dhrupad genre, a vocal form inherited from the prabhanda, earlier musical compositions in vogue in thetime of Sangitaratnakara.However, it gradually lost its primacy with the deliquescence of the Mughal power in an irrevocableprocess. Although it embodied for a millennium the highest musical aesthetic of raga, its tradition hasbarely been kept alive.BACKGROUND IN VINA ACOUSTICSThis vanishing musical instrument has barely been acoustically studied. The vibration of the strings istransmitted via a wide flat bridge and a wooden tube to two resonators made out of dried, hollowed gourdsopen at their bottom.The contact between the plane surface of the bridge and the strings produces an afterward amplificationof the vibration followed by a progressive damping [2]. An experimental protocol was developed in themusée de la Musique to study the effect of the initial string conditions on the vina [3].AIMSThe musée de la Musique keeps several rare and ancient Indian tube zithers within its ethnographicalcollection. In the last few years, several scientific studies were undertaken to improve the care andconservation of this little-known cultural heritage and to better understand its acoustic properties [4].MAIN CONTRIBUTIONThe experimental set up consisted in vibrational and acoustical measurements of the gourd resonators tofigure out their role and behaviour [5]. The vibrational measurement was based on gauging the radiatedacoustical field triggered by a light impact to estimate the response of the surface of the resonator. Theacoustical experiment consisted in the record of an audio frequency sweep generated inside the gourd. Thesignal was then analyzed with a portable real-time analyzer. The resonance frequency was afterwardsdetermined on the frequency spectrum as the maximum amplitude. The frequency difference Δf between 2gourds of a same instrument was calculated from the highest of the two frequencies.This procedure previously applied to four ancient vina kept in our museum was extended during a recentfieldwork in India, to fifteen ancient and modern vina belonging to public and private collections. Thewhole study provided a reasonable amount of data and analyses to consolidate hypotheses regarding theimportance given in the past by the instrument makers to the painstaking choice of gourd resonators.These results could help to conjecture about the tuning pitch of these ancient vina and the type of stringsused in the past (the material, diameter and strain).IMPLICATIONSThe results of this study have an incidence on several levels (art history, organology and museology).First, they enrich the scanty documentation available on an almost extinct know-how regarding the makingof these musical instruments. Secondly, they improve our knowledge for a better care and preventive or52 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>curative conservation of these fragile objects. Lastly, they bring out precious information which shed lightonto the great knowledge, ability and awareness of ancient instrument makers.REFERENCES[1] Bruguière, Ph, 2009 (forthcoming). A historical account of the fretted vina. In Bor, J, Delvoye, Fr, Harvey, J,Nijenhuis E. (eds) Hindustani Music, Thirteenth to Twentieth Centuries. New Delhi: Manohar Publishers &Distributors, 391-429.[2] Bertrand, D. 1992. Les chevalets plats de la lutherie de l’Inde. Paris: Maison des sciences de l’homme.[3] Schmitt, T. 2000. Caractérisation des propriétés acoustiques des instruments à chevalet plat: cas de la rudravina. M.Sc. dissertation, Ecole Centrale de Lyon, France.[4] Bruguière, Ph, Echard, J-Ph, Le Conte, S, Vaiedelich, S, 2008. Towards better conservation: a scientificexamination of musical instruments from princely courts of North India. New-Delhi: Allied Publishers,preprints of the ICOM-CC 1<strong>5th</strong> Triennial <strong>Conference</strong>, Vol. I, 150-158.[5] Le Conte S., Vaiedelich S., Bruguière Ph. Acoustical measurement of indian musical instruments (vina-s).Towards greater understanding for better conservation, in Acoustics 08. ISBN 978-2-9521105-4-9.BIOGRAPHIESPhilippe BruguièreCurrent position CuratorMain field of research Medieval and modern period in North Indian music.Relevant qualifications Ph. D (Ancient Indian aesthetic concepts). Sorbonne University, 1987.Publications Bor, J and Bruguière P. (eds) 2003. Gloire des Princes, louange des dieux,exhibition catalogue. Paris: Cité de la musique-RMN.Bruguière Ph., Echard J-Ph., Le Conte S., Vaiedelich op.cit.“A Historical Account of the Fretted Vina” op.cit.Areas addressedin published articles South AsiaContact pbruguiere@cite-musique.frSandie Le ConteCurrent position Research engineer at Research and restoration laboratory of the Music museumMain field of research Acoustic, mechanicsMain research areas Musical acoustics, wood mechanical properties, non destructive tools developmentRelevant qualifications Master in physics measurement. University of Le Mans 2000Master in applied acoustics. University of le Mans 2001Ph.D. (underwater acoustics), University of Rennes 2004Publications Le Conte S., Vaiedelich S., Bruguière Ph. op.cit.Le Moyne S., Le Conte S., Ollivier F. CouchetHarpsichord soundboard vibroacoustics behaviour:An application of the Impact Nearfield Acoustical Holography (IPNAH).In acoustics08. ISBN 978-2-9521105-4-9Le Conte S., Vaiedelich S., François M.,A wood viscoelasticity measurement techniqueand applications to musical instruments : first result.Journal of the VSA. Vol XXI, No 1. pp.112-118Contact http://www.cite-musique.fr/labsleconte at cite-musique.fr<strong>CIM09</strong> 53

<strong>CIM09</strong> 26-29 octobre 2009Les nouvelles lutheries : une reconfiguration de la notiond’instrument ?Caroline Cance 1 , Hugues Genevois 2 , Danièle Dubois 11- Groupe LCPE, Équipe LAM, Institut Jean le Rond d’Alembert – UPMC/CNRS/MCC (France)2- Équipe LAM, Institut Jean le Rond d’Alembert – UPMC/CNRS/MCC (France)What is instrumentality in new musical devices?A contribution from cognitive linguistics & psychologyThe invention of new devices for creating and playing music in the 20th century has prompted a revision of thetraditional definitions of musical instruments while requiring a better grasp of the notion of “instrumentality”. Inaddition to a theoretical concern with the intrinsic qualities of technical devices and with some aspects of themusician-instrument interaction, we would like to lend special attention to the communities of users and to typesof praxeologic organisations that these devices can generate.In order to do that different kinds of discourse about instrument and new practices in computer music are setagainst. Linguistic analyses of these definitions (coming from dictionaries, ethnomusicology literature, computermusic literature, and user definitions collected by means of questionnaires and interviews) show that newdefinitions are being invented and negotiated through discourse.Working within the framework of cognitive linguistics, we infer on a diversity of instrumentalityconceptualisations that, as pointed out in this article, depend on practices and context.ETAT DE L’ART EN INFORMATIQUE MUSICALEEn inventant de nouveaux dispositifs de production musicale, le XXe siècle nous invite à revisiter leconcept d’instrument de musique. De nombreux travaux, en musicologie (Battier 2007) [1], comme eninformatique musicale (Cadoz 1999) [3] décrivent l’histoire de ces évolutions, les conditions techniques deleur apparition, et les formes originales « d’instrumentalité » liées à ces nouvelles lutheries.Dans le passage de l’instrument mécanique à l’instrument électrique, électronique et, plus encore,informatique, s’est opérée une rupture des chaînes causales traditionnelles qui garantissaient la cohérencetemporelle, spatiale et énergétique des interrelations geste-instrument-son. Les études portant sur cettethématique ont connu ces dernières années un essor considérable.ETAT DE L’ART EN LINGUISTIQUE COGNITIVEAu sein des sciences du langage, la linguistique cognitive s’attache à expliciter les relations entre langue,discours, cognition et pratiques (Croft, 2009, Nyckees, 2007) [6, 12] en étudiant les ressourceslinguistiques et les processus discursifs mis en œuvre par les individus pour décrire et partager leurexpérience sensible de l’environnement (Dubois, 2008) [7].Plus précisément ces ressources et processus participent à la construction et la structuration de notreexpérience du monde dont il s’agit de rendre compte dans une analyse nécessairement pluridisciplinaireimpliquant sciences physiques et sciences humaines et de la culture.Dans ce cadre, de précédentes recherches menées au LCPE - LAM se sont par exemple intéressées auxdiscours d’évaluation de la qualité des pianos (Cheminée et al. 2005) [5], à l’évaluation de différents typesde restauration d’enregistrements anciens (Morange et al. 2007) [11], et à la notion de timbre précisémentliée à la qualité de l’instrument (Castellengo et Dubois 2007) [4] et différemment évaluée selon les sujetsayant différentes connaissances ou pratiques des instruments (Bensa et al. 2004) [2].OBJECTIFSIl s’agit ici de mettre à contribution des outils conceptuels et méthodologiques développés en linguistiquecognitive pour tenter de mieux comprendre la notion d’instrument en Informatique Musicale, à traversl’analyse de différents types de corpus.À la différence des travaux existants qui s’intéressent principalement aux caractéristiques physiques oulogicielles des dispositifs de MAO (Musique Assistée par Ordinateur), ce travail vise à appréhender leconcept d’instrument que ces nouvelles pratiques musicales induisent et que les utilisateurs convoquent etre-construisent dans leurs discours.Cette étude est également conçue comme un préalable nécessaire à la mise en œuvre et au développementde protocoles d’évaluation de nouveaux dispositifs musicaux, là où des méthodologies plus adaptées auxsituations de laboratoire font défaut.54 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>CONTRIBUTION PRINCIPALEUne analyse contrastive de différentes définitions de la notion d’instrument relevant i) du domainelexicographique, ii) du domaine musicologique, iii) de pratiques terminologiques (implicites) dans lalittérature en Informatique Musicale, ainsi que iv) de discours recueillis au cours de questionnaires etd’entretiens auprès d’utilisateurs (créateurs, développeurs, musiciens compositeurs et/ou interprètes,chercheurs, pédagogues, élèves) de dispositifs de MAO a été effectuée.La mise en perspective de ces différents types de discours à propos de l’instrument permet de préciser lesdifférentes valeurs sémantiques que revêt ce concept selon les pratiques et les discours dans lesquels ils’inscrit (cf Dubois et al. 2002) [8]. Ainsi par exemple les dictionnaires définissent l’instrumentdifférentiellement par rapport à l’outil tandis que les publications en Informatique Musicale traduisent uneambivalence entre la notion d’instrument et celle d’interface.La description de dispositifs de MAO par différents utilisateurs témoigne également d’un conceptd’instrument aux frontières floues, les dispositifs étant considérés comme appartenant plus ou moins à lacatégorie instrument, selon un « air de famille ».RETOMBÉESSur un plan théorique, cette étude permet de mieux saisir les enjeux et les conséquences du changementde paradigme à l’œuvre dans les Nouvelles Lutheries, en (re)questionnant un concept souvent considérécomme ontologiquement fondé, et en déplaçant la notion d’instrument comme entité à celle d’un objet définiquant à ses fonctionnalités lui permettant d’assurer la musicalité de ses productions sonores.Du point de vue de la création et de la pédagogie musicale, les réflexions ainsi menées peuvent aider à laréalisation de dispositifs musicaux mieux acceptés en tant qu’instruments.Enfin, ce travail, en amont d’une expérience d’évaluation de dispositifs de MAO (au sein du programme2PIM 1 , financé par l'ANR), permet de préciser le rapport des utilisateurs à ces objets et ainsi de contribuer àla mise en place de protocoles d’évaluation écologiquement valides (Gustavino et al. 2005) [10], ce au-delàdu domaine musical dans lequel s’inscrit cette recherche.BIBLIOGRAPHIE[1] Battier, M. 2007. La réinvention du son : de la lutherie électrique à la pensée du timbre des sons artificiels, LesCahiers de la Société Québécoise de Recherche en Musique, vol 9, N° 1-2, Octobre 2007, Montréal.[2] Bensa, J., Dubois, D., Kronland-Martinet, R. and Ystad, S. (2004) A cognitive approach to piano timbre,Proceedings of the CMMR (Computer Music modeling and retrieval) symposium, Esbjerg, Denmark (may2004).[3] Cadoz, C. 1999. Musique, geste, technologie, Les nouveaux gestes de la musique, H. Genevois et R. de Vivo(éds). Marseille : Éditions Parenthèses, 1999, p. 47-92.[4] Castellengo, M. & Dubois, D. 2007. Timbre ou timbres ? Propriété du signal, de l’instrument ou constructioncognitive ? Cahiers de la Société québécoise de recherche en Musique, 9, p. 25-38. (reprise des Actes duCongrès CIM05 Montréal).[5] Cheminée, P. Gherghiniou, C. et Besnainou, C. 2005. Analyses des verbalisations libres sur le son du pianoversus analyses acoustiques. Proceedings of the <strong>Conference</strong> in Interdisciplinary Musicology (CIM05),Montréal (Québec) Canada, 10-12/03/2005.[6] Croft, W. (sous presse). Toward a social cognitive linguistics. In V. Evans & S. Pourcel, New directions incognitive linguistics. Amsterdam: John Benjamins.[7] Dubois, D. 2008. Sens communs et sens commun : Expériences sensibles, connaissance(s) ou doxa ?, LangueFrançaise, n° spécial « sens commun », p. 41-53.[8] Dubois, D., Klumpp, N., M.-A. Morel. 2002. Geste Mouvement action. Analyse lexicale et sémantique desconcepts, in B. Bril & V. Roux, Le Geste technique, Technologies, Idéologies, Pratique, Vol XIV, n°2, p. 14-28.[9] Genevois, H. 1999. "Geste et pensée musicale : de l’outil à l’instrument", Les nouveaux gestes de la musique, H.Genevois et R. de Vivo (éds). Marseille : Éditions Parenthèses, 1999, p. 35-45.[10] Guastavino, C., Katz, B., Dubois, D., et Polack, J-D. 2005. Ecological Validity of Soundscape Reproduction.Acta Acoustica, 91.[11] Morange S., Fontaine, J-M. et D. Dubois. 2009. Perception of Recording Singing Voice Quality and Expertise:cognitive linguistics and acoustics approaches, Journal of Voice, Elsevier, 9 p. (à paraître).[12] Nyckees, V. (2007). La cognition humaine saisie par le langage : De la sémantique cognitive aumédiationnisme, in Corela, numéro spécial Cognition, discours, contextes.1 Programme de recherche coordonné par Puce Muse et réunissant, outre le LAM, le LIMSI, la GrandeFabrique, le LABRI, l'IRCAM et le CIRMMT (McGill University)<strong>CIM09</strong> 55

<strong>CIM09</strong> 26-29 octobre 2009BIOGRAPHIESCaroline CanceStatut post-doctorante au LAM (Institut d’Alembert)Disciplines de recherche linguistique et psychologie cognitivesDomaines de recherche sémantique, analyse de discours, cognition situéeDiplômes docteur en sciences du langage – Univ. Paris 3Contact cance@lam.jussieu.frHugues GenevoisStatut responsable du LAM (Institut Jean le Rond d’Alembert)Disciplines de recherche acoustique et informatique musicalesDomaines de recherche nouvelles lutheries – geste instrumentalDiplômes ingénieur Télécom ParisTechContact hugues-alain.genevois@upmc.frDanièle DuboisStatut Directrice de recherche CNRS au LAM (Institut d’Alembert – LCPE)Disciplines de recherche linguistique et psychologie cognitivesDomaines de recherche sémantique, analyse de discours, cognition situéeDiplômes docteur en psychologieContact daniele.dubois@umpc.fr56 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Re-configuring ancient greek music theory throughtechnology: an adaptative electronic tuning system on areconstructed ancient greek barbitonMartin CarléMusic and Media Studies, Humboldt-University of Berlin (Germany)Anastasia GeorgakiLaboratory of music acoustics and technology, Music department, University of Athens (Greece)BACKGROUND IN ANCIENT GREEK MUSIC THEORY AND PHILOSOPHYThis paper proposes a novel approach to interpret and test Ancient Greek music theory starting from amedia theoretical point of view [Ernst 2006, Kittler 2006/2007]. After much valuable work has been doneto carefully collect, philologically ensure and cautiously construe the manifold relations of music relatedtexts [Barker 1984/1989, West 1992] scholars have begun to review the scarce evidence of musicalfragments [Pöhlmann & West 2001] in order to trace historical changes with-in the development ofAncient Greek music. Research mainly concentrated on scales and tuning [Franklin 2005], the role ofmodulation [Hagel 2000] and the intersection with philosophy — which, from the outset, keenly exploredthe rich ‘Episteme of music 1 encompassing a wide field of knowledge that Barker outlines as "harmonicscience" [Barker 2007].However, the agency of musical notation (parasémantiké techné) as a medium and the characteristics ofEnharmony [Vogel 1963] as the defining framework for "the noble style of music that is specificallyGreek" [Ps-Plutarch 1135b] seems to be underestimated and ripe for misunderstandings if one adheres tohermeneutic interpretations alone.Rather complex issues, in particular, (i) Aristoxenos’ harsh dismissal of musical notation in general, (ii)whether his Harmonic Elements – with their main ontological reference to an "emmelic" intonation of thevoice – must be conceived as a system of equal-temperament or, on the contrary, as one of pure fourths andfifths, (iii) the enigmatic ‘advent’ of Enharmony closely connected to the adoption of a Mixolydian characterin the Dorian mode by Terpander and, last but not least, (iv) the controversial contest of ‘enharmonicallyingrained ears’ with the becoming of frequent modulations obvious in the ‘New Music’ towards the end ofthe <strong>5th</strong> century BC, are all still under debate.BACKGROUND IN MUSIC TECHNOLOGY AND SIGNAL PROCESSINGTo shed new light on these questions, an Ancient Greek barbiton has been reconstructed. Adoptingantique manufacturing techniques [Roberts 1981] and using original materials (turtle shell, goat skin,antelope horns, gut strings, etc.) a native sound as well as an authentic experience in playing theinstrument can be expected. The barbiton is said to have been introduced by Terpander, the quasi-historicalfounder of classical Greek music in the first half of the 7th century [Pindar], and [Theocritus] that it was amulti-stringed instrument (more than 7) and, most specific to our context [again Pindar fr. 125.3], that iswas utilised to ‘magadise’ or answer in concords (ἀντιφθέγγοµαι). Its deep sound ‘resonating’ [Ps.-AristotleProbl. XIX, 39] an octave below the lyre got attributed to Sappho, a Lesbian like Terpander, both of themrenowned for bringing the Mixolydian mode into the country.Thus, the barbiton always ranked as a somewhat unorthodox ‘organ’ of the arts favoured at symposia andDionysian festivities which eventually fell into disuse only as late as in the days of Aristotle. All in all, itappears to be the suitable instrument to augment electronically, and to risk a still unconventional, closereadingof Aristoxenian theory that leads to testable hypotheses concerning musico-historical, -aestheticaland -philosophical issues whose elucidation, in the long run, may ‘re-configure’ our understanding of theindispensable speculative nature intrinsic to musical processes through technology.Up to 12 strings are picked up individually by piezoelectric crystals attached to the barbiton’s bridge. Asa result, each string can be independently detuned during performance.Therefore their tunings are noticeably kept in accord with an arguably theoretical or even anticipativeharmonic context as described by Aristoxenos. Theory, as it were, is re-enacted by a ‘deep-listening’, realtimepitch-shifting algorithm implemented in SuperCollider [audiosynth.com].1 Episteme’ taken in the Foucaultian sense, meaning the antecedent dispositive according to which a field ofknowledge is considered to be scientific.58 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>AIMSThe aim of this interdisciplinary approach is to excavate the challenging foundations of music theory thatcontinue to provoke scientific thinking and thus overcome the obsolete antithesis of Pythagorean versusAristoxenian views on music – i.e. numerology vs. phenomenology – propounded since the Hellenic period.By tackling the Ancient Greek sonosphere with contemporary music technology the concept of mousiké asa vital epistemological field of music rather than an autonomous subject that merely talks about music,should be exemplified. A bridge between sound, music theory and media technology ought to be establishedin order to define a new research domain possibly called computational archaeomusicology, restricted by nomeans to Ancient Greece.MAIN CONTRIBUTIONNevertheless, the first concrete contribution of our setup should facilitate a practical test environment forthe ambiguous ontological state of a ‘tone’ in Aristoxenian theory: being, on the one hand, a perceptible(and thus measurable) sound (φθόγγος) but likewise a mental function (δύναµις) of a given harmoniccontext. Since both values are ‘entangled’ with one another and yet part of the same melodic process (µέλοςἡρµοσµένον), the ‘tone’ becomes a dynamic, time-critical entity which, in principle, renders impossible to berepresented by any kind of musical notation which ignores its context.Moreover, the scientific means necessary to empirically validate the reality of a ‘functionally controlledintonation’ of melody far surpass what would have been available in any pre-computational era. Howeverand despite this, a proper understanding of music (µουσικῆς ξύνεσις) has been clearly and most radicallyconceived along a comparably algorithmic train of thought, explicitly including anticipative speculations[Aristoxenos, Harm. Elem. 38.32-39.3]. Hence the merit of an ‘algorithmic reading’ of Aristoxenos is thatit would enable a computational model to re-enact what might be called ‘plausible perception’ at the time ofhearing.IMPLICATIONSThe scientific background for this admittedly vague notion of a ‘plausible perception’ rests upon themajor breakthrough of W.A. Sethares’ "local consonance and the relationship between timbre and scale"[Sethares 1993] expanding on Helmholtz’ conception of sensory dissonance. In short, [Sethares 1997] hasshown that interval relations of scales are made up according to dissonance minima in the spectrum of thesounds used and that this holds true universally, even for the allegedly curios ratios of Gamelan music.Sound matters. Although Sethares’ ideas for exploring the ability of an adaptive tuning system aim towardssome sort of a counter-factual "Xentonality" with peculiar new harmonic rules and features, it might just aswell be utilised for the reverse, that is a markedly enhanced, perceptual identification of different modes andkeys (τόνοι) if tuned ‘en-harmonically’ — meaning the necessity (ἀνάγκη) to hold on to a fixed frame ofjustly intonated reference tones.Against this backdrop, the divergence of an original gut-stringed barbiton from J.C. Franklin’s "VirtualLyre TM " [Franklin 2005] takes shape. Notwithstanding the putative significance of "numerologicalfantasies […] of at least some Greek mousikoi"(musicians), our motivation is less interested in a "rathersuggestive transhistoric collaboration" in order to unearth an anyhow illusive "authentic core" of ancientGreek music or to present "a grave-offering to some harmonic hero-cult" [Franklin 2008]fr but more inthe sound gift of the muses, essentially known as ‘the harmony in which has the Sirens in it’ [Pythagoras,Iambl. De vita Pyth. 82].More technically to the point though, Franklin’s approach provides a well-devised sonification device forall known ‘divisions of the kanon’ and uses software tools of popular music production, like midi-sequencingand sampling whereas the adaptive barbiton differentiates not only stationary scales but in addition the socalledfixed and movable tones of the tetra-chord with respect to their melodic function.The live-played instrument is designed to navigate a computational model of musical understanding thattracks harmonic contexts and acoustically highlights possible paths of modulation — or less intellectuallyperhaps,, ancient and affecting modes of perception.If so, this rather speculative reasoning may hold the key gaining further insight into the ‘truth’ of ethosin music that the method of Occams’ razor usually cuts away [Hagel 2006]. After all, the prime differenceof our approach is to be sought less in the sameness of re-construction than in the mimesis of re-enactment.<strong>CIM09</strong> 59

<strong>CIM09</strong> 26-29 octobre 2009REFERENCESBarker, A. ed., 1989. Harmonic and acoustic theory, Cambridge [u. a.]: University Press.Barker, A. ed., 1984. The Musician and his art, Cambridge [u. a.]: University Press.Barker, A., 2007. The Science of Harmonics in Classical Greece 1st ed., Cambridge University Press.Ernst, W. ed., 2006. Die Geburt des Vokalalphabets aus dem Geist der Poesie: Schrift, Zahl und Ton imMedienverbund, Paderborn: Fink.Franklin, J.C., 2008. Beyond the Fragments: Realizations in Ancient Greek Music. In A. A. Both, ed.Herausforderungen und Ziele der Musikarchäologie. Studien zur Musikarchäologie. Rahden/Westf: Leidorf.Available at: http://www.k-ingmixers.com/Franklin%20PDF%20files%20copy/BeyondtheFragments.pdfFranklin, J.C., 2005. Hearing Greek Microtones. In S. Hagel & C. Harrauer, eds. Ancient Greek music inperformance: Symposion Wien 29. Sept. - 1. Okt. 2003. Wiener Studien : Beiheft ; 30. Wien: Verl. derÖsterreichischen Akad. der Wiss, pp. 9-50.Hagel, S., 2000. Modulation in altgriechischer Musik: antike Melodien im Licht antiker Musiktheorie, Frankfurt amMain [u.a.]: Lang.Hagel, S., 2006. Musikarchäologie im Kontext. In E. Hickmann, ed. Musikarchäologie im Kontext. Studien zurMusikarchäologie. Rahden/Westf: Leidorf, pp. 281-304.Kittler, F.A., 2006. Aphrodite, München: Fink.Kittler, F.A. ed., 2007. Medien vor den Medien, München: Fink.Pöhlmann, E. & West, M.L. eds., 2001. Documents of ancient greek music: the extant melodies and fragments,Oxford: Clar-endon Press.Roberts, H.D., 1981. Reconstructing the Greek Tortoise-Shell Lyre. World Archaeology, 12[3], 303-312.Sethares, W.A., 1993. Local Consonance And The Relationship Between Timbre And Scale. Journal Of TheAcoustical Society Of America, 94[3], 1218-28.Sethares, W.A., 1997. Tuning, timbre, spectrum, scale, London: Springer.Vogel, M., 1963. Die Enharmonik der Griechen, Düsseldorf: Verlag der Gesellschaft zur Förderung dersystematischen Musikwissenschaft e.V.West, M.L., 1992. Ancient greek music, Oxford: Clarendon Press.BIOGRAPHIESMartin CarléMartin Carlé is a media scientist, musicologist and philosopher lecturing at Humboldt-University Berlin. His researchfocuses on the epistemic ties between music technology, the temporality of simulation and media theory. Usingprogramming and modeling as the basis of research in humanities, he has developed environments of sonification andintroduced acoustic archaeology as a method for text critique. Recent publications include: Signalmusik MKII(Kadmos, 2006), Parasemantics and Enharmony: Coding and Decoding the Ancient Greek Sonosphere. (SIM PK,2008).martin.carle@culture.hu-berlinAnastasia GeorgakiAnastasia Georgaki was born in Lefkada. She studied Physics (University of Athens, 1986) and Music (accordion,piano, harmony, counterpoint, 1981-1990) at the Hellenic Conservatory of Athens. She studied also Computer music andmusic acoustics and informatics at IRCAM (DEA, 1991) and accompolished her PhD in Music and Musicology of theXXth century in 1997. During the period 1995-2002 she has been teaching Musical Acoustics and Computer music atthe Music Department of the Ionian University at Corfu where she has been elected lecturer in 2001. In 2002 she hasmoved to the Music Department of University of Athens as lecturer in Music technology and since October 2007 she isassistant professor in Music Technology at the same department.She has participated in many computer music conferences and has published a number of articles concerning thesynthesis of the singing voice, the interactive music systems and the Greek electroacoustic music. She is actually collaboratingwith the Computer science department (University of Athens) on physical modelling of Greek traditional instrumentsand Greek singing modelling. Her research projects focus on controlling synthetic voices through a MIDI-accordion inan electroacoustic music environment, archiving of Greek electroacoustic music, aesthetics of the applications of newtechnologies in music creation, applications of music technology in education, music technology and visual musicconcerning the remodelling of the voice.Last, she is a professional accordion player (www.novitango.gr), having performed in many concerts all over Greecewith her quintet , with orchestras and other groups.georgaki@music.uoa.gr60 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Inharmoncity, timbre and pitch perception in the pipaShin-Hui Lin Chin, Jonathan BergerCenter for Computer Research in Music and Acoustics (CCRMA), Stanford University (USA)The timbre of the pipa is largely characterized by the makeup and design of the instrument’s strings. Theinherent inharmonicity of these strings affects pitch perception. In this paper we describe and analyzeregionally distinct pipa strings and the perceptual effects of their individual timbre properties. The methodused is generalized as an approach to determine the perception threshold and degree of perceived pitch shiftdue to varying degrees of inharmonicity in any string instrument.BACKGROUND IN ETHNOMUSICOLOGYThe pipa has played an essential role in Chinese orchestra for centuries, reaching its peak in popularityduring the Sui and Tang dynasty (581 to 907 AD). Traditional pipa strings are made of silk, but modernpipa strings are predominately made of steel, with outer coverings of copper, nickel or nylon. Myers (1992)notes: “Steel strings increase the volume and brightness of the pipa, but some of the softer timbres possiblewith silk strings are lost. As in the case of chromatic frets, some players have chosen not to use steelstrings, opting instead for a combination of high-tension, pure nylon strings and metal-wound, nylon bassstrings, similar to those used by Western classical guitarists. “(p. 25).Changes in string makeup and design resulted in profound changes in timbre, which, in turn, influencedrepertoire and performance practice. The classical pipa repertoire is generally divided into two thematiccategories; wen ban and wu ban. The pacific wen ban has a slow, stable and restrained tempo, while themartial wu ban has a faster tempo and greater rhythmic freedom with generally a higher dynamic range.The brighter Beijing strings are well suited for the martial wu ban music, while the softer silk, nylon andShanghai strings are suited for the pacific wen ban music.A key aspect of timbre differences in pipa strings is the degree of inharmonicity, with a correspondencebetween increased inharmonicity and perceived harshness. Contemporary pipa musicians tend to prefer thesilk or stranded steel Shanghai strings, producing less inharmonicity and, correspondingly a “warmer” tonethan the solid steel Beijing strings, whose greater inharmonicity results in a more metallic sound.BACKGROUND IN MECHANICAL ENGINEERING AND PSYCHOACOUSTICSThe physical basis for inharmonicity in strings is widely held to be dominated by the non-ideal stiffnessin string material. Following the method of Fletcher and Rossing (1962) the resulting partial frequencyshifts of a given string can be related to this stiffness. Fletcher’s inharmonicity model accurately predictsthe observed partial shifts of the modern Beijing pipa strings throughout the audible frequency range, butfails to predict the observed partial shifts of the traditional silk and modern Shanghai pipa strings beyondabout 7kHz. A more comprehensive physical model is needed in order to understand the physical basis ofinharmonicity differences between these types of pipa strings. Beyond the physical differences, thepsychoacoustic significance of these inharmonicity differences is not well understood. Existing research onthe psychoacoustic effects of inharmonicity indicates that pitch perception can be influenced by the degreeof inharmonicity, but specific findings from earlier studies of piano, guitar, etc cannot reliably begeneralized to other instruments.AIMSThe aim of this work is to understand both the physical basis and psychoacoustic significance ofinharmonicity of varieties of pipa strings. In order to achieve these goals, we adopt the morecomprehensive Timoshenko beam model as a framework to analyze the physical vibrations of pipa strings,including non-ideal stiffness, rotary inertia and shear deformation. We also adopt the Response Surfacemethodology as a framework to perform a listening test experiment and analyze results to determine thethreshold at which inharmonicity affects perceived pitch.MAIN CONTRIBUTIONThis work aims to derive a new formulation of inharmonicity which accounts for not only string stiffness(i.e. Fletcher’s formulation) but also rotary inertia and shear deformation, which clarifies the physical basisfor differences in inharmonicity between the different types of pipa strings. The vibrational behavior of astring is derived, assuming each differential element of the string behaves as a Timoshenko beam, with nonidealbending stiffness, rotary inertia and shear deformation. Physical measurements of silk, Beijing andShanghai pipa strings are taken and pipa performances with each type of string are recorded. Inharmonicpartial frequencies of each type of string are computed based on the Fletcher and Timoshenko-based62 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>vibration models, and the computed predictions are compared to the spectra of pipa recordings. Theunusual inharmonicity of the silk and Shanghai strings above 7kHz is explained by the influence of sheardeformation in this new physical string model.Furthermore, this study demonstrates a systematic method of psychoacoustic experimentation andanalysis, used to determine the perception threshold and degree of perceived pitch shift due to varyingdegrees of inharmonicity. A listening experiment to investigate the influence of inharmonicity andfundamental frequency on perceived pitch is proposed using additive-synthesis generated test tones withinharmonicity characteristics derived through analysis. Subjects adjust a pure tone to match each of thesynthesized inharmonic tones. Response surface models are fitted to each subject’s experimental results,and the properties of model-fit and model-behavior are analyzed to understand individual and overallperception. Resulting response to inharmonicity varies significantly across experiment subjects, and forthose whose perceptual thresholds lay within the range of inharmonicities tested, approximate analyticexpressions for those thresholds were determined.IMPLICATIONSOur Timoshenko-based formulation of inharmonicity suggests the following guidelines can be used forcomputing inharmonicity for instrument strings in general: For solid core strings made from steel, copper,bronze, or similar materials with large shear moduli (e.g. steel at 80GPa), Fletcher’s formulation basedupon the Euler-Bernoulli stiff-string model is sufficient to model the inharmonicity of audible partials.However, for stranded core strings or strings made with materials with small shear moduli (notably silk at3GPa, or nylon at 4.1GPa), high partials may be audibly affected by internal shear deformation behavior, sothe Timoshenko-based formulation should be used. The qualitatively warmer and softer strings preferredby pipa musicians correlate well with quantitatively smaller shear moduli of those strings, suggesting thatthe resulting inharmonicity may contribute to those aspects of timbre as well.The regression and response surface methodology used in this study was found to be a useful frameworkfor systematically analyzing the data to quantify sensitivities and to visualize overall trends. The samemethods can be applied to study inharmonicity perception of other instruments by extending range offundamental frequencies and degrees of inharmonicity to cover the range of other instruments’ pitch andinharmonicity.REFERENCESAnderson, B.,& Strong W. (2005). The effect of inharmonic partials on pitch of piano tones. J. Acoust. Soc. Am.,117(5), 3268-3272.Fletcher, N. & Rossing, T. (1991). The physics of musical instruments. New York, USA: Springer-Verlag.Jarvelainen, Hanna. Vallimaki, Vesa, and Karjalainen, Matti. (2001). Audibility of the timbral effects ofinharmonicity in stringed instrument tones. Acoustics Research Letter Online, 2(3), 79-84.Jarvelainen, H., Verma, T.,& Valimaki, V. (2002). Perception and adjustment of pitch in inharmonic stringinstrument tones. J. New Music Research, 31(4), 311-319.Myers, John E. (1992). The way of the pipa: Structure and imagery in Chinese lute music. Kent, Ohio: Kent StateUniversity Press.BIOGRAPHIESShin-Hui Lin ChinMain field of research Ethnomusicology and Computer MusicRelevant qualifications M.A. in Music, Science and Technology, Stanford UniversityM.A. in Ethnomusicology, University of WashingtonB.S. in Mechanical Engineering, National Cheng Kung University, TaiwanContact sandylin@ccrma.stanford.eduJonathan BergerCurrent position Professor of Music, Stanford UniversityMain field of research Computational music theory, music cognitionPublications (2008) Reverberation Echo Density PsychoacousticsProceedings of the Audio Engineering Society. 2008 (with Hyang. Abel and Terasawa)The Rhythmic Brain (ed.) – Manuscript submitted for publication. 2008.(see http://ccrma.stanford.edu/~brg/cv.pdf for complete publication list)Contact brg@ccrma.stanford.edu<strong>CIM09</strong> 63

<strong>CIM09</strong> 26-29 octobre 2009Instruments à fretteset nouveaux accordages (micro tunings)Pascale CritonComposer (France)Caroline Delumeguitarist, professor (Conservatoire National Supérieur de Musique et de Danse de Paris) (France)Tunings (scordatura) and Instruments with fretsBackground in (first discipline)Music writing and instrumental practice integrates nowadays a great variety of intervals (acoustical references,spectral models, microtonality, just intonation, free systems). Although informatic tools allow a free tuning,musical writing keeps a creative relation to historical instrumental tradition. Microphonic settings and «augmented instruments » renew this field of exchanges. Musical instruments maintain a great richness on theexpressive level of gesture and their proper acoustic qualities.Background in (second discipline)Instrumental practice evolves and strives towards more and more precision. Scordatura as belonging to stringinstruments history is again a source of innovation. The possibility of adjusting different distribution of stringsand frets on instruments such as guitar, luth, mandolin, theorb, allows new approaches of instrumental gesture.Under this point of view, instruments with frets represent a field of potentiality always in evolution.AimsWe will show how a modular principle allows regular or irregular tunings according to complete or partialsystems. Modifying the instrumental space of playing, the scordatura involves new technics and specific ways ofplaying. It demands new system of notation and playing tables. Moreover the acoustical behaviour of theinstruments is modified : resonances length, phases, beats, masquing effects. These acoustic qualities afford a newinstrumental sensibility and expressivity.Main contributionWe will present works written for guitars set up with different scordatura to understand the renewed possibilitiesof tuning on instruments with frets. We will interprete extracts of music and present notation systems, with aparticular attention given to microintervals (such as 96 and 72 systems by octava).ImplicationsThese approaches concern stringed-instrument further improvment possibilities (adaptability, new materials,ergonomy). We intend to afford these technics to access, so that research, composers and interpreters maycontribute to the development of practice and repertory.ETAT DE L’ART (PREMIÈRE DISCIPLINE) : L’ÉCRITURE MUSICALEL’écriture musicale intègre aujourd’hui une importante modularité intervallique (références acoustiques,spectrales, microtonales, intonation juste, systèmes libres).Si les outils informatiques permettent un libre réglage de l’accord, les instruments de musique possèdent,quant à eux, une grande richesse au niveau de l’expressivité du geste et de leurs qualités acoustiquespropres.A ce titre, l’écriture et la recherche musicale entretiennent une relation prospective avec les techniquesinstrumentales. La modularité de l’accord et l’extension des dispositifs microphoniques relèvent activementde ce terrain d’échange.ETAT DE L’ART (DEUXIÈME DISCIPLINE) : LE JEU INSTRUMENTALLa pratique instrumentale évolue et tend vers des techniques toujours plus précises. Inscrite dansl’histoire des instruments à cordes, la pratique de la scordatura est à nouveau à la source d’innovations.La possibilité d’agencer différentes distributions des cordes et des frettes sur les instruments tels queguitare, luth, mandoline, théorbe, permet aujourd’hui de nouvelles approches du geste instrumental. A cetégard, les instruments à frettes constituent une source de potentialités toujours en évolution.OBJECTIFSNous montrerons comment le principe modulaire de la scordatura permet une approche d’accordagesréguliers ou irréguliers selon des systèmes complets ou partiels. En tant que modification de l’espace du jeuinstrumental, elle entraîne de nouveaux gestes techniques et des modes de jeux spécifiques.Les comportements acoustiques de l’instrument sont modifiés : résonances, phases, battements,masquages. Ces qualités acoustiques ouvrent une nouvelle sensibilité instrumentale et expressive.64 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>CONTRIBUTION PRINCIPALEUne présentation d’œuvres écrites pour des guitares avec différentes scordatura permettra d’appréhenderles possibilités renouvelées des techniques d’accordage sur les instruments à frettes (oeuvres de PascaleCriton, Philippe Leroux, Laurent Martin, Klaus Huber, Paco Luque etc.). Nous présenterons des systèmesde notation et de tablatures. Nous interprèterons et analyserons des extraits d’œuvres avec une attentionparticulière portée aux microintervalles (tels que des systèmes de 96, 72 et 24 divisions de l’octave).RETOMBÉESCes approches concernent les perfectionnements possibles au niveau de la lutherie (adaptabilité, nouveauxmatériaux, ergonomie). Il s’agit de présenter et rendre accessibles ces techniques instrumentales afin quechercheurs, compositeurs et interprètes contribuent à développer une pratique et un répertoire.REFERENCESPascale Criton, “Dynamismes et expressivité ” , Filigrane, n°4 , « Nouvelles sensibilités », sous la direction de Jean-Marc Chouvel, Ed. Delatour France, 2006.Caroline Delume et Makis Solomos, « De la fluidité du matériau sonore dans la musique de Pascale Criton »,dans Le matériau, voir et entendre, Revue Rue Descartes n° 38, Paris, PUF, 2003, pp. 40-53Caroline Delume et Ann-Dominique Merlet, La musique du XXe siècle, Fuzeau, 2001.Roman Brotbeck, « La technique de composition de Pascale Criton dans le contexte de la musiquemicrotonale », dans Pascale Criton, Les Univers microtempérés, Collection à la ligne, Ensemble 2e2m,1999.Caroline Delume, « Matériau et geste instrumental dans l’œuvre de Lachenmann », dans Les Cahiers du CIREM,n° 26-27, Tours, 1993.Caroline Delume, « Luciano Berio : Sequenza 11 pour guitare », dans Entretemps, n°10, Paris, 1992.Pascale Criton, “ Variabilité et multiplicité acoustique ” dans Manière de faire des sons, sous la directiond’Antonia Soulez et Horacio Vaggione, coll. Musique-Philosophie, Paris, L’Harmattan, (à paraître 2009)BIOGRAPHIESPascale CritonNée en 1954 à Paris, Pascale Criton a étudié la composition avec Ivan Wyschnegradsky, Gérard Grisey et Jean-EtienneMarie, suivi une formation en électroacoustique au Centre International de Recherches Musicales (1980- 82) et eninformatique musicale (Ircam,1986).Pascale Criton explore la variabilité du son au niveau des techniques de jeu et des réglages de l’accord : son écritureutilise la scordatura (accords spécifiques des instruments à cordes, des guitares, du piano) associée aux instruments del’orchestre et à la synthèse numérique.Docteur en musicologie du XXe siècle, ses recherches font l’objet de nombreux articles et conférences (Introduction àLa loi de la Pansonorité d’Ivan Wyschnegradsky, Genève, Contrechamps, 1996).Compositeur en recherche (Ircam, 2005-2006), elle a collaboré avec le Centre International de Recherche Musicale(Cirm), le Laboratoire Ondes et Acoustique (Espci), le Laboratoire d’acoustique (Ircam).et le Laboratoire LutherieAcoustique et Musique (LAM). Pascale Criton reçoit des commandes d’ensembles, de villes et de l’Etat. Ses oeuvressont créées en France et à l'étranger. Un recueil d’entretiens et d’articles consacré à son travail est paru dans lacollection à la ligne : Pascale Criton, Les univers microtempérés (2e2m 1999), ainsi qu’un Cd monographique chez Assaï (2003).Ses oeuvres sont éditées chez Jobert (Lemoine), Paris.pcriton@club-internet.frCaroline DelumeNée en 1963, Caroline Delume est diplômée en guitare et en analyse du CNSMD de Paris (trois premiers prixdans les classes de A. Lagoya, Claude Ballif et Michaël Levinas).Guitariste et théorbiste, elle joue un vaste répertoire s’étendant du XVIIe au XXIe siècle.Elle est membre de l’ensemble « Le Concert Spirituel » (direction Hervé Niquet) et joue régulièrement avec l’ensembleintercontemporain sous la direction de Pierre Boulez, Suzanna Mälkki, Peter Eötvös) et avec Les jeunes solistes (RachidSafir). Elle donne des récitals en Europe, en Amérique latine et au Japon.Professeur de lecture à vue-guitare au CNSMDP, elle est aussi professeur de guitare dans les conservatoires de laville de Paris.Sa discographie comprend « l’Art de la guitare contemporaine » chez Arion, « Multifonia 95 » chez l’empreintedigitale, et un grand nombre d’enregistrements de musique d’ensemble. Elle a publié chez Fuzeau un ouvrage sur lamusique du Xxe siècle et les traités de guitare français du 17e et 18e siècles.Des pièces pour guitare lui ont été dédiées par les compositeurs Félix Ibarrondo, Francisco Luque, J. M. López López,Philippe Fénelon , J.M. Sanchez Verdú, Il-Ryun Chung.Elle participe à l’installation de Annette Messager et Gérard Pesson au Festival d’Automne 2008.caroline.delume@club-internet.fr<strong>CIM09</strong> 65

<strong>CIM09</strong> 26-29 octobre 2009Integral Curve versus Separate Bell. New Aspects on theConstruction Modes of CrumhornsBeatrix DarmstädterCollection of Historic Musical Instruments Vienna, Kunsthistorisches Museum Wien (Austria)Dietmar SalabergerUpper Austria University of Applied Sciences, Campus Wels (Austria)BACKGROUND IN HUMANITIES (ORGANOLOGY)In organological studies coalesce the ken and methods of multiple disciplines rooted in the field ofhumanities: The analysis of musical sources, the comparative interpretation of historic writings dealingwith performance practice as well several organological treatises, iconographic sources and historicinventories establish -beside the historic sources documenting the making of musical instruments -a basisfor the findings on the use, playing technique, repertory and technological aspects of historic musicalinstruments.BACKGROUND IN SCIENCES (MEASUREMENT AND TEST ENGINEERING)Industrial Computed Tomography (CT) is a method used for Non destructive Evaluation (NDE). CT forindustrial applications deals with materials testing, geometrical measurement and rapid prototyping.For quality assurance and initial sample testing information about hidden geometrical details andmaterial inhomogeneities is provided. Developing measurement routines and parameters as well as dataprocessing algorithms makes CT applicable for specific applications.AIMSWe aim (1) to explore all measurable constructional parameters of the Renaissance crumhorns preservedin the Sammlung alter Musikinstrumente (SAM, Collection of Historic Musical Instruments) of theKunsthistorisches Museum Wien (KHM) by applying exclusively the electronically method of 3D-computertomography; (2) to find new expedient modes of 3D-visualization appropriate to museum's documentation,restauration and conservation; (3) to develop forward-looking virtual measuring tools for organologicalmeasuring procedures without exposing the fragile historic art object to imperilling manipulations due toconventional measuring tools; (4) to educe detailed information from the data to answer questionsconcerning musical and performance matters as the pitch, sound, quality and use of the instruments; (5) toclear and discuss the provenance and history of unique original historic crumhorns.MAIN CONTRIBUTIONThe SAM preserves six Renaissance crumhorns in the pitch range from alto/tenor to bass, attributed todifferent makers, like Jörg Wier (SAM 206, SAM 678, SAM 679), "MILLA[N]" (SAM 203) and "a" (SAM204) showing individual constructional designs. The instrument signed with "MILLA[N]" is one of therare documents for crumhorns with a separate bell.Due to recent measurements allowing an inspection of the bell joint the maker's intentions becomestraceable: the attempt to avoid the technical process of bending, to influence the formants and to expand thevariety of appropriate material for the making of crumhorns.In comparison to the "MILLA[N]" crumhorn the instruments from the Wier workshop are made withintegral curves. The Wier instruments bear two different marks ( and ) and vary particularly in the shapeof the curved section. From the historical point of view SAM 679 and SAM 678 are the earliest datedcrumhorns (1522) and belong, due to their engravings proving the attribution of the maker's mark to Wier,to the most important organological heritage.The contribution focuses on the constructional aspects which became visible and measurable during the3D-computer tomography examinations and presents conclusions on musical purposes.IMPLICATIONSMusicians specialized in Early Music have the possibility to commission the making of theSAM¬crumhorns at their instrument makers, who will benefit from the data volume and density of themeasurement information. Scholars interested in the history of crumhorns and in the making of woodwindinstruments will receive useful specifications for their research work.The presentation might stimulate the exchange of views concerning the different collector's/museum'spolicies in manipulating, playing, measuring, classifying and restoring original woodwind instruments.66 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCEShttp://www.fwf.ac.at/de/abstracts/abstract.asp?L=D&PROJ=P19924 http://www.khm.at/de/kunsthistorischesmuseum/forschung/forschungsprojekte/B. Darmstädter, D. Salaberger: Erste Ergebnisse der 3D-röntgencomputertomographischen Untersuchung anBlasinstrumenten der Sammlung alter Musikinstrumente, in: Technologische Studien des KHM, vol. 5/2008,p. 108-139K. Martius, M. Raquet: Vermessen? 3D-Computertomographie als Lösung für die Dokumentation vonHolzblasinstrumenten, in: Michaelsteiner Konferenzberichte Nr. 74, Augsburg 2008, p. 299-312K. T. Meyer: The Crumhorns, Studies in Musicology 66, Ann Arbor 1983B. Boydell: Ioerg Wier an early sixteenth-century crumhorn maker, in: Early Music, Oct./1979, p. 511-518BIOGRAPHIESBeatrix DarmstädterCurrent position Curator at Sammlung alter Musikinstrumente (Kunsthistorisches Museum Wien/Vienna)Associate lecturer in Saxophon ClassicHistory of Music and Organology at Franz Schubert Konservatorium (Vienna)Main field of research Organology, History of MusicMain research areas Musical instruments of the Renaissance, performance practiceand wind instruments at the fin-de-siècle,musical instruments and instrument makers at the Viennese Court in the 18th centuryQualifications Univ. of Vienna: Mag. phil. in musicology and philosophy (1993, 1994)Dr. phil. in musicology (1997)Conservatory Vienna: concert-diploma in saxophone classic (1993Univ of Applied Arts Vienna: MAS in Exhibition and Communication Management (2006)Publications more than 30 articles and four booksContact beatrix.darmstaedter@khm.atDietmar SalabergerCurrent position Research Associate at the Upper Austria University of Applied Sciences, Campus WelsMain field of research Material Science: NDE using Industrial Computed TomographyMain research areas Three-dimensional characterisation of Polymer Composites, Sub-µm-CT,Micro-CT for applications in biomedicine, archaeology and artsQualifications TU Graz: Dipl. Ing. in Electro-and Biomedical Engineering (2003)Publications 9 contributions to conferences and 5 articles in journalsContact dietmar.salaberger@fh-wels.at<strong>CIM09</strong> 67

<strong>CIM09</strong> 26-29 octobre 2009Céramiques sans fond et tambours préhistoriques :reconstitutions et interprétationHélène DauvierMaster d’archéologie protohistorique, Université Paris 1 Panthéon Sorbonne (France)François MoserConservateur retraité, Musée Labenche d’art et d’histoire de Brive-la-Gaillarde (France)Bottomless ceramics and prehistoric drums: reconstruction and interpretationAlmost three hundred opened ceramics in the form of constricted cylinders and round borders have beendiscovered in central et northern Europe (Germany, Poland, Czech Republic, Denmark and Sweden), dated from3200-2100, at the same time of copper exploitation. A lot of non-domestic objects have been found too.What are those opened ceramics ? What functions could they fulfill ? Could they be the part of a whole ? Couldthey be non-domestics artefacts ?Another possible question is : Could the opened ceramics be any parts of drums ? In fact some of clay drums havebeen observed in Oriental and African lands. In order to make drums and test those in various conditions somearchaeo-musicologists, reconstructers and potters have made 5 sets of 7 prehistoric ceramics. The influence of clay,firing, the nature of the skins and the several ways to fixe those with clay elements have been analysed. The resultsare the subject of this communication.ÉTAT DE LA QUESTION1 o - L’expression « céramique sans fond » désigne des cylindres, à étranglement médian. Elles possèdentparfois une anse, des boutons, des œillets, voire des perforations, tout autour de leur partie supérieure ; undécor à l’extérieur et/ou à l’intérieur de la partie inférieure.La production apparaît au quatrième et troisième millénaire, avec l’essor de l’exploitation du cuivre. Àl’époque, on compte de nombreux objets non liés directement à la subsistance.La production concerne l’Allemagne de l’est, la Pologne, la République tchèque, le sud du Danemark et dela Suède. Deux-cent-soixante céramiques ont été découvertes à ce jour, en contextes funéraire ou d’habitat.Sont-elles des ustensiles domestiques ? Peuvent-elles être seulement la partie d’un tout ? Quellesfonctions les céramiques sans fond sont-elles capables de remplir ? Pourraient-elles appartenir à unecatégorie d’objets non liés directement à la subsistance ?L’hypothèse de corps de résonance semble la plus plausible, d’après l’observation d’exemplairesethnographiques dans les pays d’Orient et d’Afrique. Songer que les céramiques ont pu être des instrumentsà percussion permet de voir leurs parties sous un nouveau jour.La lèvre et le bord prennent une importance particulière pour la pose d’une membrane. Les élémentsplastiques (boutons, languettes, doubles languettes, œillets) deviennent les moyens de fixation d’un systèmeélaboré de maintien de la peau. Par conséquent, celle-ci ne peut couvrir les décors qui se trouvent toujoursen dessous. Enfin, l’absence de fond est justifiée de fait. L’expérimentation permet, à ce stade, de confirmerou non l’hypothèse.2 o - Au cours de deux stages organisés par l’Atelier Culturel du musée Labenche de Brive-la-Gaillarde,sept modèles archéologiques, au profil courbe ou rectiligne, ont été sélectionnés pour être reconstitués, avecl’aide de potiers.Des peaux de chèvre et de chevreuil ont été utilisées, conformément aux données ethnologiques. Préparéede façon traditionnelle, elles ont été découpées après la prise de mesures. Une seule a été ourlée de la mêmemanière que les peaux des derboukas.OBJECTIFSTrois questions sous-tendent la démarche expérimentale : les éléments plastiques remplissent-ilsréellement leur rôle de moyens de fixation ? La peau est-elle maintenue correctement et acquiert-elle larésistance désirée ? Les tambours sonnent-ils de manière satisfaisante ?CONTRIBUTION PRINCIPALETout d’abord, les éléments plastiques sont appropriés. Un nombre impair permet de renforcer le maintienet la tension de la peau en faisant passer les liens une fois au dessus, une fois au dessous de chaque élément.La plupart des céramiques vues en Allemagne possèdent effectivement un nombre impair de boutons,languettes ou doubles languettes. Lorsque les céramiques sans fond en comportent un nombre pair, un68 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>système de cordes peut fixer la peau, comme sur les djembés. Un anneau en osier peut aussi être rajouté,comme sur les tarambukas bulgares. La nature de la peau joue un rôle important : la peau de chevreuil, àépaisseur égale, donne un son plus sourd que la peau de chèvre.Il apparaît que ni l’épaisseur des parois, la nature de la pâte ou le type de cuisson n’influent sur lasonorité. Mais la dimension, la forme du bord et celle de la lèvre conduisent à des techniques de jeu et desrendus très différents. Par ailleurs, en rapport avec le diamètre de l’ouverture supérieure, plus le diamètremédian est ouvert et plus le jeu des tonalités est réduit. Une hauteur de ton spécifique était-elle recherchéepar les hommes préhistoriques ? Lors d’enregistrements effectués au musée, les capacités de résonance de laterre cuite, la solidité de l’ensemble et les possibilités de jeu ont surpris les musiciens professionnels.RETOMBÉESL’étude fonctionnelle de ces céramiques permet d’aborder exceptionnellement la dimensionmusicologique de sociétés de l’âge du cuivre, circonscrites étroitement dans l’espace et le temps.L’expérimentation tente de faire un peu de lumière sur l’environnement tonal de l’époque. Il semble quenous ne puissions plus nier l’existence d’un art préhistorique musical. Il reste à savoir qui les fabriquaient etles utilisaient. A quel moment leur usage tombait en désuétude ? Plusieurs cultures ont produit ces objetsaux propriétés techniques similaires, impliquant un patrimoine technologique commun. Pouvaient-elleségalement partager une culture sonore ?BIBLIOGRAPHIECLODORE-TISSOT, T. ET MOSER, F., 2005-« Un instrument de musique « gaulois » mis au jour fortuitement à MalemortCorrèze », in Annales des Rencontres archéologique de Saint-Céré, no12, p 60-70.DAUVIER, H., 2006-Les céramiques sans fond du centre et du nord européens : aspects céramologique etexpérimental, Mémoire de Master 2 recherche dirigé par M. Lichardus, Université Paris 1 PanthéonSorbonne, UFR Préhistoire.DAUVIER, H. et MOSER, F., 2006-« Des céramiques sans fond ! Poteries, percussions et archéologieexpérimentale », in Annales des Rencontres archéologiques de Saint-Céré, no 13, p. 47-55.FISCHER, U., 1950-«Zu den mitteldeutschen Trommeln», Archaeologia Geographica, Jahrgang 1, Heft 1, HansicherGilden Verlag, Joachim Heitmann & Co, Hamburg, p. 98-105.SEEWALD, O., 1934-Beiträge zur Kenntnis der Steinzeitlichen Musikinstrumente Europas, Verlag Ariton Schroll & Co,Coll. Bücher zur Ur-und Frühgeschichte, Wien.VIGREUX, P., 1997-La darbūka : histoire, organologie, ethnomusicologie d’un instrument de percussion, Thèsedirigée par J. During, Laboratoire d’Ethnologie et de Sociologie comparative, Université Paris 10Nanterre/UMR 116.BIOGRAPHIESHélène DauvierHélène Dauvier est diplômée de l’École du Louvre (archéologie préhistorique), abordant les instruments de musiquepréhistoriques. Elle a engagé des recherches sur les céramiques sans fond, dans le cadre d’une maîtrise et d’un masterde recherche (archéologie protohistorique). Elle tente d’y démontrer leur usage comme des corps de résonance, enalliant céramologie, archéologie expérimentale et ethnologie. Elle est également pianiste et flûtiste.François MoserFrançois Moser a été, pendant trente ans, conservateur du patrimoine, en charge de l’animation, et ponctuellement defouilles de sauvetage, à Brive. Retraité, il est responsable de l’association Otzial (promotion de l’archéologieexpérimentale) et membre d’APEMUTAM (Association Pour l’Étude de la MUsique et des Techniques dans l’ArtMédiéval).Extraits sonores : Sébastien Baroukh, percussionniste.<strong>CIM09</strong> 69

<strong>CIM09</strong> 26-29 octobre 2009The McGill Digital Orchestra: Interdisciplinarity in DigitalMusical Instrument DesignSean FergusonCentre for Interdisciplinary Research in Music Media and Technology, Digital Composition Studios,Schulich School of Music of McGill University (Canada)Marcelo WanderleyCentre for Interdisciplinary Research in Music Media and Technology, Input Devices and MusicInteraction Laboratory, Schulich School of Music of McGill University (Canada)BACKGROUND IN GESTURAL MUSICAL CONTROLLERSThe McGill Digital Orchestra was a three-year research/creation project that included the developmentof a number of novel digital musical instruments. It included the composition and concert performance ofseveral new musical works, for example during the 2008 MusiMarch Festival of Contemporary Music inMontreal. A digital musical instrument comprises a gestural control surface that controls the parameters ofa digital synthesis algorithm in real time. In the Digital Orchestra Project, the synthesis engine was hostedon a general-purpose computer, while the gestural control surfaces were new hardware devices createdspecifically for the project. The mapping between gestural data and synthesis parameters was carried outthrough the use of custom-written software called The Mapper.BACKGROUND IN MUSICAL PERFORMANCEFrom a performance perspective, a successful digital musical instrument should allow the performer tofeel that he or she has expressive control of the musical material. This sensation results from a number ofdifferent factors, including the responsiveness of the instrument (low, consistent latency), haptic feedback,the mapping strategies used, and the reproducibility of musical ideas, among others.AIMSThe aim of the Digital Orchestra Project was to create a number of new digital musical instruments withexpressive musical potential comparable to that of existing acoustic musical instruments. Interdisciplinaryteams of music technologists, performers and composers participated in the design and creation of theinstruments, which were then used in the composition and concert performance of a number of new musicalworks. An important goal was to leverage the expertise of elite performers on traditional orchestralinstruments to provide ongoing feedback to the instrument designers. We also wanted to address the issueof reproducibility in the performance of digital musical instruments by developing appropriate notationmethods.MAIN CONTRIBUTIONThe Digital Orchestra resulted in the design of a number of new digital musical instruments. In the earlystages of the project a large number of prototypes were developed. Those judged to have the greatestmusical potential were then refined to become viable musical instruments. The composers who participatedin the project composed new works for small ensembles that included these instruments. These works wereperformed in various concerts. A new approach to musical notation based on dynamic visual elementsdisplayed on a computer screen was developed. Software for easily mapping between performance gesturesand synthesis parameters (The Mapper) was also created.All members learned to work in an intensive long-term multidisciplinary project. In this model,composers and performers are able to influence aspects of the instrument design from the very earlieststages. The project notably included three years of intensive training on these instruments by performerswho had already achieved a high level of expertise on traditional acoustic musical instruments.IMPLICATIONSThe McGill Digital Orchestra presents a number of paradigms for the design, creation and performanceof digital musical instruments in the context of a long-term interdisciplinary, collaborative environment.Issues related to mapping strategies, notation, the relationship of physical and musical gestures, robustness,responsiveness, and haptic feedback arose during the course of the project. As well, we devised newmethods for communication of performance instruments to the players of the instruments. Furthermore,the Mapper software continues to be used in other contexts.70 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>Based on our experience, we propose that one effective measure for the evaluation of a digital musicalinstrument is its ability to reproduce a performance of a particular piece, either by the same performer or bydifferent performers. This involves the ability to realize a piece based on a notated score, whether on paperor using software-based visual feedback in a graphical environment. We suggest that this may aid inensuring the viability and longevity of a novel digital musical instrument.The results of this long-term, multidisciplinary approach to digital musical instrument design includeinterfaces that have been proven in high-profile professional performance contexts and that are still beingused actively by several performers world-wide.REFERENCESMark T. Marshall, Joseph Malloch, and Marcelo M. Wanderley. “Gestural Control of Sound Spatialization for LiveMusical Performance.” In M. S. Dias, S. Gibet, M M. Wanderley and R. Bastos (Eds.): Gesture-Based Human-Computer Interaction and Simulation · 7th International Gesture Workshop, GW 2007, Lisbon, Portugal,May 23-25, 2007, Revised Selected Papers. LNCS series Vol. 5085, Springer Verlag, 2009.Joseph Malloch, Stephen Sinclair, and Marcelo M. Wanderley. "From controller to sound: Tools for collaborativedevelopment of digital musical instruments." In Proceedings of the 2007 International Computer Music<strong>Conference</strong>, Copenhagen, Denmark, volume II, pp. 65-72, 2007.Joseph Malloch and Marcelo M. Wanderley. "The T-Stick: From Musical Interface to Musical Instrument." InProceedings of the 2007 International <strong>Conference</strong> on New Interfaces for Musical Expression (NIME07), NewYork City, USA, pp. 66-69.Joseph Malloch, David Birnbaum, Elliot Sinyor, and Marcelo M. Wanderley. "A New Conceptual Framework forDigital Musical Instruments." In Proceedings of the 9th International <strong>Conference</strong> on Digital Audio Effects(DAFx-06), Montreal, Canada, pp. 49-52, 2006.Eduardo R. Miranda and Marcelo M. Wanderley. New Digital Musical Instruments: Control and Interactionbeyond the Keyboard, A-R Editions, Spring 2006. ISBN 0-89579-585-XMarcelo M. Wanderley and Marc Battier, editors. Trends in Gestural Control of Music, Paris, Fr: IRCAM - CentreGeorges Pompidou, 2000.BIOGRAPHIESSean FergusonSean Ferguson is Assistant Professor of composition, Director of the Digital Composition Studios and AssociateDirector of the Centre for Interdisciplinary Research in Music, Media and Technology. He was born in the remoteNorthern-Alberta community of Fort Vermilion. He has lived in Montreal since 1990, where he studied composition atMcGill University. His fascination with the mechanics of perception have led him to carry out extensive research inpsychoacoustics and to incorporate these findings into his compositional language. The computational demands ofthese psychoacoustic models has also sparked his interest in computer-assisted composition.His instrumental works include Inside Passage for piano and large ensemble (1999), Marées-Strates-Envolée for solopiano (1994-99), Apocryphal Graffiti for chamber orchestra (2000), Heiligenstadt for string orchestra (2001),Corranach for flute, cello and piano (2002), and In the Flesh, for large orchestra (2003). Ensembles that haveperformed his music include the Philharmonic Orchestra of Radio-France, the Montreal Symphony Orchestra, theSociété de musique contemporaine du Québec, Les Temps modernes de Lyon, I Musici de Montreal and theEnsemble contemporain de Montréal, among others. He has also composed a number of mixed works for liveperformers with technology, including Vox Machina for soprano, chamber ensemble and multi-channel audio (1993),and Conversations for violin, clarinet, percussion and interactive computer system (1999).From 1997-2001 he was a counsellor of the Société québécoise de recherche en musique, for whom he was the artisticcoordinator of three different week-long festivals of Quebec music. Since 1999 he has been a member of the artisticcommittee of the Société de musique contemporaine du Québec. Sean Ferguson is director of the McGill DigitalComposition Studios. He teaches electroacoustic and instrumental composition, orchestration, the history of Canadianand electroacoustic music, and a graduate seminar in musical applications of symbolic computation. He has also givena seminar in gestural controllers for new digital musical instruments jointly with Professor Marcelo Wanderley of theMusic Technology Area and D’Arcy Gray of the Percussion Area.Marcelo WanderleyProf. Wanderley has published various book chapters and conference papers on his research.He is the co-editor with Prof. Marc Battier of the electronic publication Trends in Gestural Control of Music, and is thecoordinator of the International Computer Music Association/Electronic Music Foundation Working Group on Interactive Systems andInstrument Design in Music.He is also associate researcher at the Observatoire Musical Français (Musicologie, Informatique et Nouvelles Technologies(MINT)) at University Paris-Sorbonne, the Interdisciplinary Centre for Scientific Research in Music at the University of Leeds,the Electronics Instrumentation Center at UFPR, and part of the advisory group of the EMF Institute.AREAS OF EXPERTISE :Gestural control of Sound synthesis, Digital Musical Instrument Design, Sensors for Music Performance, HumanComputer Interaction<strong>CIM09</strong> 71

<strong>CIM09</strong> 26-29 octobre 2009Lutherie Tools : un exemple d’outil d’aide à la lutherieJean-Marie FouilleulUnion Nationale de la Facture Instrumentale, la Villate, 35270 Cuguen (France)François GautierLaboratoire d’Acoustique de l’Université du Maine, UMR CNRS (France)Vincent DoutautInstitut technologique européen des métiers de la musique, Pôle national d'innovation des métiersde la musique (France)Lutherie Tools: a collaborative project between acousticians ans instrument makersString instrument making: state of the artCurrently, many string instruments for beginners are produced industrially and fine instruments are usuallyhandmade. These give rise to permanent innovations for manufacturing processes and materials. For example,alternative solutions are to provide for certain wood species endangered or banned marketing. To developinnovative approaches, the instrument maker has to characterize the instruments he produces using suitablemeasurement devices. Moreover, when he has to respond to exigent and precise requests from the musicians, hehas to control precisely making parameters using appropriate measurement tools in order to provide a quantitativeand qualitative monitoring of his production.Acoustic characterization of stringed instruments: state of the artThe choices of the instrument maker related to materials, geometry and design of the architecture of theinstrument have direct consequences on the mechanical and acoustic characteristics. Measuring instruments existtoday in the acoustic laboratories to perform these characterizations: experimental modal analysis, specific set-upfor measuring mechanical modules of materials, vibration imaging (vibrometry), acoustic imaging (holography oracoustic intensimetry). Moreover, numerical simulation tools using the finite element, boundary elements or finitedifferences methods can also anticipate the effect of structural modifications of the instrument, when themechanical properties of materials are known. These methods are currently well developed in mechanicalengineering outside of musical acoustics. They are however not easy to use by the instrument maker, because ofhigh costs, in terms of material and time of implementation and associated expertise. In the current competitiveenvironment, the need for innovation creates a real need for tools providing assistance to the instrument maker.These tools should be dedicated, low cost, portable and robust in order to capture the relevant characteristics ofthe instruments.AimA collaborative project, entitled "Lutherie Tools" was initiated in 2003 by three organisations: UNFI (UnionNatiolale de la facture instrumentale), LAUM (Laboratoire d’Acoustique de l’Université du Maine), and ITEMM(Institut Technologique Européen des métiers de la musique). A system for measuring the admittance at thebridge of a stringed instrument has been developed and lent since 2007 to a dozen makers to evaluate itsfunctionalities. The system is composed of an impact hammer, an accelerometer and a software environment forthe acquisition of frequency transfer functions. The results presented in this paper include the feedbacks collectedduring the project and which has contributed to evolve.Main contributionTwo examples of practical use of "Lutherie Tools" system are presented.• The repeatability of the process for making the soundboard of a classical guitar is evaluated by archivingfrequency modes at different stages of manufacturing. The systematic measurement of transfer functions atdifferent stages of the construction of the strutting ensures that the manufacturing process is always the same.The instrument maker thus retains a memory of the objective characteristics of its achievements.• A musical instrument is a system designed to be able to "speak clearly", ie to have a certain efficiency in its soundradiation. This efficiency can be evaluated using two parameters calculated from transfer functions measured at thebridge: the average value of bridge admittance and the critical frequency of the soundboard. The study of thesetwo parameters allows the categorization of sets of guitars. Four groups of ten guitars each were tested. The firstthree are related to lots of identical guitars for beginner produced industrially and the fourth is composed of finehandmade instruments. The method can identify fairly robustly the membership of a guitar to its group: distancesbetween two instruments of one group are well below the distances between two groups. The analysis shows that,following our definition, the fine or premium instruments are the most efficient.BenefitsThe project Lutherie tools is a concrete collaborative project where the experience and know- how of instruments’makers (UNFI), the skills of a research laboratory in acoustics (LAUM) and the transfer activities of a technicalcenter (ITEMM) are complementary. This synergy, associated to a pedagogical approach specifying the potentialand limitations of objective acoustic analysis, contributes to the development of innovation in instrument making.72 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>LUTHERIE DES INSTRUMENTS À CORDES : ÉTAT DE L’ARTÀ l’heure actuelle, nombre d’instruments à cordes d’étude sont produits de manière industrielle. Lesinstruments haut de gamme restent, quant à eux, le plus souvent fabriqués de façon artisanale. Ces derniersdonnent lieu à des innovations permanentes quant aux procédés de fabrication et aux matériaux utilisés. Parexemple, des solutions alternatives sont à apporter pour certaines essences de bois en voie de disparition ouinterdites à la commercialisation. Afin de mettre en place des démarches innovantes, le luthier est amené àcaractériser les instruments qu’il fabrique du point de vue de leur fonctionnement vibratoire et acoustique,et par là même à utiliser des moyens de mesure de paramètres mécaniques ou acoustiques. De plus, soucieuxde répondre à une demande exigeante et précise des instrumentistes, le luthier, grâce à ces outils et cesmesures, cherche à contrôler certains paramètres pertinents de l'instrument et à assurer ainsi un suiviquantitatif et qualitatif de sa fabrication.CARACTÉRISATION ACOUSTIQUE DES INSTRUMENTS À CORDES : ÉTAT DE L’ARTLes choix du luthier concernant les matériaux utilisés, la géométrie ou encore la conception del’architecture de l’instrument ont des conséquences directes sur les caractéristiques mécaniques etacoustiques des instruments. Des instruments de mesures de laboratoires existent aujourd’hui poureffectuer ces caractérisations : systèmes d’analyse modale, bancs test permettant la mesure de constantesmécaniques des matériaux, imagerie vibratoire (vibrométrie), imagerie acoustique (holographie ouintensimétrie). Par ailleurs, des outils de simulation numérique utilisant des méthodes d’éléments finis,d’éléments de frontière ou de différences finies permettent également d’anticiper l’effet d’une modificationstructurelle de l’instrument, lorsque les caractéristiques mécaniques des matériaux sont connues.Ces méthodes d’investigation sont actuellement bien développées dans des domaines de l’ingénieriemécanique ne relevant pas de l’acoustique musicale. Elles ne sont cependant pas aisées à utiliser par l’artisanluthier, du fait d'un coût élevé, tant du matériel en lui-même qu'en temps de mise en œuvre et expertiseassociée. Dans le contexte concurrentiel actuel, la nécessité d'innovation engendre un réel besoin d’outilsd’assistance à la lutherie. Il s'agit de proposer des moyens métrologiques dédiés, à coût réduit, portables etrobustes permettant d’atteindre des caractéristiques pertinentes représentatives des instruments. Ces outilsse doivent d’être adaptés au contexte spécifique de la lutherie des instruments à cordes telle qu’elle estactuellement structurée.OBJECTIFUne démarche collaborative d’aide à la lutherie, intitulée « Lutherie Tools » a été engagée en 2003 par lerapprochement de trois structures : l’UNFI (Union Nationale de la Facture Instrumentale), le LAUM(Laboratoire d’Acoustique de l’Université du Maine) et l’ITEMM (Institut technologique européen desmétiers de la musique). Un système de mesure de l’admittance au chevalet d’un instrument à cordes a étédéveloppé puis proposé en prêt depuis 2007 à une dizaine de luthiers pour en évaluer les fonctionnalités etles faire évoluer.Le dispositif comprend un marteau d’impact, un accéléromètre et un environnement logiciel permettantl’acquisition de fonctions de transfert. Les résultats présentés dans la communication intègrent les retoursd’expérience collectés dans le cadre de ce projet collaboratif. Plusieurs retours d’expérience de la part desluthiers utilisateurs ont permis de faire évoluer les fonctionnalités du système.CONTRIBUTION PRINCIPALEDeux exemples d’aide à la lutherie sont ainsi présentés :• La répétabilité d’un procédé de fabrication d’une table d’harmonie de guitare classique est évaluée enarchivant des fréquences modales à différents stades de la fabrication. La mesure de fonctions de transfert àdifférentes étapes du barrage de la table permet de s’assurer que le procédé de fabrication ne comporte pasde dérive mais s'avère bien reproductible. Le luthier garde ainsi une mémoire objective des caractéristiquesde ses réalisations.• Un instrument de musique est un moyen d’expression conçu pour pouvoir « parler clairement », c’est àdire présenter une certaine efficacité dans son rayonnement sonore. Cette notion d’efficacité peut s'évaluerau moyen de deux paramètres calculés à partir de fonctions de transfert mesurées au chevalet : la valeurmoyenne de l’impédance mécanique et la fréquence critique de la table d’harmonie. L’examen de ces deuxparamètres permet d’établir la catégorisation d’un ensemble de guitares sur la base d’un critère d’efficacité.Quatre groupes d’une dizaine de guitares chacun ont été testés. Les trois premiers sont relatifs à des lotsde guitares d’étude identiques produites industriellement et le quatrième à des guitares « haut de gamme »de luthiers. La méthode permet d’identifier de façon relativement robuste l’appartenance d’une guitare à ungroupe : les distances séparant deux instruments d’un même groupe sont bien inférieures aux distancesséparant ces groupes.<strong>CIM09</strong> 73

<strong>CIM09</strong> 26-29 octobre 2009L’analyse montre que les instruments « haut de gamme » sont les plus efficaces, au sens de notredéfinition.RETOMBÉESLe projet « Lutherie tools » est un exemple concret de démarche collaborative où se croisent l’expérienceet le savoir-faire des luthiers (UNFI), les compétences d’un laboratoire de recherche en acoustique (LAUM)et la valorisation des résultats obtenus par un pôle d’innovation technologique (ITEMM). Cette synergie,accompagnée d'une approche pédagogique précisant les potentialités et les limites des analyses acoustiquesobjectives, contribue au développement de l’innovation en matière de facture instrumentale.BIBLIOGRAPHIE[1] F. GAUTIER, J. L LE CARROU, M. HOL, V. DOUTAUT, G. FAVRAUD, Categorization of guitars from bridgeadmittance measurements, Congrès Acoustics'08, Paris, 24-29 juin 2008.[2] J. MONSIMIER, Vers une définition des contours de la filière instrumentale en France, revue musique &technique, Éditions Itemm, Le Mans, 2004.[3] F. GAUTIER, J.L LE CARROU, V. DOUTAUT, Faire vibrer l’air avec des cordes, Pour la science, numéro spécial« Son & musique », Nov. 2008, p. 46-51.BIOGRAPHIESJean-Marie FouilleulSituation professionnelle Luthier guitare, président de l’Union Nationale de la Facture InstrumentaleSpécificités Fabricant de guitare acoustique de concertFormation /Qualifications « Meilleur Ouvrier de France » 1989En activité depuis 1979Fonctions de référence Participe aux référentiels des diplômes CAP, BMA et DMAen facture instrumentale depuis 10 ansIntervenant formateur dans le cadre du BMA à l'ItemmUtilisateur de "Lutherie Tools" depuis 2007Contact infos@guitar-fouilleul.comwww.guitar-fouilleul.comFrancois GautierSituation professionnelle Professeur – Université du MaineRattaché au LAUM (Laboratoire d’Acoustique de l’Université du Maineet à l’ENSIM (École Nationale Supérieure d’Ingénieurs du Mans)Formation /Qualifications Ingénieur en aéronautique, ENSAE, ToulouseDoctorat, HDR, Université du Maine, Le MansPrincipaux sujets derecherche Acoustique musicale – Vibro-acoustiqueContact Francois.Gautier@univ-lemans.fr74 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Instruments expérimentaux et sens haptiqueFrançois Foulon, Franck JedrzejewskiCommissariat à l’énergie atomique (France)Experimental Instruments and Haptic meaningsBackground in music history and organologyFrom the beginning of the 20th century, under the influence of the avant-garde culture that was growing in art,the fabrication of experimental instruments has undergone strong development. The interest of some compositorsfor micro-intervals (I. Wyschnegradsky, J. Carilllo, A. Haba) and just intonation (H. Partch, Lou Harrison) leadedto the design of instruments specifically adapted to those new parameters (Jedrzejewski, 2004). These ways ofexpression for the musicians have been widely enlarged by the sound sculpture and environments, the research ofnew kinds of sound (Hopkins, 1999; Nicollet, 2004), as well as the development of new technologies (TodMachover hyper-instruments, Serge de Laubier Meta-instruments, softwares such as Modalys, etc.).Background in AestheticsWe know the important role of the hands and arms movements in the study and practice of a music instrument.But, we know less about the role of haptics in the sound perception. In a book (Deleuze, 1989) that study thepaintings of Francis Bacon, Gilles Deleuze has demonstrated the existence of a hapitc sensation for vision. ForGilles Deleuze, the successive colour modulation that follows the colour spectra has been developed by Cézanne toobtain the haptic meanings of the colours. In this paper, we extrapolate to music the haptic sensation developed forpainting, making the assumption that a haptic sensation exists in sound perception.AimsThe main goal of this paper is to show through a wide collection of singular (original) instruments that the hapticfunction went through continuous evolution together with technology from the beginning of the 20 th century.Furthermore, we show that many observations tend to demonstrate that, like for vision, a haptic sensation ofsound exists and that it is responsible for the perception of the sound aspect.Main ContributionWe can feel significant differences in the interpretation of Michelangeli, Brendel or Pollini. This arises from thefact that, in the way these musicians play, we understand and feel that the movements of hands and arms aredifferent. In this understanding, we perceive the motions that make the sound. This means that we reproduce themotion of the pianist in the way we perceive the sound through hearing. This is what we call the haptic sensationor function of sound. But since the way piano is played is different from the way violin is, this also mean that thehaptic sensation is also related to each instrument category.In order to identify the haptic function more easily, we have chosen specific instruments. Those include not onlyinstruments used for concert, but also sound devices and performances that can result from the motion of the bodyor part of the body in surrounding space.From the composer, in order to transcript the haptic sensation, the musician gesture must be described on thescore (or equivalent). Articulation and phrasing of the music components are important indications that describethe movements and the "intention" of the musician. In the case of new and experimental instruments, theseparameters have to be developed and defined, particularly when using modern technologies such as computerbased musical instruments. In conclusion, it is necessary to write and to produce new sounds in the particulardomain of the hear perception.ImplicationComprehensive knowledge of the haptic functions of instruments is a difficult task that is in perpetual evolutionand which is not only limited to the use of sensors to capture the gestures. Virtual reality and immersiveenvironment are gesture interaction technologies which are under strong development in experimental music.Indeed, it is common to consider that a keyboard can be equipped with a force feedback that could changedepending on the selected articulations (louré, legato, staccato, pizzicato, etc) and to the compositor and playerneeds according to the specific instruments (sul ponticello, etc). In conclusion, the paper shows that futuredevelopments should lead to the design of new instruments that could include both multisensorial dimension, i.e.essentially the haptic function, and the interaction and evolution in real or virtual environments.ETAT DE L’ART EN HISTOIRE DE LA MUSIQUE ET ORGANOLOGIELa fabrication des instruments expérimentaux a pris un nouvel essor au début du XXe siècle sousl’influence des courants avant-gardistes qui se sont développés dans les arts. L’intérêt de certainscompositeurs pour les micro-intervalles (I. Wyschnegradsky, J. Carilllo, A. Haba) et l’intonation juste (H.Partch, Lou Harrison) a conduit à l’élaboration d’instruments adaptés à ces nouveaux paramètres(Jedrzejewski, 2004).La sculpture et les environnements sonores, la recherche de sons insolites et sans cesse renouvelée(Hopkins, 1999 ; Nicollet, 2004), le développement de technologies nouvelles (hyper-instruments de TodMachover, Méta-instruments de Serge de Laubier, Logiciels du type Modalys, etc.) ont multiplié lespossibilités offertes au musicien.76 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>ETAT DE L’ART EN ESTHÉTIQUEOn sait l’importance du geste dans les études et la pratique musicale. Mais on connaît moins le rôle del’haptique dans la perception sonore. Dans l’ouvrage qu’il consacre à la peinture de Francis Bacon, GillesDeleuze (Deleuze, 1989) a mis en évidence le sens haptique de l’œil. La modulation par touches distinctes ensuivant l’ordre du spectre est pour Deleuze l’invention de Cézanne pour atteindre au sens haptique de lacouleur. Nous transposons cette idée de la peinture au musical en postulant qu’il existe un sens haptique desmondes sonores.OBJECTIFSLe but principal de l’article est de montrer à travers une collection d’instruments singuliers que lafonction haptique a évolué avec les technologies depuis le début du XX e siècle. En outre, de nombreuxindices tendent à prouver qu’il existe un sens haptique de l’oreille comme il existe un sens haptique de l’œil,responsable de la perception du grain sonore.CONTRIBUTION PRINCIPALESi nous percevons la différence sensible qui existe entre des interprétations de Michelangeli, de Brendelou de Pollini, c’est que nous comprenons que, dans le toucher du piano par ces musiciens, les gestes de lamain et du bras sont différents. Dans cette compréhension, nous avons le sentiment de remettre les sons enaction, ce qui revient à dire que nous reproduisons le toucher des pianistes dans notre perception des sonspar l’oreille. C’est ce que nous appelons le sens ou la fonction haptique du sonore. Mais comme le toucherd’un piano n’est pas celui d’un violon, nous comprenons aussi que le sens haptique est fonction descatégories d’instruments. Nous avons choisi des instruments rares, plus propices à mettre en évidence lesfonctions que nous cherchons. Ce corpus ne se limite pas aux instruments du concert, mais inclut à la foisles installations sonores et les performances qui mettent en jeu les corps, les lieux et les possibilités del’interaction gestuelle. D’un point de vue compositionnel, le sens haptique pose la question de latranscription du geste instrumental au niveau de la partition ou de ce qui en fait office. Les modes de jeu etle phrasé sont les indications les plus proches du geste de l’instrumentiste. Mais que deviennent cesindications dans le cadre d’instruments expérimentaux ? Et que signifient-elles lorsque l’instrument utiliseles technologies les plus récentes et intègre une certaine intelligence logicielle ? En somme, il s’agit d’écrireet de produire des sons nouveaux dans cette dimension particulière qui est de les toucher de l’oreille.RETOMBÉESMieux comprendre la fonction haptique des instruments est une tâche importante qui a évolué au coursdes années et qui ne se limitent pas aux simples capteurs de gestes. La réalité virtuelle et lesenvironnements immersifs sont parmi les technologies de l’interaction gestuelle des domaines deprédilection pour l’expérimentation musicale.Actuellement, on conçoit facilement qu’un clavier puisse être muni d’un système de retour d’effort quiréagirait aux modes de jeu sélectionnés (louré, légato, staccato, pizzicati, etc.) et aux demandes ducompositeur ou des interprètes selon les spécificités de l’instrument (sul ponticello, etc.), mais peut-onconcevoir de nouveaux instruments où se mêlent le multisensoriel (en l’occurrence ici essentiellementl’haptique), l’interactif et la navigation dans des environnements réels ou virtuels ?RÉFÉRENCESBerdahl, E., Niemeyer, G. Smith III, J.O., "Using Haptics to Assist Performers in Making Gestures to a MusicalInstrument", Ninth International <strong>Conference</strong>s on New Interfaces for Musical Expression, Pittsburgh, June 4-6,2009.Berthaut, F., Desainte-Catherine, M., Hachet, M., "Widgets réactifs 3D pour l'interaction musicale", Journéesd'informatique musicale, Albi, 27-29 mars 2008.Cahen, R., "Sound Design for Navigation in Topophonies", Proceedings of the 14th International <strong>Conference</strong> onAuditiory Display, Paris, 2008.Couturier, J.-M., Utilisation avancée d'interfaces graphiques dans le contrôle gestuel de processus sonores. Thèsede doctorat, Université Aix Marseille, 2004.Deleuze, G., Mille Plateaux, Minuit, Paris, 1980.Deleuze, G., Francis Bacon, Logique de la sensation, Seuil, Paris, 1989.Jedrzejewski, F., Dictionnaire des musiques microtonales. L'Harmattan, Paris, 2004.Lozada, J., Boutillon, X., Hafez, M. "Modélisations mécaniques de la touché de piano et de son imitationhaptique", 18ème Congrès Français de Mécanique, Grenoble, 27-31 août 2007.Nicollet, G., Les chercheurs de sons. Editions Alternatives, Paris, 2004.Noudelmann, F., Le toucher des philosophes. Gallimard, Paris, 2008.Pierce A., Deepening Musical Performance through Movement: The Theory and Practice of EmbodiedInterpretation, Indiana University Press, 2007.<strong>CIM09</strong> 77

<strong>CIM09</strong> 26-29 octobre 2009Rodet, X., Gosselin, F., Mobuchon, P., Lambert, J.-P., Cahen, R., Gaudy, T., Guedy, F. "Study of haptic and visualinteraction for sound and music control", Proceedings of the 2005 International <strong>Conference</strong> on NewInterfaces for Musical Expression (NIME05), Vancouver, Canada.BIOGRAPHIESFrançois FoulonProfession - Formation Enseignant-chercheur en Physique au CEADomaine de recherche Micro-électronique et instrumentationFormation Doctorat de Physique, Paris 7, 1989.Publications Laser projection patterned processing of semiconductorsFoulon-F; Green-M; Lawes-RA; Baker-J; Goodall-FN; Arthur-GApplied-Surface-Science. Jan. 1992; 54: 291-7Gallium arsenide fast photodetectors: Selection criteria and predicted responseFoulon-F; Bergonzo-P; Brullot-B; Rubbelynck-C; Flicstein-J; Petit-PJournal-of-Applied-Physics. 15 Sept. 2000; 88(6): 3634-44.An insight into neutron detection from polycrystalline CVD diamond filmsMer-C; Pomorski-M; Bergonzo-P; Tromson-D; Rebisz-M; Domenech-T;Vuillemin-JC; Foulon-F; Nesladek-M; Williams-OA; Jackman-RBDiamond-and-Related-Materials. April-Aug. 2004; 13(4-8): 791-5Contact Francois.Foulon@cea.frFranck JedrzejewskiProfession - Formation Enseignant-chercheur en physique mathématique au CEAMusicologueDomaine de recherche Mathématiques musicales, Histoire des avant-gardes russes (XXe siècle)Formation Doctorat de musique et musicologie – Paris I – 2000Habilitation à diriger les recherches – Strasbourg – 2006Doctorat de philosophie - Paris 7 - 2007Livres publiés Histoire universelle de la mesure, Ellipses, 2002Mathématiques des systèmes acoustiques, Tempéraments et modèles contemporains, L’Harmattan, 2002Dictionnaire des musiques microtonales, L’Harmattan, 2004Introduction aux méthodes numériques, Springer, 2001 (2 nd ed. 2006)Mathematical Theory of Music, IRCAM/Delatour, 2006Modèles aléatoires et physique probabiliste, Springer, 2009 (à paraître).Editeurs Editeur du Journal of Mathematics and MusicContact Franck.Jedrzejewski@cea.fr78 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Acoustical correlates of violin timbre descriptorsClaudia Fritz 1 , Ian Cross 2 , Alan F. Blackwell 3 , Brian C.J. Moore 4 , EugeneFeygelson 2 , Jim Woodhouse 51- Équipe LAM, Institut Jean le Rond d’Alembert – UPMC/CNRS/MCC (France)2- Music Faculty, University of Cambridge, (UK)3- Computing laboratory, University of Cambridge, (UK)4- Department of Experimental Psychology, University of Cambridge, (UK)5- Department of Engineering, University of Cambridge, (UK)BACKGROUND IN VIOLIN PERFORMANCE AND CONSTRUCTIONPerformers often discuss the sound quality of a violin or the sound obtained by particular playingtechniques, calling upon a diverse vocabulary. But how do those words relate to each other? How consistentare they between players? How reliably can they be used by teachers, or performers explaining to violinmakers what they want?BACKGROUND IN INSTRUMENTAL ACOUSTICS AND PSYCHOACOUSTICSThe terms that players use can be assumed, in principle, to relate to perceived acoustical features of violinspectra. A method for identifying critical aspects of these features involving “virtual violins" has beendeveloped and applied by the authors in a number of previous publications (e.g., Fritz et al, 2007). Thisinvolves recording the forces applied to a violin bridge while the violin is being played normally, usingpiezoelectric sensors, and filtering these recordings using the measured response of a chosen violin; aspectsof this response are then modified to provide a range of "virtual violins". The method is adapted here toaddress the questions outlined above, and to explore aspects of the results reported by Dünnwald (1991) inhis measurements of over 700 instruments.AIMSThe study explores the English terms used by violinists to characterise the range of violin timbres, andanalyses the relationship in perception of a subset of the most distinctive verbal descriptors to specificacoustical features of computer-generated (“virtual”) violin sounds modelled on real violins.MAIN CONTRIBUTION11 experienced violinists (English native speakers) supplied 5 to 10 words they would use to describeviolin timbre generally. Terms from descriptions of violins in The Strad magazine occurring between 1996and 2007 were also collected. Overall, 61 common descriptors were found (>3 occurrences each).12 other experienced violinists were then asked to arrange these terms on a two-dimensional grid, withwords with similar meanings lying close together and words with different meanings lying far apart.Participants made four arrangements, each relating to a different situation where timbre might bedescribed: overall sound quality; sound quality of the lower violin strings; sound quality of the higherstrings; and ease of playing. These data were then analysed with multidimensional scaling techniques. Theresults of multidimensional scaling demonstrate consistent use among violinists of a previously informalvocabulary. Scaled descriptor maps demonstrate different dimensions used by violinists when describingtimbre. They also highlight which terms are used for similar purposes.Four terms that were either found to be highly differentiable under MDS, or were stated to be importantby Dünnwald (1991), were employed in a listening experiment. The terms used were bright, clear, harsh andnasal. A two-note sequence edited from a real performance was used as the driving signal for "virtualviolins". Use of the two-note sequence was motivated by the results of a preliminary study empoying thetwo-note sequence as well as the longer phrase from which it was derived; this study showed that listeners'judgments were likely to be relatable to features of the violin sound when the two-note sequence was used,whereas their judgments were oriented towards musical aspects of the stimulus such as the melodic shapewhen the phrase was employed.A further group of 14 experienced violinists was used in this listening experiment. The spectrum of areference virtual violin was filtered into five contiguous frequency bands (five octave-wide bands startingfrom 190 Hz) and the level in each band was randomly and independently varied over a 10-dB range. Eachsubject listened to pairs of sounds and selected the sound which corresponded best to a given term, e.g.,they had to pick which of the two sounds was more bright. Results yielded a high degree of consistencybetween subjects for the terms harsh, clear and bright; all these terms were associated with an increase ofenergy in the frequency range 1.6 kHz to 3.2 kHz (Band 4). Findings for the term nasal initially appeared80 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>less consistent; however, subjects could be divided into two groups, each showing high consistency. Anincrease in Band 4 increased nasality for one group while decreasing it for the other.It should be noted that these findings are in conflict with the suggestions of Dünnwald (1991); hepostulated that clarity should be increased by decreasing energy in the frequency range 4200-6400 Hz,while nasality should be reduced by decreasing energy in the frequency range 650-1300 Hz.IMPLICATIONSThese terms and their relations will be useful for violin makers and luthiers, and specialists in setting upand adjusting instruments during discussions with performers. The terms provide tools for acousticalresearch into the perceived quality of instrumental sound. Both the identification of word consistencybetween players and establishment of correlations between descriptor terms and particular acoustic featuresof violin sounds can contribute to development of pedagogical methods, as well as ways of annotating musicscores for composers and arrangers.REFERENCESDünnwald, H. (1991). Deduction of objective quality parameters on old and new violins. Journal of the CatgutAcoustical Society Series 2, 1(7), 1-5.Fritz, C., Cross, I., Moore, B. C. J., & Woodhouse, J. (2007). Perceptual thresholds for detecting modificationsapplied to the acoustical properties of a violin. Journal of the Acoustical Society of America, 122(6), 1340-1350.BIOGRAPHIESClaudia FritzCurrent position CNRS Researcher, LAM, UPMC Univ. Paris 6Main field of research Musical acousticsMain research areas Violin acoustics and perceptionInteraction between the musician and his instrumentRelevant qualifications Ph.D. in acoustics,UPMC Univ. Paris 6, France & University of New South Wales, Australia, 2004Contact fritz@lam.jussieu.frIan CrossCurrent position Director, Centre for Music & Science, University of CambridgeMain field of research Music cognitionMain research areas Music & evolutionary theory; musical pitch organisation; cross-cultural music cognitionRelevant qualifications Ph.D. in music (City University, London, 1989)Licentiateship in guitar performance (Royal Academy of Music, 1976)Book publications co-editor, Oxford Handbook of Music Psychology (2008, Oxford University Press)Advisory boards Music Perception, Psychology of Music, The SoundtrackContact ic108@cam.ac.uk<strong>CIM09</strong> 81

<strong>CIM09</strong> 26-29 octobre 2009L’impact des archets de violons sur la qualité sonorerésultante en situation de jeu musicalPascal Gaillard, Nathalie Spanghero-Gaillard, Marie-Pierre BertonUniversité de Toulouse ; UTM ; Octogone-Lordat (France)Impact of the violins bows on the resultant sound quality in situation of musical playMusical factory contextThe sound of the violin defines itself as the result of the interaction between the violinist and the violin, via thebow. This last one represents an essential link for the final quality of the sound. Actually, the bowmakers conceivefor five centuries the bows which the workmanship changed to meet the needs musicians, auditors, andinstruments. However, the violins maker often have many difficulties answering the difficult question of theadequacy between their violins, the musicians, and the available bows. In particular, it is difficult to estimate thequalitative impact of the bow on the final sound of the violin (by putting aside the comfort of the musician).Psychoacoustic contextIt is not easy "to measure" the sound quality of bows (while its mechanical characteristics were studied innumerous publications). In particular in the case of the violin, it is even more difficult to attribute to the bow vs tothe violin (and to the violinist) the definitive quality of the resultant sound. The notion of sound quality, in itspsychoacoustic and cognitive point of view advances the interaction, not only of the musician and its instrument(bow and violin), but also that of the listener with this already complex architecture. The recent problem of theprototypic categorization and the adjacent methodologies (with statistical and linguistic analyses) can help us tosee more clear in these interactions there.AimsThe objective is to show the impact of various bows of violins (Millant, Pecatte, Morizot, and two carbons) on thefinal sound in a musical situation. Indeed, grounds that the result of a sound of violin is the interaction of threeinseparable elements in the production of this sound (the violin, the bow and the musician) we considered thisstudy not only by means of a violinist (by excluding the appeal to a some machinery), but also in a musical context.The objective of the various originals musical extracts created being to use a big part of the technical possibilitiesof the bow.Main contributionThe categorization studies were used at first for simple visual objects, then attempted to study visual phenomenamore complex as scenes (Tversky and Hemenway, 1983), road environments (Dubois, Resche-Rigon, and Tenin,1997), as well as the other sensory domains: smells (Rouby and al ., on 2002), but also a large variety of acousticphenomena: environmental sounds (Guyot, 1996; Maffiolo, 1999; Guastavino, 2007), speech (Magnen, Billières,and Gaillard, 2005), musical sounds (Gaillard, 2000; Gaillard, Castellengo, and Dubois, 2007; Morange, Fountain,and Dubois, 2007, 2009) or voice (Morange, Fountain, Vogel, and Dubois, 2005).In our study, the statistical and linguistic results show that the non-musicians have difficulty in envisaging thequality of the bow apart from the musical contents (in fact, they categorize melodies). They adopt a holisticperception of the proposed extracts. On the other hand, The musicians do not realize clear classes. They build adifferent perception: parametric and discriminated but not consensual.ImplicationThe interaction between the violins maker and the high-level instrumentalists is often made complicated by thedifficulty to express and to define verbally their musical expectations. Our study wishes to begin a reflection onthis point and to help violins maker and musicians to exchange with efficiency by considering the thirdinterlocutor: the public.In our case, it seems that the discussion about the quality of bows and their impact on the quality of the sound ofthe violin cannot be held without considering the totality of the musical event which is there originally. In thefuture, it would be a question of estimating the possibility of establishing complete profiles of interactions betweenmusicians, violins and bows, in a musical realizations perspective.CONTEXTE EN FACTURE INSTRUMENTALELe son du violon se définit comme le résultat de l’interaction entre le violoniste et le violon, via l’archet.Ce dernier représente bien un maillon essentiel pour la qualité finale du son. De fait, les archetiersconçoivent depuis cinq siècles des archets dont la facture a changé afin de répondre aux besoins desmusiciens, des auditeurs, et des instruments. Autant les formes que les matières employées pour lesfabriquer ont subi de profonds changements.Cependant, les facteurs de violons ont souvent beaucoup de difficultés à répondre à la difficile question del’adéquation entre leurs violons, les musiciens, et les archets disponibles. En particulier, il est difficiled’évaluer l’impact qualitatif de l’archet sur le son final du violon (en mettant de côté le confort du musicien).82 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>CONTEXTE EN PSYCHOACOUSTIQUEIl est ainsi peu aisé de « mesurer » la qualité sonore des archets (alors que ses caractéristiques mécaniquesont été étudiées dans de nombreuses publications). Il n’est d’ailleurs pas forcément souhaitable de vouloirtrouver le ou les paramètres acoustiques (mesurables) susceptibles de représenter « à coup sûr » un son debonne qualité. En particulier dans le cas du violon, il est encore plus difficile d’attribuer à l’archet vs auviolon (et au violoniste) la qualité définitive du son résultant. La notion de qualité sonore, dans sa visionpsychoacoustique et cognitive met en avant l’interaction, non seulement du musicien et de son instrument(archet plus violon), mais aussi celle de l’auditeur avec cette architecture déjà complexe. La problématiquerécente de la catégorisation prototypique et des méthodologies attenantes (avec des analyses statistiques etlinguistiques) peut nous aider à y voir pus clair dans ces interactions.OBJECTIFSL’objectif est de montrer l’impact de différents archets de violons (Millant, Pecatte, Morizot, et deuxcarbones) sur le son final dans une situation musicale. En effet, considérant que le résultat d’un son deviolon est l’interaction de trois éléments indissociables dans la production de ce son (le violon, l’archet et lemusicien) nous avons considéré cette étude non seulement avec l’aide d’un violoniste (en excluant le recoursà une quelconque machinerie), mais aussi dans un contexte musical. L’objectif des différents extraitsmusicaux créés pour l’occasion étant d’utiliser une grande partie des possibilités techniques du violonmettant particulièrement en jeu l’archet.CONTRIBUTIONS PRINCIPALESLes études de catégorisation ont d’abord été utilisées pour de simples objets visuels, puis se sont attachéesà étudier des phénomènes visuels plus complexes comme des scènes (Tversky & Hemenway, 1983), desenvironnements routiers (Dubois, Resche-Rigon, & Tenin, 1997), ainsi que d’autres domaines sensoriels :des odeurs (Rouby et al., 2002), mais aussi une grande diversité de phénomènes acoustiques : les sonsenvironnementaux (Guyot, 1996 ; Maffiolo, 1999 ; Guastavino, 2007), la parole (Magnen, Billières, &Gaillard, 2005), les sons musicaux (Gaillard, 2000 ; Gaillard, Castellengo, & Dubois, 2007 ; Morange,Fontaine, & Dubois, 2007, 2009) ou encore la voix (Morange, Fontaine, Vogel, & Dubois, 2005). Dans notreétude, les résultats statistiques et linguistiques montrent que les non-musiciens ont du mal à envisager laqualité de l’archet en dehors du contenu musical (en fait, ils catégorisent les mélodies). Ils adoptent uneperception holistique des extraits proposés. En revanche, les musiciens sont beaucoup plus partagés en neréalisant pas de classes claires. Ils construisent une perception différente : paramétrique et discriminantemais non consensuelle.IMPLICATIONSL’interaction entre les facteurs de violons et les instrumentistes de haut niveau est souvent renduecompliquée justement par la difficulté des uns et des autres à exprimer et à définir verbalement leursattentes musicales. Notre étude souhaite débuter une réflexion sur ce point et aider les facteurs et lesmusiciens à échanger avec efficacité en considérant le troisième interlocuteur : le public. Dans notre cas, ilsemble que la discussion sur la qualité des archets et leur impact sur la qualité du son du violon ne peut passe tenir sans considérer la totalité de l'événement musical qui en est à l’origine. A terme, il s’agiraitd’évaluer la possibilité d’établir des profils complets d’interactions entre musiciens, violons et archets, dansune perspective de réalisations musicales.RÉFÉRENCESCarlsson, P., & Tinnsten, M. (2003). Numerical optimization of violin bows with varying densities of the woodmaterial. Paper presented at the Stockholm Music Acoustics <strong>Conference</strong> 2003, Stockholm.Dauchez, N., Génevaux, J.-M., & Brémaud, I. (2006, 24-27 avril 2006). Qualité des archets de violons et instabilitéde type flambement. 8e Congrès Français d'Acoustique, Tours.Dubois, D., Resche-Rigon, P., & Tenin, A., 1997, Des couleurs et des formes : catégories perceptives ouconstruction cognitives. In D. Dubois (Ed.), Catégories et cognition, Paris, Kimé, 7-40.Gaillard, P., 2000, Etude de la perception des transitoires d'attaque des sons de steeldrums : particularitésacoustiques, transformation par synthèse et catégorisation. Musique, Acoustique Musicale et Perception,Université de Toulouse II - Le Mirail, Toulouse.Gaillard, P., Castellengo, M., & Dubois, D., 2007, Variabilité temporelle dans la perception des transitoiresd’attaque de sons percussifs. Cahiers de la SQRM (Société québécoise de recherche en musique), 9(1-2),39-48.Guastavino, C., 2007, Categorization of environmental sounds. Canadian Journal of Experimental Psychology,61(1), 54-63.Guyot, F., 1996, Etude de la perception sonore en termes de reconnaissance et d'appréciation qualitative : uneapproche par la catégorisation. Psychoacoustique, Université du Maine, Paris.<strong>CIM09</strong> 83

<strong>CIM09</strong> 26-29 octobre 2009Holm, J.-M. (2004). Virtual Violin in the Digital Domain. Physical Modeling and Model-based Sound Synthesis ofViolin and its Interactive Application in Virtual Environment. JYVÄSKYLÄ.Maffiolo, V., 1999, Caractérisation sémantique et acoustique de la qualité sonore de l'environnement urbain.Acoustique, Université du Maine, Paris.Magnen, C., Billières, M., & Gaillard, P., 2005, Surdité phonologique et catégorisation. Perception des voyellesfrançaises par les hispanophones. Revue PArole(33), 9-34.Morange, S., Fontaine, J.-M., & Dubois, D. ,2007, 15-17 august 2007, Voices of Caruso : Cognitive evaluation andacoustic analysis of reedited editions. Paper presented at the Third <strong>Conference</strong> on InterdisciplinaryMusicology (CIM07), Tallinn, Estonia.Morange, S., Fontaine, J.-M., & Dubois, D., 2009, Perception of Recording Singing Voice Quality and Expertise :cognitive linguistics and acoustics approaches. Journal of Voice, Elsevier, the Voice Fondation & Intern.Ass. of Phonosurgery.Morange, S., Fontaine, J.-M., Vogel, C., & Dubois, D., 2005, 7 octobre 2005, Appartenances catégorielles d'unobjet complexe ; la voix : approches linguistique et psycho-cognitives. Paper presented at the 3e Journéedu Sensolier - Catégorisation et catégories : des théories cognitives aux pratiques en évaluationsensorielle, Ivry.Rouby, C., Schaal, B., Dubois, D., Gervais, R., & Holley, A., 2002, Olfaction, Taste and Cognition, Cambridge /New-York, Cambridge University Press.Tversky, B., & Hemenway, K., 1983, Categories of scenes. Cognitive Psychology, 15, 121-149.Wegst, U. G. K., & Ashby, M. F. (1996). Alternative woods for violin bows. Newsletter of the British Violin MakingAssociation, 5, 7-14.AUTEURSPascal Gaillardpascal.gaillard@univ-tlse2.frMusicien, Psychoacousticien ; Maître de conférencesUniversité de Toulouse ; UTM ; Octogone-Lordat5 allées Antonio Machado31058, Toulouse Cedex 1 — FranceNathalie Spanghero-Gaillardnathalie.spanghero@univ-tlse2.frLinguiste ; Maître de conférences — HDRUniversité de Toulouse ; UTM ; Octogone-Lordat5 allées Antonio Machado31058, Toulouse Cedex 1 — FranceMarie-Pierre Bertonbertonmariepierre@gmail.comViolonisteUniversité de Toulouse ; UTM ; Octogone-Lordat5 allées Antonio Machado31058, Toulouse Cedex 1 — FranceÉtude réalisée avec l’aide de MM. Pierre-Yves Dalle-Carbonare, Luthier à Toulouse et Klaus Mulhberger, CRR de Toulouse84 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Analyse du fonctionnement acoustique du Cristal BaschetFrançois GautierLaboratoire d’Acoustique de l’Université du Maine, UMR CNRS (France)Frédéric BousquetStructures Sonores (France)Jean-Loïc Le Carrouéquipe LAM, Institut Jean le Rond d'Alembert, UPMC Univ. Paris 06, CNRS (France)Eric Boyer, Benoît LemoineEcole Nationale supérieure d’Ingénieur du Mans (France)ACOUSTICS OF THE CRISTAL BASCHETInstrument making: state of the artIn 1952, brothers Bernard and Francois Baschet initiate the development of a new family of musical instruments:the sound structures [1] [2]. To make a sound, these instruments use a principle, which consists in vibrating aclampled metal rod [3]. The excitation of this rod is made either by percussion or by the friction on a glass rod, asthose used in the thirteenth century to create vibrations in the laboratory. The Cristal Baschet, using such a glassrod can cover up to five octaves and has now reached a maturity that makes it a key instrument in contemporarymusic. A clear understanding of its acoustic functioning is now necessary to control the main parameters, in termsof its making and its musical use.Acoustics of Cristal Baschet: state of the artThe Cristal Baschet is a musical instrument composed of four major subsystems: the glass rods (called glass bows),metal rods (the vibrating rods), a metallic support plate (the collector) and large thin panels (called sounddiffusers). These elements interact as follows: the friction of the wet fingers of the musician on the glass rods leadsto vibrations which are transmitted to the collector and then radiated through sound diffusers. No scientific studyexists on the way of working of the instrument, nor specifically on the mechanism of sound generation. The firstexperimental evidences show a behaviour similar to a violin-type movement also called stick-slip phenomenon [4].ObjectivesThe aim of the present research is to understand how the Cristal Baschet works by identifying the functions of thedifferent elements, which can help the evolution of the making of Cristal Baschet and can improve the scientificknowledge of the family “vergeophones”.Main contributionThe proposed approach to the study of the instrument is a functional approach. Among the elements identified ashaving an acoustic function, only the resonant system (the vibrating rod) and exciter system (the finger and theglass bow) are studied here. The modal behavior of the resonant system is analyzed in detail experimentally andnumerically. Among all modes of the system, only one is responsible for the selection of the note played, whichexplain why the Cristal Baschet sound is relatively pure.Regarding the phenomenon of excitation, the observation of the contact between the musician's finger and theglass rod using an ultra fast camera reveals that the vibration is produced by a Helmholtz motion of the glass rodunder the finger. This motion is based on a succession of phases of adhesion and relative slip between the fingerand the rod. A model of displacement type is established, showing the features of this movement and the controlparameters of the musician, necessary to establish the Helmholtz motion. Drawing on similar studies on the violinand cello, we suggest here an adaptation of Schelleng diagram [5] indicatingqualitatively how to achieve compromise between the force applied to the rod and finger’s speed, which are twofundamental control parameters for the musician. The size of the contact between the finger and the glass bow,and the contact conditions (presence of fat or acid on the skin, roughness, the use of multiple fingers) are a thirdcontrol parameter that the instrument. Although important, this parameter is not addressed in the study presentedhere. The proposed diagram permits to define values of the control parameters which correspond to a playabletune.BenefitsThe study helps to clarify some points of the functioning of the instrument. Ultimately, understanding the CristalBaschet can help to design other models of the instrument, which would be lighter and easier to transport andwhich would use new materials such as light alloys, titanium and synthetic crystal.FACTURE INSTRUMENTALE : ÉTAT DE L’ARTEn 1952, les frères Bernard et Francois Baschet initient le développement d'une nouvelle familled'instruments de musique : les structures sonores [1] [2]. Pour émettre un son, ces instruments utilisentun principe acoustique, qui consiste à mettre en vibration une verge métallique encastrée [3]. L'excitationde cette verge est effectuée soit par percussion, soit par friction d’une tige de verre, telle que celles quiétaient utilisées au XIIIe siècle pour créer des vibrations dans les laboratoires. Le cristal Baschet, qui utiliseune telle tige de verre peut couvrir jusqu'à cinq octaves et est maintenant arrivé à une grande maturité qui86 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>en fait un acteur incontournable de la musique contemporaine. Une compréhension approfondie dufonctionnement acoustique de cet instrument est aujourd'hui nécessaire pour en maîtriser les paramètresprincipaux, tant du point de vue de sa facture que de son utilisation musicale. A terme, la compréhension ducomportement acoustique du Cristal Baschet peut aider à la conception d'un modèle se déclinant sous uneforme d’instrument « de voyage » et peut permettre une meilleure adaptation de l’instrument à la sensibilitédu musicien.ACOUSTIQUE DU CRISTAL BASCHET : ÉTAT DE L’ARTLe cristal Baschet est un instrument de musique composé de quatre sous systèmes principaux : des tigesde verre (appelées archets de verre), des verges métalliques (les tiges vibrantes, tiges « support » etmasselottes), une plaque support métallique (le collecteur) et des panneaux de forme tronconique (lesdiffuseurs). Ces éléments interagissent de la manière suivante: à partir du frottement des doigts humides dumusicien sur les tiges de verre connectées aux tiges vibrantes encastrées sur le collecteur, les vibrationsgénérées sont rayonnées via les cônes diffuseurs. Aucune étude scientifique synthétique n'existe sur lefonctionnement acoustique de l'instrument ni en particulier sur le mécanisme de génération du son. Lespremières constatations expérimentales révèlent un fonctionnement similaire à celui du violon par unmouvement de type adhérence-glissement (« stick-slip » en anglais) [4] où la colophane joue le rôle de l'eauet le crin de cheval le doigt.OBJECTIFSL’objectif des travaux présentés est de comprendre le fonctionnement acoustique de l'instrument enidentifiant les fonctions des différents éléments, permettant ainsi à terme d'aider à l'évolution de la factureinstrumentale du Cristal Baschet et la connaissance scientifique de la famille des vergeophones.CONTRIBUTION PRINCIPALEL'approche proposée pour l'étude de l'instrument est une approche fonctionnelle. Parmi les élémentsidentifiés comme ayant une fonction acoustique, seuls le système résonant (sélectionnant la note jouée) et lesystème excitateur sont étudiés ici. Le comportement modal du système résonant est analysé en détail demanière expérimentale et numérique. Parmi tous les modes du système, un seul est responsable de lasélection de la note jouée permettant ainsi d'expliquer pourquoi le son du cristal Baschet est un sonrelativement pur en mode de jeu normal.Concernant le phénomène d'excitation, l'observation du contact entre le doigt du musicien et la tige deverre grâce à une caméra rapide révèle que la production d'une note est régie par un mouvement deHelmholtz de la tige de verre sous le doigt. Ce phénomène repose sur une succession de phases d'adhérenceet de glissement relatif entre le doigt et la tige. Un modèle de déplacement type est établi, montrant lescaractéristiques de ce mouvement. Les paramètres de contrôle du musicien, visant à établir le mouvementde Helmholtz, ont été dégagés. En s'inspirant des études similaires réalisées sur le violon et le violoncelle,on suggère ici une adaptation du diagramme de Schelleng [5] indiquant qualitativement le compromis àréaliser entre la force d'appui du doigt et sa vitesse sur la tige, deux des paramètres de contrôlefondamentaux pour le musicien. La taille de la surface du contact entre le doigt et l’archet de verre et ainsique les conditions de contact (présence de graisse ou d’acides sur la peau, rugosité, utilisation de plusieursdoigts) constituent un troisième paramètre de contrôle qu'utilise l’instrumentiste. Bien qu'important, ceparamètre n'est pas abordé dans l'étude présentée ici. Le diagramme proposé permet de définir des zones dejouabilité et de sonorité de l'instrument en fonction des paramètres de jeu du musicien.RETOMBÉESL'étude permet de préciser certains points du fonctionnement de l'instrument. A terme, cela permetd'appréhender la création d’un modèle acoustique permettant, d’anticiper l’effet de modifications, pouvantnotamment conduire à la conception d'un instrument de voyage utilisant d’autres matériaux que ceuxactuellement mis en œuvre (alliages légers, titane, cristal synthétique). De plus, ce modèle acoustiquepermet de prédire la fréquence de jeu d'un système à architecture modifiée (formes, dimensions, matériaux),ce qui constitue une aide pour l'accord de l'instrument et pour l’extension de la tessiture souhaitée par lescompositeurs et les musiciens.BIBLIOGRAPHIE[1] B. Baschet, Chercheur et sculpteur de sons, L’Harmattan (2007).[2] F. Baschet, Les sculptures sonores, Soundworld. United Kingdom (1999).[3] H. Bouasse, Verges et plaques, cloches et carillons, Librairie de Lagrave France (1927)[4] A. Akay, Acoustics of friction, J. Acoust. Soc. Am. 111(4), pp. 1525-1547 (2002).[5] JC. Schelleng, The bowed string and the player, J. Acoust. Soc. Am. 53(26), pp. 26-41(1973).<strong>CIM09</strong> 87

<strong>CIM09</strong> 26-29 octobre 2009BIOGRAPHIESFrancois GautierSituation professionnelle Professeur – Université du MaineRattaché au LAUM (Laboratoire d’Acoustique de l’Université du Maineet à l’ENSIM (Ecole Nationale Supérieure d’Ingénieurs du Mans)Formation /Qualifications Ingénieur en aéronautique, ENSAE, ToulouseDoctorat, HDR, Université du Maine, Le MansPrincipaux sujetsde recherche Acoustique musicale ; Vibro-acoustiqueContact Francois.Gautier@univ-lemans.frFrédéric BousquetSituation professionnelle Facteur d’instrument, musicien, formateurFormation /Qualifications Formateur Structures sonores et PédagogieMaîtrise de conception mécanique, Bordeaux ILicence en science de l’éducation, Bordeaux IPrix du Conservatoire RR, ToulousePrincipaux sujetsde recherche Acoustique musicale – principe des verges encastréesMusicologie – Histoire de la facture instrumentale BaschetSciences cognitives – Pédagogie des sons complexesContact frederic@bousquet.as88 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Contribution à l'analyse du rôle acoustique et vibratoire ducordier de violoncelleFrançois GautierLaboratoire d’Acoustique de l’Université du Maine, UMR CNRS (France)Eric FouilheBois d’Harmonie (France)Walid Wasmine, Victor Becard, Yann MolleEcole Nationale Supérieure d’Ingénieurs du Mans (France)CONTRIBUTION TO THE VIBRATORY ANALYSIS OF CELLO TAILPIECEThe tailpiece: state of the artMany luthiers, musicians and acousticians have attempted an explanation of the sound capabilities of stringedinstruments and looked for the origins of the so-called "magic" of the violin or the cello. One of the main interesthas concerned the soundboard of the instruments, placing accessories (strings, bow, spear ..) to the rank of minorcontributors. The evolution of the latter has been little studied. In particular, the role of the tailpiece, whichgroups the strings together to allow their attachment to instrument’s body needs today to be clarified. It seemsunlikely that the tailpiece has been transformed over time without reason.Acoustic characterization of stringed instruments: state of the artThe nut and bridge are the two ends where strings are fixed. Their primary function is to impose boundaryconditions to the strings to make them playable. The vibrations of the strings are transmitted to the soundboardvia the bridge. The vibrations of the soundboard then produce the sound radiated. Behind the bridge, the tailpieceis the part, usually made of wood, which groups the four strings to fix them at one point, at the extremity of theinstrument. In this description, the strings and consequently the soundboard vibrations depend on the movementof the tailpiece which is neither static nor rigid. The tailpiece is a connection element between the vibrating stringand the body of the instrument, which has been little studied so far [1] [2].AimIn playing conditions, the tailpiece of the cello is vibrating. What is the influence of these vibrations on theproduced sound? How does the tailpiece motion affect the produced sound? These questions are open. The aim ofthis paper is to propose some answers through a sound and vibration analysis of a cello.Main contributionThe experimental modal analysis of the tailpiece of the cello allow us to identify the first 3 modes, denoted T1, F1,T2, whose modal damping coefficients are between 1 and 3%.These modes are torsional (T) or bending modes (F). When the playing frequency matches with one of theeigenfrequencies of the tailpiece, the interaction between the string and the tailpiece is important. This assumptionis confirmed by the analysis of recordings of a cello, played by a professional musician performing glissandosaround the tailpiece frequency previously determined. It is shown that there is a systematic change in theinstrument’ s timbre when the coincidence occurs. This change is not well judged by the musician or theinstrument’s maker. This coincidence has to be avoided.Can we predict a priori the existence of this coincidence in order to avoid it ? The modal analysis of an isolatedtailpiece shows that the modes are very different from the ones which are measured when the tailpiece is mountedon the instrument. Preload due to the strings has a major effect on the frequencies of the tailpiece, making themdifficult to determine a priori using a simple test performed on the isolated tailpiece. Moreover, computation of thethrough a sound and vibration analysis of a cello modes of the tailpiece using the finite element method shows thegreat influence of the characteristics of wood (and in particular its anisotropy) on the frequencies of the tailpiece.The difficulty to know precisely mechanical characteristics (Young’ modules and Poisson’s ratio of the wood)prevents to predict a priori eigenfrequencies of the tailpiece and therefore the existence of a coincidence.BenefitsThe performed analysis has clarified the role of the tailpiece showing that a coincidence between one of itseigenfrequencies and the playing frequency leads to a sound that the instrument’s maker wants to avoid. For atailpiece, with given geometry or material, if the coincidence occurs, a corrective action can possibly be consideredto avoid this effect: the tailpiece may be modified by adding or removing mass for example to avoid coincidence.The luthier plays then his role by modifying the instrument to improve it.LE CORDIER : ÉTAT DE L’ARTBien des luthiers, musiciens et acousticiens, ont tenté une explication des capacités sonores desinstruments du quatuor, avec les moyens dont ils disposaient selon les époques. Qu’il s’agisse del’établissement de ses proportions par la géométrie euclidienne, d’évaluations lors de concours de sonorité,ou plus récemment d’études acoustiques et mécaniques, chacun a voulu trouver les origines de ce qu’onappelle la « magie » du violon ou du violoncelle. Cet intérêt historique a essentiellement tourné autour de lacaisse de résonance de l’instrument, reléguant les accessoires (cordes, archet, pique..) au rang de90 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>contributeur mineur. L’évolution de ces derniers a donc été peu étudiée. En particulier, le rôle du cordier,accessoire réunissant les cordes pour permettre leur fixation au coffre demande aujourd’hui à être précisé.Il parait peu vraisemblable que le cordier ait pu se transformer au cours du temps sans raisons.CARACTÉRISATION ACOUSTIQUE DES INSTRUMENTS À CORDES : ÉTAT DE L’ARTLe sillet et le chevalet sont les deux extrémités où sont fixées les cordes. Leur fonction première estd’imposer des conditions aux limites à la corde pour la rendre jouable. Les vibrations de cette corde sonttransmises à la table d’harmonie via le chevalet. Les vibrations de cette table produisent alors le sonrayonné. Derrière le chevalet, le cordier est la pièce, généralement en bois, qui rassemble l’accrochage desquatre cordes en un point fixe au bout de l’instrument. Dans ce descriptif du fonctionnement del’instrument, les cordes et par voie de conséquence la table dépendent des mouvements du cordier qui n’estpas immobile ni indéformable. La mobilité du cordier autorise une voie de transfert vibratoire entre la cordeet le corps de l’instrument, peu étudiée jusqu’à présent [1], [2].OBJECTIFSi en situation de jeu, le cordier du violoncelle est animé d’un mouvement vibratoire, quelle estl’importance de ce mouvement sur le son produit ? Comment le cordier, par sa dynamique propreintervient-il sur le son ? Ces questions sont ouvertes. L’objectif de cet article est de proposer des élémentsde réponse au moyen d’une analyse acoustique et vibratoire d’un violoncelle.CONTRIBUTION PRINCIPALEL’analyse modale expérimentale du cordier d’un violoncelle permet d’identifier ses 3 premiers modes,notés T1, F1, T2, présentant des coefficients d’amortissement modaux compris entre 1 et 3%. Ces modessont des modes de torsion (T) ou des modes de flexion (F). Lorsque la fréquence de jeu coïncide avec l’unedes fréquences propres du cordier, l’interaction entre corde et cordier est conséquente. Cette hypothèse estvalidée par l’analyse des enregistrements d’un violoncelle, joué par un musicien professionnel effectuant desglissandi autour de la fréquence du cordier préalablement déterminée.On observe systématiquement une modification du timbre de l’instrument lorsque la coïncidence a lieu.Cette modification n’est pas évaluée positivement par le musicien ni par le facteur qui identifie alors un sonétouffé ou creux. Cette situation de coïncidence est donc à éviter.Peut-on prévoir a priori l’existence de cette coïncidence de façon à l’éviter ? L’analyse modale d’un cordierisolé montre que les modes mesurés dans cette configuration sont très différents des modes mesuréslorsqu’il est monté sur l’instrument.La précontrainte exercée par les cordes joue un effet majeur sur les fréquences propres du cordier,rendant ainsi difficile leur détermination a priori à l’aide d’un test simple effectué sur le cordier isolé.D’autre part, un calcul des modes du cordier par la méthode des éléments finis montre la grande influencedes caractéristiques du bois utilisé (et en particulier son anisotropie) sur les fréquences propres du cordier.La difficulté d’accéder avec précision aux modules mécaniques rend difficile la prédiction a priori desfréquences du cordier et donc l’existence d’une coïncidence.RETOMBÉESL’analyse a permis de préciser le rôle du cordier en montrant qu’une coïncidence entre sa fréquencepropre et la fréquence de jeu donne lieu à un son que le luthier cherche à éviter. Pour un cordier degéométrie ou de matériau donné, si cette coïncidence existe, une action corrective peut éventuellement êtreenvisagée pour éviter son effet : le cordier peut être modifié (par ajout ou enlèvement de masse par exemple)de façon à éviter cette coïncidence. Le luthier joue alors pleinement son rôle en réglant l’instrument pour enaméliorer le fonctionnement.BIBLIOGRAPHIE[1] C. Hutchins, The effect of relating the tailpiece frequency to that of other violin modes,Catgut Acoustical Society Journal, Vol.2, N°3 (Series II), 5-8, 1993.[2] S. Stough, The lower violin tailpiece resonances, Catgut Acoustical Society Journal, Vol3, N°1 (Serie II), 17-25,1996<strong>CIM09</strong> 91

<strong>CIM09</strong> 26-29 octobre 2009BIOGRAPHIESEric FouilhéSituation professionnelle Luthier, Facteur d’Accessoires du Quatuor,Principaux sujetsde recherche Quelle contribution de la chaine du cordier à la sonorité ?Formation/Qualifications Meilleur ouvrier de FrancePrix de l’innovation National ArtinovEntreprise du Patrimoine vivantDoctorant LMGC à MontpellierPublications Conférences & publications professionnellesContact fouilhe@lmgc.univ-montp2.frFrancois GautierSituation professionnelle Professeur – Université du MaineRattaché au LAUM (Laboratoire d’Acoustique de l’Université du Maineet à l’ENSIM (Ecole Nationale Supérieure d’Ingénieurs du Mans)Formation/Qualifications Ingénieur en aéronautique, ENSAE, ToulouseDoctorat, HDR, Université du Maine, Le MansPrincipaux sujetsde recherche Acoustique musicale – Vibro-acoustiqueContact Francois.Gautier@univ-lemans.fr92 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Instrumental choreography in David Gorton’s Capricciofor solo celloDavid GortonRoyal Academy of Music (UK)Simon Shaw-MillerSchool of History of Art, Film, and Visual Media, Birkbeck College, University of London (UK)Neil HeydeRoyal Academy of Music (UK)BACKGROUND IN MUSICAL COMPOSITIONMalleability of musical time in live performance, the extension of instrumental techniques and tuningsystems, and the use virtuosity and extreme gestures.BACKGROUND IN ART HISTORY AND THEORYRelationships between music and art history and theory in the modern period, issues of interdisciplinarityin audio and visual culture and the concept of synaesthesia.BACKGROUND IN MUSICAL PERFORMANCEThe performance of twentieth-century and contemporary music for solo cello, cello and electronics, andstring quartet.AIMSTo demonstrate that the specific properties of the cello are central to the compositional process of DavidGorton’s Capriccio, and that a full understanding of the work may only be achieved though theinterdisciplinary perspective of the visual, spatial, and physical aspects of performance.MAIN CONTRIBUTIONThis paper discusses the implications of a musical instrument’s inherent configuration in the composition,performance, and perception of a new work. David Gorton’s Capriccio for solo cello will be presented as acase study; a short work written in 2009 specifically to address the research questions of this paper.A virtuosic work that requires a high level of agility in performance, the Capriccio takes as itscompositional starting point the contradiction between the physically restrictive and compositionallygenerative nature of instrumental configuration. For a solo cello this may refer to the positioning of thenatural harmonics, the physical distance between pitches, the physical production of the different tonequalities across the instrument, the drawing of the bow and management of the bow’s binary division, thepractical tessitura, and the variety of possibilities in producing a single pitch.When considering the relationship between instrument, composition, and performance from theinterdisciplinary perspective of the visual, spatial, and physical, it is possible to define an ‘instrumentalchoreography’ to which may be attributed ‘extra-musical’ content beyond the sonoric. The paper challengesthe concept of the extra-musical (marginal or peripheral issues at the edge of musical meaning), arguing fora conception of music that is intrinsically physical/gestural; visual and textual as well as sonoric.This perspective is important not only in understanding the difference between ‘listening to’ and‘watching’ a performance of the Capriccio, but also in the full appreciation of the work’s inception and themeaning of performance. While film can record a performance, the variability of live enactment issignificant.IMPLICATIONSThrough an examination of the compositional process and its relationship to a specific instrument, a newappreciation of the visual, spatial, and physical aspects of musical performance may be developed, alongwith a new understanding of the gestural meaning there engendered.94 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCESGorton, David. 2nd Cello Sonata with optional electronics (Neil HeydeMilton Mermikides, 2007).Heyde, Neil. 'The collaboration process as research' with Fabrice Fitch. Twentieth Century Music (2007).Shaw-Miller, Simon. Visible Deeds of Music: Art and Music from Wagner to Cage. New Haven: Yale University Press,2002.BIOGRAPHIEDavid GortonCurrent position Associate Head of Research, Royal Academy of MusicMain field of research Musical compositionRelevant qualifications Associate of the Royal Academy of Music, 2008PhD in composition, Royal Academy of Music, University of London, 2004Master of Music, King’s College London, 2000Bachelor of Arts, University of Durham, 1999Selected compositions 2nd String Quartet (ABRSM Publishing, 2008)Erinnerungsspiel for oboe and optional live electronics (Chris Redgate, Michael Casey, 2007)The Fall of Babel for orchestra (BBC Symphony Orchestra, Zsolt Nagy, 2006)Sonata for solo cello (Neil Heyde, 2005)Oblique Prayers for soprano and large ensemble (London Sinfonietta, M. Brabbins, C. Booth, 2002)Other publications ‘Maleable Structures’, in Contemporary British Music: Technique and the Compositional Processed. Robert Saxton (Ashgate, forthcoming)‘Performing structure: music, art, and space’, with Simon Shaw-Miller,Proceedings of the 4th CIM, ed. E. Cambouropoulos & al. (Thessalonica, 2008)Contact http://www.ram.ac.ukhttp://www.davidgortonmusic.comd.gorton@ram.ac.ukSimon Shaw-MillerCurrent position Head of the School of History of Art, Film and Visual Media, Birkbeck College, University of LondonHonorary Research Fellow, Royal Academy of MusicMain field of research Relationships between art and music in the modern periodMain research areas Interdisciplinarity. SynaesthesiaRelevant qualifications Honorary Associate of the Royal Academy of Music, 2007PhD in Art History and Music, University of Essex, 1988Bachelor of Arts, University of Brighton, 1982Selected book publications Eye-Music: Kandinsky, Klee and All that Jazz, with F. Guy and M. Tucker (Pallant House, Chichester, 2007)Visible Deeds of Music: Art and Music from Wagner to Cage (Yale, 2002)Editor of The Last Post: Music after Modernism (Manchester University Press, 1993)Co-editor of Image:Music:Text (Blackwell, Oxford, 1996)Other publications ‘Synaesthesia and the Total Artwork’ in the Aesthetics of the Total Artwork: On Borders and Fragments(eds. A. Finger & D. Follett, John Hopkins University Press, 2009)Contact http://www.bbk.ac.uks.shaw-miller@bbk.ac.ukNeil HeydeCurrent position Head of Postgraduate Programmes, Royal Academy of MusicMain field of research Musical performanceRelevant qualifications PhD in music, King’s College, University of London, 2003Master of Music, Royal College of Music 1990Bachelor of Music, King’s College London, 1989Selected performances Brian Ferneyhough: Time and Motion Study II for solo cello and electronics(with Paul Archbold, Optic Nerve, 2007)David Gorton: 2nd Cello Sonata with optional electronics(with Milton Mermikides, RAM, 2007)David Gorton: Sonata for solo cello (Tate St Ives, 2005)Fabrice Fitch: Per Serafino Calbarsi II for solo cello (The Warehouse, 2004)Gloria Coates: String Quartets 2,3,4, 7 and 8 (Kreutzer Quartet, Naxos 8.559152, 2003)Michael Finnissy: Music for String Quartet(Kreutzer Quartet, Metier Sound and Vision MSV CD92011, 1998)Other publications 'The collaboration process as research' with Fabrice Fitch,(Twentieth Century Music, 2007)Contact http://www.ram.ac.ukn.heyde@ram.ac.uk<strong>CIM09</strong> 95

<strong>CIM09</strong> 26-29 octobre 2009Double bass playing techniques and settings in Paris fromthe 18 th to 20 th centuryMichael GreenbergDouble bassist, historian (France)Anne HoussayConservator, historian of technology, Musée de la musique (France)BACKGROUND IN MUSIC HISTORY AND HISTORICALLY-INFORMED PERFORMANCE PRACTICEThe evolution of the double bass is particularly complex compared with the other string instruments.Neither a full-fledged member of the violin nor viol families, it can be fitted with 3, 4, or 5 stringsdepending on geographical origin and the stylistic period.In the 18th and 19th centuries, Parisian instrumentalists and luthiers developed new settings in responseto evolving musical demands and technological innovations.Relying on evidence of the history of playing techniques, instrument making, and string manufacture, weshall attempt an understanding of the elaboration of these setups resulting from the collaboration ofluthiers and players.With several known examples of antique instruments illustrating our presentation, we shall gain a newperspective of the history of the instrument in Paris.BACKGROUND IN ORGANOLOGY AND HISTORY OF INSTRUMENT MAKINGThe instruments in the collection of the Musee de la Musique exemplify the evolution in the stringing ofParisian double basses. The c. 1850 Vuillaume double bass is exceptional for having retained its originalthree-string setting, while others like the 1766 Benoit Fleury double bass have been modified several times.The significance of these specimens will be put into perspective by Greenberg’s findings relating to theperiods wherein three-, four- and five-string double basses were in use in Paris, and old strings and fittingswill be compared with the literature in order to identify when these might have been employed.AIMSUnderstanding two centuries of the evolution of the double bass in Paris.MAIN CONTRIBUTIONThe parallel between playing techniques and preserved instruments.IMPLICATIONSFor historically-informed performance practice.REFERENCESBRUN (Paul), A New History of the Double Bass, P. Brun productions, Villeneuve d'Ascq, 2000.CLARK (Julian H.), L'évolution de l'archet aux XVII° et XVIII° siècles, panorama introductif, TP 545.GREENBERG (Michael D.), “The Double Bass Class et the Paris Conservatory, 1826-1832,” Journal of the AmericanMusical Instrument Society, XXVI (2000), p. 83-140; “Musical Instruments in the Archives of the French Court: The Argenterie, Menus Plaisirs et Affaires de la Chambre, 1733-1792,” ibid., XXXII (2006), p. 5-79.HOUSSAY (Anne), « Caractérisation d'archets de la collection du musée de la musique », in Acoustique etinstruments anciens - factures, musiques et science, 17-18 novembre 1998, Paris, SFA – Cité de la musique;« La fabrication des cordes harmoniques entre 1790 et 1960 : le rôle des artisans, des ingénieurs, desfacteurs d’instruments et des musiciens », Mémoire de DEA, CDHTE, CNAM, 2005.96 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>BIOGRAPHIESMichael Greenberg- Double bassist with the period-instrument ensembles “Les Arts Florissants” and “La Grande Ecurie & La Chambredu Roy”, director of the ensemble “Les Enfants d’Apollon”.- Professor, Conservatory of Villepinte, France.- Ph. D. in Music History, Université de Paris-Sorbonne (Paris IV).- Recipient of the American Musical Instrument Society’s Frances Densmore Prize 2002.- Publications in JAMIS, OJBR, ISB.- in preparation: The Soul of the Orchestra: The Double Bass in France from the 16th to the 20th Century.Anne Houssay- Violin-maker and restorer, Newark school of Violin Making (GB).- Conservator in the Musée de la musique since 1990.- MA degree in conservation – restauration, University of Paris-Sorbonne.- DEA : in history of techniques, Centre d’histoire des techniques du CNAM.- Publications in : ISMA08 ; Proceedings of Acoustics08, CRBC, 24, 2006, pp. 21-29 ; Actes de journées d’études, Citéde la musique 08 ; Musique et Technique, ITEMM, Le Mans, 2008.- Ph. D. in preparation.<strong>CIM09</strong> 97

<strong>CIM09</strong> 26-29 octobre 2009Maurice Martenot. La poudre de l'enchanteurIvan GuillotICMPE – Université Paris XII (France)Valérie Hartman-ClaverieConservatoire National Supérieur de Musique et de Danse de Paris (France)Stéphane VaiedelichMusée de la musique – Cité de la musique – Paris (France)Maurice Martenot. The wizard’s powderInventory of knowledges1) Musics for Onde Martenot have crossed the 20th cenury like wildfires. Carried by musical works of manycomposers, this instrument taught in music schools remains very active in the living musical patrimony of the 21stcentury.Its organologic evolution has lead to seven models until the transistor appeared. In the last decades of the 20thcentury, several numerical developments were attempted (ADDOM Jean-Louis Martenot association, 1980 ; OlivaUmbroso, Circa 1900) but did not encounter any strong success among the musicians. Analogical instrumentsoffer the instrumentist two different interfaces to express his vocabulary. With his right hand, he can operatedifferent elements of the « controler », the master piece of the instrument » as M. Martenot used to call it. Insideit, « the intensity key can regulate the transitory and the dynamic profiles of each note » (E. Leipp, M. MartenotBulletin GAM, n°60, 1, 1972). The intensity is a fundamental organologic element of the wave and this estimationwas clearly confirmed by the music players. Jeanne Loriod, in « Technical treaty of electronic wave type Martenot(ed Leduc, Vol 1, 1987) » adds : « the white keynote, in the middle of the drawer, is like a bow for stringedinstruments, and like the blow of wind and brass instruments. This extremely sensitive key can pattern the soundas a sculptor can mould materials. » This vital element was soon modified by the history of this instrument and theinitial mechanism was changed to a powder system instead, in 1930, for which M. Martenot kept secracy. Theinformation about its chemical and physic composition were carried away with him to his grave…Since then, the lack of information and scientific knowledge concerning this product could not help to maintaineither the aesthetic nor the musical gesture that generations of ondists had developed thanks to this specific andrather founding interface.Nowadays, even the existence of electronic waves type Martenot could be in danger because of the incapacity torenew the product as the wave creator used to do it regularly and at his own made up.2) Paradoxaly, the conception of this system with powder looks rather easy. In a small leather bag were mixed uptwo products we were able to identify. Two steps : one, conductor, made up with graphite. The other one is madeup with mica, an insulator. They are finely grinded and two brass electrodes are plunged into the mixture. One isfix and the other one, linked to the intensity keynote is mobile. Operating this one, the instrument player canchange and modulate the electric resistance of the system. « Ondists’ » reports who knew Martenot certify that thequantity of the powder and the relative proportion of the components used to be adapted to the desire of theinstrumentists by the conceptor himself. But in addition to the attrition of the bag, this powder, which is really themaster piece, tends to demean, whatever the instrument is used or not. This problem seems so difficult that it ledM. Martenot’s successors to create other solid systems of electricity transmission. But for now, they cannot bringthe same facilities as the system with powder could.As a matter of fact, the re-conception of such a powder seems to be the only measure able to preserve thesubstantial and unsubstantial properties of the corpus and repertory of this instrument.GoalsFirst, the characterization of physico-chemical (components, existence of a binding agent) and morphologicalelements (average size, classification of sizes, christallization and proportion of both phasis) of a large range ofpowders taken from instruments in playing conditions or not, will be undertaken and considered with reference tothe motion and the musical expressivity.Then, the evolution of the electric resistence of the disposal will be measured, taking into account the distancebetween the electrodes and the filling level of the bags. The resistance properties will be corelated, when possible,to the period of fabrication and to the length of use. These investigations should lead to the formulation andreconstitution of an « ideal » bag which will be then experimented and judged by the musicians.Main contributionAgainst the disappearance of Martenot or similar electronic waves caused by the alteration of the dielectricproperties observed on the powder of the timber key, we suggested to create a pluridisciplinary team. It will try tomake links between the chemico-physical constitution and the delicateness of use of the instruments. These are theonly axes of investigations which will help to maintain alive the gesture and the historic vocabulary of the wavescreated by Maurice Martenot.AnswersThe success of this process will make possible to keep in state of playing condition the instruments, offering newpossible conservation methods to institutions in charge of the preservation of the patrimony.98 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>ETAT DE L’ART DES DISCIPLINES :1) La musique pour Onde Martenot à traversé le 20eme siècle telle une trainée de poudre. Porté par lesœuvres de nombreux compositeurs, cet instrument enseigné dans les conservatoires de musique participeactivement au patrimoine musical vivant du XXIe siècle.Son évolution organologique est classiquement répartie en sept modèles jusqu’à l’apparition dutransistor. Dans les dernières décennies du XXe siècle des développements numériques furent tentés [Jean-Louis Martenot association ADDOM, 1980, Oliva Umbroso, circa 1990] sans recueillir de réel succèsauprès des musiciens.Les instruments analogiques présentent deux interfaces distinctes permettant à l’instrumentisted’exprimer son vocabulaire. De la main droite, il contrôle la hauteur des sons. De l'autre main, il actionneles différents éléments de « la boite de commande » définie par M.Martenot comme la pièce maitresse del'instrument, au sein de laquelle «la touche d’intensité permet de régler à loisir les transitoires et le profildynamique de chaque note». [E.Leipp, M.Martenot Bulletin GAM, N° 60, l 1972].La touche d'intensité est donc un élément organologique fondamental de l'onde et ce jugement clairementconfirmé par les interprètes. Jeanne Loriod dans son « Traité technique de l'onde électronique typeMartenot »[ Ed Leduc, Vol 1 1987] le précise: « La touche blanche, au milieu du tiroir, remplace l'archetdes instruments à corde, le souffle des instruments à vent et des cuivres. Cette touche infiniment sensiblepermet de modeler le son comme le sculpteur modèle la matière. » Cet élément vital se modifie trèsrapidement dans l’histoire de l’instrument et le mécanisme initial laisse dès 1930 place à un système àpoudre dont M. Martenot conservera le secret, emportant dans la tombe les informations sur sacomposition chimique et physique. Depuis lors, l'absence d'informations et de connaissances scientifiquesrelatives à ce produit ont mis en péril le maintien d’une esthétique et des gestes musicaux développés parles générations d’ondistes grâce à cette interface particulière et pour ainsi dire fondatrice. Aujourd'hui,l’existence même des ondes électronique type Martenot serait menacé faute de pouvoir renouveler ceproduit comme le faisait régulièrement et « à façon » le créateur de l’onde.2) La conception de ce système à poudre semble paradoxalement relativement simple. Il s’agit d’un petitsac de cuir contenant un mélange de deux produits que nous avons identifiés. Deux phases, l’uneconductrice constituée de graphite, l’autre d’un isolant le mica, finement broyées dans lesquelles plongentdeux électrodes de laiton dont l’une est fixe et la seconde re- liée à la touche d’intensité donc mobile. Enjouant sur celle ci, l’instrumentiste fait varier et moduler la résistance électrique du système.Les témoignages des ondistes ayant approché M.Martenot attestent que la quantité de poudre et lesproportions relatives des composants étaient adaptés à la demande des l’instrumentiste par le concepteurlui-même. Outre l’usure du sac de cuir, cette poudre véritable pièce maîtresse est sujette à une dégradation,que l’instrument soit joué ou non. Ce problème semble si complexe qu’il a poussé les successeurs de M.Martenot à concevoir d’autres systèmes de transmission électrique solides qui pour l’instant ne permettentpas de rendre l’ensemble des possibilités des systèmes à poudres.Ainsi la re-conception d’une telle poudre semble, seule, être en mesure de conserver tout la fois lesdimensions matérielles et immatérielles du corpus et du répertoire de cet instrument.OBJECTIFSDans un premier temps, les caractérisations physico-chimiques (composition, recherche d’un liant…) etmorphologique (taille moyenne, distribution des tailles, cristallisation et proportion des deux phases) d’ungrand nombre de poudres, prélevés sur des instruments en état de jeux ou non seront réalisées et mises enrelation avec le geste et l'expressivité instrumentale.Dans un second temps, l’évolution de la résistance électrique du dispositif en fonction de la distance entreles électrodes et du taux de remplissage des sacs sera mesurée. Ces propriétés résistives seront corrélées,dans la mesure du possible à l'époque de sa fabrication et à sa durée d'utilisation. L’ensemble de cesinvestigations aboutissant à la formulation et la reconstitution d’un sac « idéal » soumis à l'expérimentationet au jugement des musiciens.CONTRIBUTION PRINCIPALEFace à la disparition matérielle des ondes électronique type Martenot du fait de la modification despropriétés diélectriques constatées de la poudre de la touche d'intensité, on se propose par la mise en placed’une équipe pluridisciplinaire, de relier sa constitution chimico-physique à la sensibilité d'utilisation del’instrument, seule direction d’investigations permettant de maintenir vivant le geste et le vocabulairehistorique des ondes créées par Maurice Martenot.<strong>CIM09</strong> 99

<strong>CIM09</strong> 26-29 octobre 2009RETOMBÉESLe succès de cette démarche vise à assurer le maintien en état de fonctionnement du parc instrumental etoffre aux établissements en charge de la conservation du patrimoine des perspectives nouvelles quant à leurmode de conservation.RÉFÉRENCESLAURENDEAU, Jean, SCHAEFFER, Pierre. Maurice Martenot, luthier de l'électronique.Montréal, L. Courteau, Dervy, 1990.LEIPP, Emile, MARTENOT, Maurice. Les ondes Martenot. GAM, n 60, avril 1972.MARTENOT, Maurice. Principes fondamentaux de formation musicale. Paris, Magnard1970.RATSIMANDRESY, Nadia, POLACK, Jean-Dominique. Etude de la perception de l'OndeMartenot : sonorité et timbre : mémoire d'acoustique musicale. Paris : Conservatoire nationalsupérieur de musique de Paris, 2002.BIOGRAPHIESIvan GuillotStatut Professeur HDRDomaines de recherche Science et mécanique des matériaux, microscopies, matériaux du patrimoineQualifications Docteur en Mécanique Appliquée et Sciences des MatériauxPublications récentes Guillot I., Béranger G., Fissuration favorisée par l’environnement,dans Endommagement et rupture des matériaux,Clavel M., Bompard Ph. éditeurs, Collection MIM, Hermès, à paraître 2009Contact guillot@glvt-cnrs.frValérie Hartman-ClaverieStatut Professeur CNSMDPDomaines de recherche Musiques et créations musicales électroniquesQualifications CNSMDP 1973 : 1° Médaille d'Ondes MartenotTitulaire du Certificat d'Aptitude d'Ondes Martenot et Claviers Electroniques 1989Contact valerie.hartmann.claverie@wanadoo.frStéphane VaiedelichStatut Responsable laboratoire de recherche du Musée de la musiqueDomaines de recherche Conservation-restauration des fonctionnalités musicales.Matériaux, Acoustique musicaleQualifications Master Conservation-restauration Université Paris-SorbonneMaster Matériaux , Université Toulon et du VarDU Xylologie, UPMC, ParisPublications récentes S.Leconte, S.Vaiedelich , M.FrançoisA wood viscoelasticity Measurement Techniqueand Applications to Musical Instruments : first resultsJVSA vol XXI, N°1 2009S.Vaiedelich.,Quels outils scientifiques pour maintenir en état de jeules instruments de musique anciensCulture et Recherche 2005Contact svaiedelich@cite-musique.fr100 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009“Beethoven Piano Sonatas: From Fortepiano to HarmonicPedal”Nancy Lee HarperDepartment of Communication and Art, University of AveiroCESEM, U. Nova Lisboa (Portugal)Tomás HenriquesMusic Department, Buffalo State College, New York (USA)CESEM, Univ Nova Lisboa (Portugal)BACKGROUND IN PIANO PERFORMANCE & PEDAGOGYNowhere in the piano literature is there such as large and consistent experimentation of damper pedaleffects than in the 32 Beethoven sonatas. This fact raises interpretative questions for concerned performersand pedagogues: Is the fortepiano the only valid instrument for playing Beethoven sonatas or is it possibleto achieve a “historically informed” performance on modern piano? If so, what alternatives are there? Onepossibility is found in the invention of Denis de La Rochefordière’s “4 th ” or harmonic pedal. Its usage will bescrutinized and a qualitative questionnaire assessed in order to arrive at some concrete answers.BACKGROUND IN NEW TECHNOLOGIESA computer-based study using spectral analysis of unique acoustical properties found in selected portionsof the Beethoven sonatas will be done. The source recordings will be performed on three types of pianos: 1)fortepiano 2) modern piano, and 3) modern piano with harmonic pedal. Data will be compared andevaluated pointing out the timbre and musical particularities attainable with each instrument.AIMS“[Richard] Taruskin’s objection nevertheless presupposes that it is the free choice of every performer to adopt orreject an approach that takes account of what can be demonstrated of composer’s intentions….We should perhapsface up to the fact that performers who think they can do justice to the aesthetic presence of music while ignoring thescore’s historical implications deserve to be regarded not as differently abled, but as historically uniformed.” (Walls,2003: 32)The removal of the harpsichord and fortepiano from the museum to the 20 th -century platform createdboth problems and opportunities for interpreters, especially with regard to the Beethoven piano sonatas.Nearing the 21 st century, the creation of the 4 th or harmonic pedal by Denis de La Rochefordière hasprovided an excellent solution. Thus, this paper aims at giving both compelling evidence of specificacoustical properties achievable in the performance of Beethoven’s piano sonatas when using fortepiano,modern piano and modern piano with harmonic pedal, as well as finding out what choices current pianistsand pedagogues are making in order to have a clearer picture of today’s interpretative possibilities.MAIN CONTRIBUTIONPedaling has been called “the soul of the piano”. Although early pedal effects were achieved by the fingersthrough an overlapping or super-legato touch (especially in Baroque keyboard music), the need for variedlegato and sustaining effects gave way to mechanisms that were depressed by hands, knees, or feet. Themost recent of these is Denis de La Rochefordière’s harmonic pedal, a fourth pedal that is retrofitted intothe modern piano, which “multiples the means of organising the duration of the sound” (Pludermacher,1999: 35) and which reinforces Poulenc’s statement, “Let’s not forget that pianists are quadrupeds” (Howat,2009: 279).A variety of pedal and sonorous effects (sforzando, Bebung, long pedal, amongst others) will be tested fromseven Beethoven sonatas that span along his entire life:1. Sonata in F Minor, op. 1, 1 st movement;2. Sonata, op. 13 (“Pathetique”);3. Sonata in C# Minor, op. 27, nº 2 (“Moonlight”), 1 st movement;4. Sonata in D Minor, op. 31, nº 2 (“Tempest”), 1 st movement;5. Sonata in C Major, op.53 (“Waldstein”), 3 movements;6. Sonata in F Minor, op. 57 (“Appassionata”), 1 st movement;7. Sonata in A Flat Major, op. 110, 3rd movement.102 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>The acoustical properties of these chosen damper pedal effects will be shown on a spectrograph. Acomparison will then be made to the results of a qualitative questionnaire based on excerpts from the abovemusical examples given to 15 participants who are asked to show how they solve damper pedal problems ona modern piano.IMPLICATIONSThis study compares scientific data of acoustical properties of damper pedal effects in selected passages of7 Beethoven piano sonatas with current usage by pianists. Therefore, an alternative possibility toperformance practice or historically informed interpretations, even if not on period instruments, isdemonstrated by the use on the modern piano with the harmonic pedal invented by Denis de LaRochefordière. The results may be applied to other repertoire.REFERENCESBanowetz, Joseph (1985) The Pianist’s Guide to Pedaling, 2nd edition. Bloomington: Indiana University Press.Banowetz, Joseph (Winter 2006) “The Art of Pedalling” in Piano Journal, nº 81, pp. 15-19.Bilson, Malcolm et al (1997) Beethoven. The Complete Piano Sonatas on Period Instruments. CLAVES Records LC3369.Howat, Roy. (2009) The Art of French Piano Music. Debussy, Ravel, Fauré, Chabrier. New Haven & London: YaleUniversity Press.Keane, M. 2007. "Separation of Piano Keyboard Vibrations into Tonal and Broadband Components." AppliedAcoustics 68(10):1104-1117.Lehtonen, H.-M., et al. 2007. "Analysis and Modeling of Piano Sustain-Pedal Effects." Journal of the AcousticalSociety of America 122(3):1787-1797.Pludermacher, Georges (1999) Georges Pludermacher. Ludwig Van Beethoven. Integrale des Sonates pour Piano& Variations Diabelli/Complete Piano Sontas & Diabelli Variations.10 CDs & Program Booklet. Transart Live TR 101.Taruskin, Richard (1995) Text and Act. New York: Oxford University Press.Walls, Peter (2003) History, Imagination and the Performance of Music. Woodbridge, Suffolk, U.K.:Boydell & Brewer.Selected Urtext editions of Beethoven sonatas.Software for Spectral Analysis: Audacity 1.3, Peak 5.www.harmonicpiano.com, consulted on 16 June 2009.www.resmusica.com, consulted on 26 June 2009.BIOGRAPHIESNancy Lee HarperAn active pianist, Nancy Lee Harper has performed on four continents.As a researcher, her publications embrace Performance Practice/Pedagogy, Iberian music (Portuguese composers,Manuel de Falla, D. Scarlatti, R. Halffter), and Music-Medicine.She is Associate Professor with Distinction and Head of Piano at the University of Aveiro, Portugal.Tomás HenriquesTomás Henriques is a composer, electronic musician, and researcher in the areas of human computer interfaces andsensor technologies.Currently, he is pursuing Post-Doctoral Research at Carnegie-Mellon University in the fields of real-time speechsynthesis and computer music composition.<strong>CIM09</strong> 103

<strong>CIM09</strong> 26-29 octobre 2009Des instruments pour l’enfant, ou des instruments demusique tout simplement ?Jean JeltschCFMI, Université Charles-de-Gaulle – Lille 3 (France)Dominique VasseurCRR de Lille (France)Instruments for children or just plain and simple musical instruments ?Various instruments were developed by the CFMI (Centre de Formation de Musiciens Intervenants) from twofamilies (lip reeds and flutes) and tested by children, educators (public school teachers, teachers working in thefield of special education, musiciens intervenants 1 ) and artists. Depending on the instruments being used, “creative”practices can encompass different aesthetics, even different cultures, sometimes going beyond the boundaries ofthose aesthetics known as “experimental” by virtue of having been given the possibility to act upon the instrumentand thus the scales, and, generally speaking, upon most other parameters.Can these instruments, conceived for the purpose of initiation into musical phenomena, enrich the current artisticscene by allowing for the broadening of the basis of their users ? Furthermore, albeit rudimentary, theseinstruments can allow certain forms of virtuosity and interest confirmed artists, beyond any considerations of“educational” music.ETAT DE L’ART EN ÉDUCATION MUSICALE 2De nombreux systèmes de pédagogie musicale sont fondés sur des pratiques instrumentales « actives », àpartir d’instruments jugés « simples » d’emploi (flûtes à bec), ou alors d’instrumentariums développésspécifiquement et inspirés d’instruments du monde (Carl Orff, Robert Hébrard…).Par ailleurs, les frères Baschet ont conçu des instruments insolites (« structures sonores ») qui ont été à labase de la créations de nouveaux instruments (le « cristal Baschet ») et Mauricio Kagel a créé/recréé denombreux instruments « pour enfants » (Kinderinstrumente) » (1971), posant explicitement la question dustatut et du potentiel de ces instruments, Kinderinstrumente oder Instrumente für Kinder 3 .Le CFMI de Lille propose de son côté un concept original d’instruments à développer par les musiciens(enfants-enseignants en musique) eux mêmes, auxquels il est possible d’adjoindre les ressources del’électronique (effets électriques).ETAT DE L’ART DANS LE DOMAINE DE LA CRÉATION MUSICALELes compositeurs et musiciens improvisateurs disposent aujourd’hui d’un arsenal impressionnantd’instruments auxquels peuvent être appliqués des modes de jeu diversifiés ; John Cage a démontré desurcroît que le musicien pouvait transformer son instrument en le « préparant » (piano préparé, 1935) et denombreux musiciens sont allés plus loin en incluant dans leur démarche créatrice la conception même et laréalisation d’instruments spécifiques.Soumis à des contraintes strictes dans le cadre de la musique à l’école, le CFMI a développé différentsmodèles « d’instruments » qui ont interpellé certains artistes par leur simplicité et leur souplessed’utilisation (possibilité d’agir sur les timbres, les échelles, les champs de libertés, l’interfaçage, maiségalement de travailler en interdisciplinarité avec d’autres formes d’expressions artistiques : design,mouvement…). Ces artistes sont pour l’instant des musiciens dont les projets sont basés surl’improvisation 4 .OBJECTIFSInterroger le potentiel artistique de ces instruments développés pour une initiation au jeu instrumentalfavorisant les pratiques collectives et inventives.1 Literally “musical contributor” or “contributing musician”. In France, this term refers to educatorsspecializing in musical pedagogy for schoolchildren and youngsters. They are generally trained in one of thenine institutes known as the CFMI : Centre de Formation de Musiciens Intervenants, “musical contributors”training centre.2 Nous ne prenons en compte que les instruments acoustiques, qu’il peut être possible éventuellementd’électrifier.3 On pourrait traduire ainsi : « Instruments enfantins ou instruments pour l’enfant »4 Michel Godard, Thierry Madiot, Jean-François Vrod, Bart Maris, Sylvain Roux, Dominique Vasseur…104 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>CONTRIBUTION PRINCIPALEDifférents instruments ont été développés par le CFMI à partir de deux familles (anches lippales et flûtes)et testés par des enfants, des enseignants (éducation nationale, professeurs de l’enseignement spécialisé etmusiciens intervenants) et des artistes.Les pratiques « inventives » peuvent, en fonction des instruments utilisés, accrocher des esthétiques,voire des cultures variées, allant parfois au delà d’esthétiques qualifiées d’« expérimentales » par lapossibilité offerte d’agir sur l’instrument, et donc les échelles, et, plus généralement sur la plupart desparamètres.RETOMBÉESConçus comme des instruments d’initiation au fait musical, ces instruments peuvent-ils enrichir la vieartistique actuelle en ouvrant les pratiques à un public plus large ? Par ailleurs, même simples, cesinstruments peuvent permettre certaines formes de virtuosité et intéresser des artistes confirmés, loin detoute musique « pédagogique ».BIBLIOGRAPHIEKinderinstrumente, Kölner Kurse für Neue Musik 8, 18 oct.-26 nov. 1971, sous la direction de Mauricio KagelMartin Kirnbauer, Matthias Kassel, Kind und Kagel. Mauricio Kagel und seine Kinderinstrumente, Bâle, 2006Jean-Claude Lartigot et Eric Sprogis, Libérer la musique, Paris, 1975Gérard Nicollet, Vincent Brunot, Les chercheurs de sons, Paris, 2004BIOGRAPHIESJean JeltschPoste actuel enseignant au Centre de Formation de Musiciens Intervenantsde l’université Charles-de-Gaulle – Lille3Domaine de recherche organologie / pédagogieQualifications agrégation interne d’éducation musicale et chant choralDEA de musicologiediplôme d’acoustique musicale (CNSMDP)médaille d’or de clarinettePublications différents articles sur l’histoire de la facture instrumentalein : (Musique Images Instruments)Contact jean.jeltsch@univ-lille3.frhttp://www.univ-lille3.fr/cfmiDominique VasseurPoste actuel professeur de flûte et de musique de chambre au CRR de Lillecoordinateur du département de musique ancienneDomaine de recherche l’enseignement de la flûte à bec (XVIIe-XXe siècle)la pratique de l’improvisation en lien avec différents courants musicauxQualification CA de flûte à bec et de musique ancienneprix de soliste du conservatoire d’UtrechtCompositions une quarantaine d’œuvres pour formations diversesContact dominique_vasseur@orange.fr<strong>CIM09</strong> 105

<strong>CIM09</strong> 26-29 octobre 2009E-Motion at the Instrument: An Essay in Visualization ofEmotional States of a PerformerIldar KhannanovPeabody Conservatory, Johns Hopkins University (USA)Florida G. KhannanovaGamma-7 Information Technology CenterAffiliate of St. Petersburg State University of Information Technologies, Mechanics and Optics(Russian Federation)BACKGROUND IN MUSIC THEORYBoth musical emotions and interaction of performer with the instrument have been discussed inliterature. Enough is to mention the dialogue between Pyotr I. Tchaikovsky and Nadezhda F. Von Mekk(Chaikovskii, 1936) on emotional truth in music.However, the study of musical emotions can be conducted on a very different level involvinginterdisciplinary collaboration of medicine and music theory, scientific diagnostic techniques and theirmusical-theoretical explanations.Stylistic features, formal designs and compositional techniques can be interpreted in terms of emotionalconditions of a performer. Postulates of music theory may thus receive additional confirmation.BACKGROUND IN MEDICINEMedical aspects of the so-called Kirlian effect (emission of light from the human body placed in theelectro-magnetic field) have been applied in diagnostic and prophylactic of various conditions. Theirinterpretation draws from the ancient Chinese teaching of meridians, ancient Korean tradition of Su-Jok,and ancient Indian Vedic teaching of chakras. This allows creating the interpretation techniques of somaticand non-somatic characteristics.AIMSThe main goal of this research is the clinical study of visual representation of emotions during and afterthe musical performance. Motoric manifestations of emotions are initiated by complex internal processes ofpsychological experience (Russ. perezhivanije) which have to be visualized and measured. We propose usingthe method of gas-discharge visualization, or bioelectrography, introduced by Konstantin Korotkov (2001).The GDV camera allows photographing the avalanche particle emission from the tips of the fingers of aperformer induced by the exposure to the em-filed. The same GDV camera with the Tchizhevsky sensorallows measuring the fluctuations of ionized particles in the air surrounding performer and listeners. Twokinds of experiments have been conducted: taking GDV-grams off the tips of the fingers before and afterperformance and measuring the environmental changes with Tchizhevsky sensor during the performance.The finish product of our research is a graph which represents psychosomatic conditions of performerand listener, as well as the objective condition of musical performance as an environmental phenomenon.MAIN CONTRIBUTIONAs a result of a series of experiments on a group of volunteers conducted at the in St. Petersburg and inUfa, the authors came to a number of far-reaching conclusions about the nature of musical emotions and thepossibility of study of emotions using both psychiatric interpretation (anamnesis) and contemporarymedical equipment.For our experiments, the classical piano and a nomadic folk instrument, Bashkirian kurai, were used todemonstrate the two principally different cultures of emotions, academic and popular, sedentary andnomadic. Another aspect of our experiments was set up to distinguish the emotional reactions of musicianswith instruments in their hands from musical emotions of listeners, both musicians and non-musicians.Also, the distinction has been made between the concert listeners and participant-observers of the folkmusic performances.IMPLICATIONS106 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>The main assumption of this research is that musical emotions present the psycho-somatic changes,similar to those, described in the clinical research and catalogued in nosology. The fine line which separatespathology from artistic emotion is clearly seen on the graphs produced by the gas-discharge visualizations.The parts of the graph, responsible for different artistic affective states, have to be interpreted. Creatingthe language of interpretation, similar to medical readings of the analytical data, has been one of the goalsof the present study. This study will add a necessary degree of scientific rigor and precision to the ongoingdiscussion of musical emotionality.REFERENCESKorotkov, K.G. (2001). Foundations of bioelectrography. St. Petersburg: State University of Information Technology,Mechanics and Optics.Schipov, G.I.(1997). A Theory of physical vacuum. Theory, experiments and technology. Publication ofInternational Institute of Theoretical and Applied Physics of Russian Academy of Natural Sciences.Moscow: Nauka.Gerber, Richard. (2008). Vibrational medicine: From mechanics to the spheres of reason and spirit. Russ. transl.Moscow: Sophia.Tikhoplav, V.Yu. and Tikhoplav. T.S. (2007). New physics of faith. Moscow: Krylov.Khannanov, I.D. (2007).“Rachmaninov’s “Little Red Riding Hood:” Semeiosis of Emotional Truth and the Structureof Musical Sign,” Ad musicum, (2008), festschrift for Juri Kholopov, Moscow Conservatory.Khannanov, I.D. “Essay in Bioelectrography of Musical Environment.” Proceedings of the 6th Congress onBioelectrography. St. Petersburg, 2009.Khannanova, F.G. Medical Aspects of Gamma-7 Devices. Ufa, 2005Khannanova, F.G. Notes of a psychiatrist. Medical Aspects of Gamma-7 Devices. Ufa, 2007.Kholopova. V.N. (2002). Music as an Artform. In 2 vol. St. Petersburg, Lan’.Leontiev, A.N. (1984). Selected writings. Treatise of psychology. Moscow: Pedagogika.P. I. Chaikovskii: Perepiska s N. F. von-Mekk. Edited by V. A. Zhdanov and N. T. Zhegin. [3 vols.] (Moscow,Leningrad, 1934–36)Kivy, P. (1989). Sound sentiment: an essay on the musical emotions, including the Complete text of the CordedShell. Philadelphia: Temple University Press.BIOGRAPHIESIldar KhannanovCurrent position Professor of Music Theory, Peabody ConservatoryMain field of research Music AnalysisMain areas of research Musical Content, Semiotics, Musical Emotions,Russian Music TheoryRelevant qualifications Ph.D., UCSB, 2003,ABD, Aspirantura of Moscow Conservatory, 1993Diplom, Moscow Conservatory, 1988Article publications (2007).“Rachmaninov’s “Little Red Riding Hood:”Semeiosis of Emotional Truth and the Structure of Musical Sign,” Ad musicum, (2008)festschrift for Juri Kholopov, Moscow Conservatory.(2008)“Etude-Tableau“Little Red Riding Hood:” Semeiosis of Emotional Truth and the Structure of Sign.”Collection of Articles Rachmaninov on the Watershed of History. Vol. 5. Kharkov, Ukraine 2008.Contact ikhanna1@yahoo.comFlorida G. KhannanovaCurrent position Researcher, Chief of the Regional ChapterGamma-7 Center for Information TechnologyMain field of research PsychiatryMain research areas Gas-discharge visualization, bioelectrography,objectivation of the use of the medical devices by Gamma-7Relative qualifications Diplom, Institute of Medicine, Ufa, 1965Internatura, in Psychiatry, 1966Odinatura, in Neurology, 1967Doctor-Psychiatrist, Ufa Psychiatric Hospital, 1965-2003Book publications Medical Aspects of Gamma-7 Devices. Ufa, 2005Notes of a psychiatrist. Medical Aspects of Gamma-7 Devices. Ufa, 2007.Contact solfeggio7@yahoo.com<strong>CIM09</strong> 107

<strong>CIM09</strong> 26-29 octobre 2009The impact of psychological preparation on the vocalperformanceVaike Kiik-SalupereInstitute of Educational Research, Tallinn University (Estonia)Jaan RossUniversity of Tartu and Estonian Academy of Music and Theatre, Tallinn (Estonia)BACKGROUND IN THE VOCAL PRODUCTIONArtistic singing requires a performer to establish optimum conditions for the vocal performance. Thesinger’s body can be compared to a musical instrument. This instrument’s operation requires coordinationbetween its different parts including diaphragm, lungs, and the vocal tract. Some approaches in the vocaldevelopment theory stress the importance of “emotional connection” between a performer’s mental stateand her/his skills of the sound production, the presence of which may contribute to achieving a better finalresult in aesthetic terms. Singers have reported that the “emotional connection” indeed is capable ofimproving the technical skills in singing, once they have been properly learned before (Foulds-Elliott et al.2000). It is very important whether the singer has been able to propitiate her/his mental state to theperformance or not, since the operatic singing in particular is fundamentally about the communication ofemotions via the medium of the singing voice. Educational institutions which prepare the performers ofmusic, including classical singers, have to ensure that their students achieve a high level of technical skillsand, at the same time, that they have the necessary mental skills to deal with the performance situation.BACKGROUND IN PSYCHOLOGYA certain level of the so-called stage fear has been found to be beneficial for the performance, yet theperceived loss of control over it can be detrimental (Kokotsaki & Davidson 2003). Barlow (2000) hasestablished that genetic disposition and previous experiences can be sufficient reasons to induce overallanxiety and mood swings during the musical performance. The anxiety, which generally is related to theperformer’s low self-esteem and unreasonably competitive environment, can transform itself to panic andeventually ruin the performance. Even the knowledge that someone might be evaluating a performance hasbeen shown to raise anxiety levels in musicians (Brotons 1994). For a young musician who is used to havesupport from her/his peers, the real performance situation may in particular induce a strong anxiety levelwhen performing in a new environment that is no more supportive. Arjas (2001) argues that theperformance anxiety is one of the most destructive phenomena for musicians. It impedes their futureaspirations and may lead to the loss of self-confidence.AIMSThe aim of the study is to investigate to what extent the vocal teachers and students are aware of thenecessity of the pre-performance psychological preparation and whether the situation might need to beimproved in terms of the voice students’ curriculum.MAIN CONTRIBUTIONExtensive informal interviews with seven eminent vocal teachers were conducted, and an ad-hocdesignedquestionnaire was applied to singers of the Estonian National Opera choir as well as to students ofclassical singing from the Tallinn Georg Ots High School of Music and from the Estonian Academy ofMusic and Theatre. The questionnaire was based on the five-point balanced Likert scale. Data wereanalysed with the Statistica 5.1 software. All decisions on differences between the average readings werebased on p

26-29 octobre 2009 <strong>CIM09</strong>Students of all interviewed age groups reported that they preferred to receive more knowledge about thepre-performance psychological preparation methods as well as to be trained to practise such methods. Theyclaimed almost always to get nervous before going on stage.Therefore it would be necessary to develop a certain daily routine for the students, which gives them thebase for keeping emotional equilibrium during the performance and, this way, permits better to maintaintheir technical skills.CONCLUSIONSThere seems to be some intuitive knowledge among the vocal teachers about how to prepare oneselfproperly for a public performance. This knowledge is transferred to the students mostly in a random andnon-formal manner. The students seem to be aware of the necessity for psychological pre-performancepreparations but do not receive such training to the extent they would have preferred.REFERENCESArjas, P. (2001). Iloa esiintymisen — muusikon psyykkinen valmennus. Jyväskylä: Atena Kustannus Oy.Barlow, D. (2000). Unravelling the mysteries of anxiety and its disorders from the perspective of emotion theory.American Psychologist, 55(11), 1247–1263.Brotons, M. (1994). Effects of performing conditions on music performance anxiety and performance quality.Journal of Music Therapy, 31, 63-81.Foulds-Elliott, S. D. Thorpe, C. W., Cala, S. J., & Davis, P. J. (2000). Respiratory function in operatic singing: effects ofemotional connection. Log Phon Vocol, 25, 151–168.Kokotsaki, D., & Davidson, J.W. (2003). Investigating music performance anxiety among music college singingstudents: A quantitative analysis. Music Education Research, 5(1), 45-55.BIOGRAPHIESVaike Kiik-SalupereCurrent position PhD student, Tallinn University; voice teacher at the Institute of Fine Arts,Tallinn University; free-lance singerMain research disciplines Classical singing, vocal pedagogyMain research areas Performance anxiety, perception of voiceRelevant qualification M.A. in Social Sciences, 2005, Tallinn University.Thesis “Psychological impact of effective vocal pedagogy”(in Estonian, graded “excellent”)M.A. (equivalent) in classical singing and voice teaching, 1985,Estonian Academy of Music and TheatreContact Tel.+3725274997, vaike@egoist.ioc.eeJaan RossCurrent position Professor, Estonian Academy of Music and Theatre, and University of TartuMain research discipline Musicology, auditory psychologyMain research areas Perception, production and analysis of sounds of speech and musicRelevant qualifications Ph.D. in musicology, 1988, Lithuanian State Conservatoire, VilniusPh.D. in psychology, 1992, Abo Akademy, TurkuBook publications “The Temporal Structure of Estonian Runic Songs” (with Ilse Lehiste, 2001)“Reflecting on Music: An Introduction to Musicology”(edited with Kaire Maimets, 2004, in Estonian)“Consonance: Its Objective Pre-requisites in Music” (2006, in Russian)“Twelve Lectures in the Psychology of Music” (2007, in Estonian)Advisory boards Musicae ScientiaeJournal of Interdisciplinary Music StudiesAkadeemia (in Estonian)Proceedings of the Estonian Academy of SciencesContact jaan.ross@ut.ee<strong>CIM09</strong> 109

<strong>CIM09</strong> 26-29 octobre 2009Effects of Instrument on Tonal Structure (Pitch Content)of Selected Works by Johannes Brahms, Camille Saint-Saëns, Paul Hindemith, and Dmitri ShostakovichKerri KottaEstonian Academy of Music and Theatre (Estonia)Jonne KottaEstonian Marine Institute, University of Tartu (Estonia)BACKGROUND IN MUSIC THEORY AND ANALYSISIn music analysis, the notion that the use of a specific musical instrument affects the structure of musicalwork can be regarded as a truism. In the case of the tonal structure, the use of a specific instrument oftenresults in the choice of a specific key and the persistent use of a concrete register.At the same time, the effects of the applied instrument on the motivic layout (i.e. on the sequence or theformation of the original collections of pitch classes) has remained mostly uncovered, since the latter isconsidered mainly to be dependent on historical and/or composer’s personal style (see for example Bursteinand Gagné 2006; Kotta, 2008).BACKGROUND IN STATISTICSCurrently we do have a range of new developments in the theory and practice of multivariate statisticaldata analysis. Several contributions illustrate the use of multivariate methods in application fields such aseconomics, medicine, environment, and biology but rarely as music (Kotta et al. 2008). Multivariate dataanalysis refers to any statistical technique used to analyze data that arises from more than one variable.This essentially models reality where each situation, product, or decision involves more than a singlevariable.AIMSThe aim of the paper is to point out the aspects of the tonal structure (pitch content) that are due to theuse of a specific instrument. More specifically, we seek if the use of a specific instrument results in a tonalstructure saturated with the characteristic (ordered or unordered) pitch (class) sets which’s appearance arestatistically significant. We also hypothesize that the interactive effects of the use of a specific musicalinstrument are statistically more significant for the music of 20th century than for the music of 19thcentury composers.MAIN CONTRIBUTIONThe MIDI fails of the soloist parts of two works for cello and two works for violin by Brahms, Saint-Saëns, Hindemith, and Shostakovich are converted into numerical tables. Non-metric multivariatestatistical methods are used to assess the separate and interactive effects that arise between pitches (or pitchclasses) of selected works.First, the computational outcomes of two works for cello by each composer are paralleled in order toexclude the individual structural features of both compositions and bring out the aspects of the tonalstructure that both compositions share (i.e. the aspects of musical style combined with hypothetical effectsof a specific musical instrument).Secondly, the statistical outcomes of two works for violin by each composer are paralleled for the samepurpose.Finally, the results of the comparison of two aforementioned groups of works are paralleled in order toexclude the stylistic features (the common aspects of both groups) and bring out the possible aspects ofmotivic layout caused by the use of a specific instrument (the different aspects of both groups). Finally theworks of all composers are compared in the common framework. Using BEST permutation technique weseek if the observed similarities and dissimilarities between different combinations of instrument and/ormusical style are statistically significant.IMPLICATIONSThe results of the paper contribute to the global understanding of the historical musical styles and theeffects caused by the use of a specific instrument in the context of a certain musical style.110 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCESBurstein, P. and Gagné, D. (ed.) 2006. Structure and meaning in tonal music: Festschrift for Carl Schachter,Hillsdale, NY: Pendragon PressKotta, J., Paalme, T., Püss, T., Herkül, K., Kotta, I. 2008. Contribution of scale-dependent environmental variabilityon the biomass patterns of drift algae and associated invertebrates in the Gulf of Riga, northern BalticSea. J. Mar. Syst., 74, Supplement 1, S116-S123.Kotta, K. 2008. On the Unprepared Tonic at the Beginning of the Recapitulation in Some of Mozart's Early PianoSonatas. A Composition as a Problem V (57 - 68). Tallinn, Estonian Academy of Music and TheatreBIOGRAPHIESKerri KottaCurrent position Assistant professor, Estonian Academy of Music and TheatreMain research disciplines Music theory and analysisMain research areas Musical structure, Estonian contemporary musicRelevant qualification MA in composition; PhD in musicology,Estonian Academy of Music and TheatreRecent publications 1. Kotta, K. (2008). On the Unprepared Tonic at the Beginning of theRecapitulation in Some of Mozart's Early Piano Sonatas.A Composition as a Problem V (57 - 68).Tallinn, Estonian Academy of Music and Theatre2. Kotta, K. (2008). Zur musikalischen Zeit:Über die formalen Grundlagen der Werke von Erkki-Sven Tüür -ein Beschreibungsversuch. Lock, Gerhard (ed.). in: Schwarze Milchund bunte Steine. Der Komponist Erkki-Sven Tüür (23 - 38).Frankfurt: Schott Music GmbH & Co. KG, MainzContact kerri.kotta@mail.eeJonne KottaCurrent position Senior research scientist, Estonian Marine Institute, University of TartuMain research disciplines Marine biology, statisticsMain research areas Scale dependent patterns and processes, invasive speciesRelevant qualification PhD in hydrobiology, University of TartuRecent publications 1. Kotta, J., Witman, J. 2009. Diversity patterns and their causes. Regional scale.In: Hard Bottom Communities: Patterns, Scales, Dynamics, Functions, ShiftsWahl., M. (ed.), Ecological Studies, Springer.2. Kotta, J., Lauringson, V., Martin, G., Simm, M., Kotta, I., Herkül, K., Ojaveer, H. 2008Gulf of Riga and Pärnu BayIn: Ecology of Baltic Coastal watersSchiewer, U. (ed.). Springer. Ecological Studies, 197, 217–243.3. Orav-Kotta, H., Kotta, J., Herkül, K., Kotta, I., Paalme, T. 2009.Seasonal variability in the grazing potential of the invasive amphipod Gammarus tigrinusand the native amphipod Gammarus salinus in the northern Baltic SeaBiol. Invasions, 11, 597–608.4. Kotta, J., Aps, R., Herkül, K. 2008Predicting ecological resilience of marine benthic communities facing a high risk of oil spills.Environmental Problems in Coastal Regions VII, 99, 101-110.5. Lauringson, V., Mälton, E., Kotta, J., Kangur, K., Orav-Kotta, H., Kotta, I. 2007Environmental factors influencing the biodeposition of the suspensionfeeding bivalve Dreissena polymorpha (Pallas):comparison of brackish and fresh water populations in the Northern BalticSea and Lake Peipsi. Estuarine Coast. Shelf Sci., 75, 459–467.Contact jonne@sea.ee<strong>CIM09</strong> 111

<strong>CIM09</strong> 26-29 octobre 2009La guitare électrique comme instrument augmenté et outilde création musicaleOtso Lähdeoja 1 , Benoît Navarret 1,2 , Santiago Quintans 1,3 , Anne Sèdes 11- CICM, Université Paris8, Maison des Sciences de l'Homme Paris-Nord, Saint-Denis, (France)2- Équipe LAM, Institut Jean le Rond d'Alembert, UMPC Univ. Paris 06, CNRS, Paris, (France)3- Conservatoire à Rayonnement Départemental du Mans (France)The electric guitar as an augmented instrument and a tool for music creationAbstractThis article aims to initiate a discussion on the specificity of the electric guitar as an augmented instrument and amodular tool for music creation. Our approach is twofold. Firstly we study the specificities of the electric guitarfrom an organologic point of view, questionning the nature of the instrument's technological hybridations, itsmodularity and its properties as an augmented instrument. The second part develops the discussion in amusicological perspective, studying the electric guitar as a tool for contemporary music creation.We adopt a prospective approach, illustrating the theoretical reflection with an experimental creation involvingcomposition, improvisation and instrumental praxis, where the electric guitar is used as an instrument comprisedin a modular network.The electric guitar's hybrid lutherie enables increased sonic and musical possibilities. With its augmented nature,its cultural and sonic impact, the electric guitar questions in a resolutely contemporary manner the notions ofinstrument, composition and score, and constitutes a meaningful example of a present day musical tool for live andstudio work.ETAT DE L'ART EN L'ORGANOLOGIELa guitare est un instrument dont la lutherie n’a cessé d’évoluer au cours de son histoire grâce à deséchanges fructueux entre luthiers et guitaristes qui ont pu répondre du mieux possible aux attentes dupublic [Evans, 1977]. Ses éléments constitutifs ont fait l’objet de multiples recherches : nombre de cordes,matériaux, forme de l’instrument, taille et profondeur de la caisse [Gétreau, 1988].L’électrification de la guitare est probablement la modification la plus importante qu’ait connul’instrument au XXème siècle [Séguret, 1997]. La lutherie a exploré des pistes qui n’auraient pas étéenvisageables auparavant comme la disparition de la caisse de résonance, l'exploitation du feedback et de lapuissance sonore des amplificateurs, l'emploi des traitements analogiques et numériques du signal. Laguitare électrique est aussi un instrument précurseur de l'innovation technologique.En 1984, elle est le premier instrument à bénéficier du protocole MIDI via une conversion analogiquenumériquede type "pitch to midi". Elle a été également le premier instrument à être connecté directement àun ordinateur via des interfaces de conversion analogique-numérique dédiées [Garfoot, 2006].Ces différentes technologies font aujourd’hui partie intégrante de la guitare électrique. Elle se présentedésormais comme un instrument augmenté (et augmentable) qui se définit par un réseau de modules deproduction et de traitement de son, spatialement étendu et configurable selon les sonorités recherchées ;enfin, elle peut être connectée à des environnements informatiques.ETAT DE L'ART EN MUSICOLOGIE ET CRÉATION MUSICALELa guitare électrique, instrument "glocal" [Robertson, 1995], est un instrument-clé des évolutionsmusicales et culturelles des cinquante dernières années. Elle a connu un développement initial fulgurantgrâce aux musiques populaires dont elle est devenue une icône.Par la suite, son utilisation s'est progressivement étendue à d'autres répertoires et esthétiques, devenant àla fois un outil de création pour la musique contemporaine et un instrument d'avant-garde sonore [Bennet& Dawe, 2001]. Fortement présente dans la création musicale expérimentale, la guitare électrique a effectuéson intégration dans les répertoires de musique écrite, dans le sillage du travail de compositeurs tels queTristan Murail, Georges Aperghis, Fausto Romitelli, de l’ensemble l’Itinéraire dans les années 1970, grâceà un interprète aussi singulier que Claude Pavy, ou plus récemment de l’ensemble belge Ictus avecl’instrumentarium du guitariste Tom Pauwels.Cette intégration est marquée par des emprunts de styles ou de sonorités héritées du rock et du jazz(Vampyr de T. Murail ; Index of metals de F. Romitelli).112 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>Actuellement, dans le contexte de la création contemporaine, la guitare électrique paraît acquérir sonautonomie sonore grâce aux moyens d'écriture offerts par les environnements de création numérique. Elle ytrouve sa place en tant que module au sein d'un réseau, source sonore à traiter et interface instrumentale, enconvergence avec des outils de programmation et d'écriture pour le live electronic comme MaxMsp[Courribet, 2009] [Quintans, 2009].OBJECTIFSNotre travail a pour but d'amorcer une réflexion sur la particularité de la guitare électrique en tantqu’instrument augmenté, modulaire et comme outil de création musicale.Nous approchons cette spécificité d'un point de vue organologique, en étudiant la nature des hybridationstechnologiques de la guitare électrique.Nous cherchons à soulever les enjeux de la création artistique expérimentale en interaction avec unemusicologie prospective et transversale. Nous souhaitons développer une perspective de recherchecorrespondant à une musicologie de la guitare électrique.CONTRIBUTION PRINCIPALEActuellement, la guitare électrique reste peu étudiée de manière transversale. Son potentiel expressif, saqualité instrumentale associée à sa fonction d'interface de contrôle, ainsi que son utilisation dans le contextedu live electronic restent largement inexplorées par la création musicale contemporaine.Or, par ses applications sonores et son impact culturel, la guitare électrique augmentée interroge demanière résolument contemporaine les notions d'instrument, d'écriture et de pratique instrumentale.Sa lutherie hybride et étendue donne lieu à des possibilités sonores accrues. Notre travail vise à préciserles articulations et l'étendue de ce réseau complexe et modulable qui constitue la guitare électriquecontemporaine. Pour un instrument technologique comme la guitare électrique, des connaissances enorganologie sont nécessaires pour en saisir tout le potentiel sonore et musical.Le musicien doit pouvoir appréhender l'ensemble de cet environnement instrumental modulaire, matérielet logiciel, ce qui implique des choix d'outils d’expression (amplificateurs, types de traitements, diffusionsonore), de notation, porteurs d'esthétique.RETOMBÉESNotre étude de la guitare électrique s'inscrit dans une musicologie prospective, faisant interagir recherchethéorique et création artistique, celle-ci pouvant éventuellement constituer un terrain privilégié de test etd'évaluation.Au-delà d'un intérêt musicologique certain, une telle recherche peut être utile aux compositeurssouhaitant écrire pour cet instrument en leur fournissant des connaissances sur son potentiel musical.Elle peut également être profitable aux guitaristes eux-mêmes pour une compréhension étendue de leurinstrument.Enfin, l'expérience d'hybridation technologique dont témoigne la guitare électrique, en tantqu'instrument populaire, est de nature à susciter le développement de nouvelles interfaces de contrôle quipeuvent intéresser les acteurs des industries culturelles, au moins à titre exploratoire.BIBLIOGRAPHIEBENNET, A. & DAWE, K. (2001), Guitar Cultures. Berg, Oxford-New York.CARFOOT, G. (2006), “Acoustic, Electric and Virtual Noise : The Cultural Identity of the Guitar” in Leonardo MusicJournal 16.COURRIBET, B. (2009), Traitements audionumériques pour la guitare électrique amplifiée, revue Appareil, àparaître.EVANS, T. (1977), Guitars, Paddington Press, New York-London.GÉTREAU, F. (1988), Instruments et luthiers parisiens XVIIe-XIXe siècle, Délégation à l’action artistique de la Ville deParis.QUINTANS, S. (2009) Guitare électrique : composer pour un instrument-réseau, revue Appareil, à paraître.ROBERTSON, R. (1995), 'Glocalization: Time-space and homogeneity-heterogeneity', in M. Featherstone, S. Lashand R. Robertson (eds) Global Modernities, London: Sage.SÉGURET, Ch. (1997), L’Univers des guitares, Ed. Solar, Paris.<strong>CIM09</strong> 113

<strong>CIM09</strong> 26-29 octobre 2009BIOGRAPHIESOtso LähdeojaStatut Doctorant, CICM Université Paris 8Principal champde recherche Musique et technologie, pratique musicalePrincipal domainede recherche Instruments augmentés, rapport geste-son, « musique live-électronique »Qualifications Mastère en Musicologie, Université Paris 8, FranceDEM Musiques actuelles, ENM d'Argenteuil, FranceContact otso.lahdeoja@free.frBenoît NavarretStatut Doctorant, CICM Université Paris 8 (MSH Paris-Nord) / LAM Univ. Paris 06Principal champde recherche Organologie, musicologie et perceptionPrincipal domainede recherche Travaux de caractérisation de la guitare électriqueQualifications DFS d’Acoustique musicale,Conservatoire National Supérieur de Musique et de Danse de Paris, Paris, FranceDEA Arts de la Scène et du Spectacle, Université Paris 8, Saint-Denis, FranceContact benoit.navarret@gmail.comSantiago QuintansAnne SèdesStatut Coordinateur du programme Jazz au conservatoire (CRD) du Mans, Compositeur,Doctorant au CICM Université Paris 8Principal champde recherche Musicologie de la musique contemporaine, compositionPrincipal domainede recherche La guitare électrique dans la création contemporaineQualifications Mastère en Musicologie, Université Paris 8, Franceétudes de guitare Jazz et composition à l’Université de Miami (Etats-Unis)Contact santiquintans@hotmail.comStatut Maître de conférence, département de musique de l'université de Paris8Principal champde recherche MusicologiePrincipal domainede recherche Création musicale et nouvelles technologiesQualifications Docteur en "Esthétique, sciences et technologies des arts",spécialité musique, 2000,Habilitée à diriger des recherches, 2007.Publications "Musique et cognition", N° 48 de la revue Intellectica, revue de l'associationpour la recherche cognitive, mai 2008.Espaces sonores, Actes de recherche, Ed. Transatlantiques, Paris, 2004.Contact sedes.anne@gmail.com114 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Entre l’Orient et l’Occident,« Transformations et survivances du luth monoxyle »Jean LambertCentre de Recherche en EthnoMusicologie (Laboratoire d’Ethnologie et de SociologieComparative, CNRS-Université de Nanterre) (France)Christian Raultluthier et organologue (France)Between Orient and Occident :Transformations and survival of the monoxyle lute (Yemen, Middle East, Malay Word)During the last years, our knowledge of Yemeni monoxyle lute (which is carved out of one single piece of wood)has improved through multidisciplinary researches. Besides its context of performance which had already beenexplored (Lambert 1997), its genesis and developments have been recently studied through its history in Arabo-Persian culture and history (Mokrani, Sous presse), as well as its diffusion in the Indian Ocean (PierreD’Hérouville, Werner Graebner, Larry F. Hilarian, Jean Lambert, Sous presse).The survival of this type of monoxyle lute has always seemed an enigma, which organology, performance practiceand lute making allow now to better understand.According to Christian Rault, all the plucked and bowed lutes were monoxyle until the 13 th century. From thisperiod, the mastering of new techniques of bended ribs and gathering wedges (in Bagdad and in Andalusia)radically transformed the structure of the instruments and its playing techniques, as well as the adding of stringswidens the ambitus (Rault (dir.), 1994). Thus appears what we know as the Arabian lute, ‘ûd, or the “short-neckedlute”, as we know it nowadays, as a sumptuary object answering the luxury needs of the mediaeval muslim courts(before being adopted by the christians).There, it replaced very quickly the old barbat (which was originary from Persia and Central Asia), except in a fewisolated spots for geographical or cultural reasons in Central Asia (the afghan robab, the Tibetan lutes, the dotaraof the Baul in Bengale, etc.) and in South Arabia were it survived until today. In Western Europe, the monoxylelute will vanish during the 1<strong>5th</strong> century.(C. Rault 2004). This technological revolution in the making of « shortneck lute » was also an important anthropological change.The lute making by gathering many pieces corresponded in the Renaissance to a new approach, a more “analytic”one of the universe. On another hand, the making of the lute by carving one piece of wood, with its specific hollowhandle, had been for millenars carrying symbolic conceptions and a global cosmology. The Yemeni qanbûs stillrepresents this analogical perception of universe, as shown in the anthropomorphic representation of theinstrument, the terminology of its parts (we cannot say : « pieces »), its myth of orign and its playingtechniques.(Lambert 1997).On a practical level, the small size and its monoxyle structure of this “fossile instrument" (C. Homo-Lechner, C.Rault 1999) helped it to survive in difficult, even hostile contexts. Its small size obviously helped it to be usedclandestinely during the periods of religious forbidding of music in Yemen and elsewhere ; its monoxyle structure,which makes it resistant to shocks and weather-proof, obviously helped it to be adopted by Arab sailers in theIndian Ocean, allowing it to migrate towards East Africa and South East Asia (Lambert Ed.).We shall try to bring together the complementary points of view of the ethnomusicologist, the history and the lutemaker, in order to put in perspective the historical datas, the techniques of fabrication, the morphology, themusical functions, the social practice, the playing styles and the cosmological representations.Furthermore, we shall try to ask new questions on this still enigmatic instrument : How can we explain certainmorphological particularities as the skin table which, it seems, was not wide spread in the Iranian barbat ? How canwe understand the specific ways of plucking it, with a “high” position of the right arm and its characteristic“broken” wrist ? And how all this can influence the musical style ? How is this related to the caudal appendixwhich also ties the strings, and allows to move freely and dance during playing ? Did the social constraints and theplaying techniques precede its morphology or vice and versa ?Durant ces dernières années, l’étude du luth monoxyle yémenite qanbûs a fait l’objet de recherchesmulti-disciplinaires approfondies. Si sa dimension ethnomusicologique avait déjà été explorée (Lambert1997), l'étude de ses origines (Mokrani, Sous presse) et celle de sa diffusion dans l'Océan Indien (PierreD’Hérouville, Werner Graebner, Larry F. Hilarian, Jean Lambert, Sous presse) renouvellent lesconnaissances sur la genèse de cet instrument. La survie de ce luth monoxyle fait figure d’anachronismeque l'organologie comparée, éclairée par l’approche plus intime de la lutherie permet en partie d'expliquer.Pour Christian Rault, les luths à cordes pincées ou frottées sont essentiellement monoxyles jusqu'auXIIIème siècle. A partir de cette époque, la maîtrise de nouvelles techniques permettant le pliage etl'assemblage d'éclisses (simultanément à Baghdad et en Andalousie), transforme radicalement etdurablement la structure, l'ambitus et les techniques de jeu des cordophones à manche court (Rault (dir.),1994).116 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>C’est ainsi que le luth arabe ‘ûd, tel que nous le connaissons aujourd’hui, apparaît comme un objetsomptuaire répondant aux exigences de luxe des cours médiévales musulmanes (avant d'êtreprogressivement adopté par les chrétiens). Il va y supplanter les vieux luths monoxyles issus du barbatiranien (ou d’autres formes encore mal identifiées), sauf dans quelques isolats culturels ou sociologiquesd'Asie centrale (robab afghan, luths tibétains, dotara des Baul du Bengladesh, etc.) et d'Arabie du Sud où ilssurvivent encore aujourd'hui.En Occident chrétien, ils disparaîtront complètement dans le cours du XVe siècle.(C. Rault 2004). Orcette révolution technologique du luth à manche court n’est pas sans conséquences sur sa natureanthropologique.Si la construction d’instruments par assemblage d’un grand nombre de pièces correspond, durant laRenaissance à une nouvelle approche de plus en plus « analytique » de l'univers, en revanche, la fabricationmonoxyle de l’instrument, avec son manche creux caractéristique, est le fruit d'une conception symboliqueet cosmologique globale.Le qanbûs yéménite incarne encore cette perception analogique de l'univers, comme en témoignent sareprésentation anthropomorphique du corps humain, la terminologie de ses parties, ses mythes d’origine etses pratiques de jeu (Lambert 1997). D'un point de vue pratique, la petite taille et la nature monoxyle de cet"instrument fossile" (C. Homo-Lechner, C. Rault 1999) contribuent à expliquer sa survie dans des contextesdifficiles, voire hostiles. Ainsi, sa petite taille a vraisemblablement favorisé son utilisation clandestine durantles périodes d’interdiction religieuse de la musique au Yémen, tandis que sa nature monoxyle (qui en fait uninstrument résistant aux intempéries et aux chocs), a permis son adoption par des marins soumis aux duresconditions de la navigation arabe médiévale dans l’Océan indien, permettant ainsi sa diffusion vers l'Afriquede l’Est et Asie du Sud-Est (Lambert Ed.).Le rapprochement entre les points de vue complémentaires de l'ethnomusicologue et du luthier permettradonc, d'une part, de mettre en perspective les données historiques, les techniques de fabrication, lamorphologie, les fonctions musicales, les pratiques sociales, les modes de jeu instrumental et lesreprésentations cosmologiques spécifiques.Et d'autre part de poser de nouvelles questions sur cet instrument encore énigmatique qu’est le qanbûsyéménite : comment s’expliquent certaines particularités morphologiques comme sa table en peau qui,semble-t-il, ne figurait pas sur le barbat iranien ? Comment comprendre son jeu particulier qui exige uneposition de la main droite dans laquelle l’avant bras, parallèle aux cordes, et le poignet « cassé » affectenten retour le style musical ? Quelle relation avec l’appendice de fixation des cordes, qui permet àl’instrumentiste de se mouvoir librement et de danser tout en jouant ? Les contraintes sociales et latechnique instrumentale ont-elles précédé la morphologie de l'instrument ou est-ce l’inverse ?BIBLIOGRAPHIED’Hérouville, Pierre, Werner Graebner, Larry F. Hilarian, Jean Lambert, « Gambus/kabosy. Les migrations du luthyéménite dans l’Océan Indien » : in Lambert (éd.), sous presseHomo-Lechner, Catherine et Christian Rault1999, Instruments de musique du Maroc et d’al Andalus. C.E.R.I.M.M.,Fondation Royaumont, Paris, 1999. (141 p.)Lambert Jean (éd.), Sous presse, Le chant de Sanaa et le luth monoxyle au Yémen, sous presse, Sanaa, UNESCO,SFD, CEFASMokrani, Samir, « Aux origines du luth monoxyle », in Lambert Jean (éd.), Sous presse : Rault, Christian (sous ladirection de), 1994 Instruments à cordes du Moyen-Age, Actes du colloque de Royaumont, Royaumont,CERIM, Séraphis.Rault, Christian 2004 “The emergence of new approaches to plucked instruments, thirteenth to fifteenthcenturies” in : Guitarre und zister, bauweise, Spieltechnik und Geschiche bis 1800, MichaelsteinerKonferenzberichte, band 66, 22. Musikinstrumentenbau-Symposium, Michaelstein, 16 bis18 november 2001,Stiftung Kloster Michaelstein und Verlag Janos Stekovics, 2004, pp.19-31.Rault, Christian 2005 “Instrumentos de arco musulmanos y cristianos, las influencias reciprocas" in : El sonido de lapiedra, actas del Encuentro sobre instrumentos en el Camino de Santiago : 9,10 et 11 septembre 2004.Xunta de Galicia, 2005, pp. 305-323.BIOGRAPHIESJean LambertJean Lambert, ethnomusicologue, est maître de conférence au Muséum National d’Histoire Naturelle.Il est actuellement responsable du Centre de Recherche en EthnoMusicologie (Laboratoire d’Ethnologie et deSociologie Comparative, CNRS-Université de Nanterre).Christian RaultChristian Raultest luthier et organologue.Auteur de livres et de nombreux articles, il a notamment participé aux recherches pluridisciplinaires puis à laréalisation des instrumentarium médiévaux de Santiago Compostela, Puivert, Lugo et Royaumont.<strong>CIM09</strong> 117

<strong>CIM09</strong> 26-29 octobre 2009Peut-on envisager une organologie des traitements sonorestemps réel, instruments virtuels de l’informatiquemusicale ?Serge Lemouton, Raffaele Ciavarella, Alain BonardiIRCAM (France)Short english abstractWe deal with the preservation of interactive realtime music combining human musicians and computers, which hasbeen created at Ircam for more than 30 years. In that field, no leading paradigm has emerged, either in terms ofscores nor in terms of instruments. Facing technological obsolescence, can this repertoire be preserved ? Will anorganology of realtime processes emerge? The only feasible approaches are methodological ones based onstructured documentation in the respect of standards. The purpose is therefore to extract knowledge during thecreation of the work, or for the occasion of its performance or reperformance.CONTEXTE DANS LE DOMAINE DE LA PRODUCTION DE LA MUSIQUE TEMPS RÉEL MIXTEOn a souvent dit que l’utilisation de systèmes informatiques aurait permis au compositeur de la secondemoitié du XX e siècle de dépasser sa pratique habituelle, en lui permettant de « composer les sons » et nonplus seulement les « notes ».En programmant (ou en faisant programmer) ses instruments numériques, il fait appel à une nouvellesorte de lutherie. Le problème qui se pose est le suivant : alors que par le passé, les instruments de musiqueconstituaient un substrat relativement stable à l’échelle historique, ce qui permettait de construire unetradition, une culture, le répertoire des oeuvres mixtes de la fin du XX e siècle, associant instrumentsacoustiques et processus de transformation du son, est confronté à l’obsolescence accélérée des technologiesnumériques. Ce répertoire, largement représenté à l’IRCAM, va-t-il pouvoir se transmettre, se constituer entant que tel, et se préserver ? Une organologie des traitements sonores temps réel va-t-elle émerger ?CONTEXTE DANS LE DOMAINE DE LA PRÉSERVATION DES ŒUVRES NUMÉRIQUESLes possibilités offertes aux compositeurs par la synthèse temps réel étant infinies, toute tentatived'utilisation de langages conventionnels pour décrire une oeuvre faisant appel aux technologies est vouée àl'échec. La quantité d'information nécessaire pour reproduire une telle œuvre est gigantesque ; de plus, cesinformations dépendent complètement des technologies adoptées.De nombreux pionniers de la musique électronique ont eu recours à des notations et conventionspersonnelles pour leurs propres oeuvres. Les approches de la préservation ont d’abord été « muséales »,c'est-à-dire fondées sur la conservation de tout ce qui est produit, y compris le matériel technologique, dansun endroit sûr afin d'avoir toutes les connaissances nécessaires pour de nouvelles performances ouinterprétations ; elles s’appuient implicitement sur la possibilité de retour vers le compositeur, lestechniciens et les musiciens impliqués lors des exécutions précédentes.De toute évidence, ces approches sont incomplètes, précaires et à haut risque. Au cours du temps, l'efforts’est porté en direction de la documentation structurée, selon des normes méthodologiques, comme OAIS.De cette façon, nous sommes en mesure de collecter et de connecter toutes (ou presque) les informationsrelatives aux oeuvres directement depuis la création. Les informations sont utilisées pour construire desréseaux sémantiques stockés dans des entrepôts sûrs et préservables. Partant de cet état de l’art, nosrecherches actuelles vont dans le sens de la « virtualisation ». Le but sera de saisir les intentions ducompositeur dans une œuvre, quelle que soit la technologie adoptée pour les exprimer.CONTEXTE DANS LE DOMAINE DE L’ANALYSE MUSICALE DES ŒUVRES TEMPS RÉELLes œuvres mixtes utilisant l’électronique temps réel sont dépendantes de la technologie. Ce qui signifieque des œuvres très récentes avec électronique risquent de ne plus pouvoir être lues, analysées, interprétéestout simplement par obsolescence de l’un de leurs composants techniques.Cette situation, d’apparence négative, peut également être considérée comme une opportunité.Tout d’abord, l’opportunité pour le compositeur de réécrire l’œuvre lors d’importantes mutationstechnologiques : ainsi la partition d’Anthèmes 2 de Boulez a subi des transformations à la double occasion deson enregistrement et de la modification de sa configuration technique, passant de la machine Next à la118 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>station Silicon Graphics. Mais également une opportunité pour le musicologue d’établir des éléments d’unemusicologie différentielle et génétique fondée sur les conditions techniques de possibilité de l’œuvre.OBJECTIFSNotre objectif est de fournir des éléments de méthodologie, des retours d’expérience, et des outilsnumériques dans le domaine de la préservation de la musique interactive temps réel mixte. Cela nécessite lacollecte de connaissances, une modélisation théorique, et des études de cas de re-créations d’œuvres, dans lerespect des standards.CONTRIBUTION PRINCIPALEAucun paradigme dominant n’a émergé du domaine de la musique mixte avec électronique temps réel,que ce soit en termes de partitions ou bien en termes d’instruments. Les environnements utilisés, tels queMax/MSP ou PureData, encodent implicitement des connaissances musicales et des connaissances entraitement du signal qu’il est extrêmement difficile de récupérer. La seule approche possible estméthodologique.Il s’agit donc d’extraire des connaissances au moment de la création de l’œuvre, ou pendant la préparationd’une nouvelle exécution. Nous proposons un ensemble de solutions destinées à expliciter les connaissancesqui sont accessibles (nous ne pourrons rien faire lorsqu’elles sont inaccessibles par exemple concernant lehardware, le système d’exploitation, etc.) en tentant de respecter les standards.Notre travail de création de services pour la préservation des objets numériques nous a conduits àélaborer un ensemble logiciel appelé MustiCASPAR, conçus à partir de la base de données actuelle Musticaconsacrée aux oeuvres mixtes de l’Ircam, et intégrant le modèle OAIS. A ces outils s’ajoutent lesapplications de documentation permettant la modélisation organisationnelle et technique de l’œuvre mixte.CONSÉQUENCESLes outils développés et la méthodologie affinée sont une première réponse, qui peut laisser espérer uneamélioration non seulement de la préservation mais surtout de la constitution de connaissances permettantde remonter les œuvres avec électronique temps réel. Nous espérons qu’elle contribuera à des pratiques depréservation active des œuvres de notre patrimoine numérique.RÉFÉRENCESBachimont, B., Blanchette, J.-F., Gerszo, A., Swetland, A., Lescurieux, O., Morizet-Mahoudeaux, P., Donin, N.,Teasley, J. 2003. Preserving Interactive Digital Music: A Report on the MUSTICA Research Initiative. InProceedings of the Third International <strong>Conference</strong> on WEB Delivering of Music (WEB’03), Leeds, UK, 2003.Barthelemy, J., Bonardi, A., Boutard, G., Ciavarella, R. 2008. Our research for lost route to root. In Proceedings ofInternational Computer Music <strong>Conference</strong> ICMC 2008, Belfast, UK, 2008.Bonardi, A. and Barthelemy, J. 2008. The preservation, emulation, migration, and virtualization of live electronicsfor performing arts: An overview of musical and technical issues. ACM J. Comput. Cultur. Heritage 1, 1,Article 6 (June 2008), 16 pages.BIOGRAPHIESSerge LemoutonSituation actuelle Réalisateur en informatique musicale à l’Ircam depuis 1992Principaux diplômes DNESM en écriture et composition instrumentale et electroacoustiquesdu CNSM de LyonPublications récentes Article pour une conférence : Utilisation musicale de dispositifs de captation du mouvementde l'archet dans quelques oeuvres récentesJournées d’informatique musicale, AFIM, Grenoble, 2009Contact serge.lemouton@ircam.frRaffaele CiavarellaSituation actuelle Chargé de recherche et de développement à l’IrcamDomaine de rechercheprincipal Modélisation et virtualisation de la connaissance pour la musique contemporainePrincipaux diplômes Diplômé de flûte traversière du CNSM (Milan)Doctorat de Musicologie : Hochschule für Musik und Darstellende Kunst (Wien)Doctorat de Physique de l’MIT - Media Perceptual Lab (Boston)<strong>CIM09</strong> 119

<strong>CIM09</strong> 26-29 octobre 2009Publications récentes Barthelemy, J., Bonardi, A., Boutard, G., Ciavarella, R. 2008.Our research for lost route to root. In Proceedings of InternationalComputer Music <strong>Conference</strong> ICMC 2008, Belfast, UK, 2008.Contact raffaele.ciavarella@ircam.frAlain BonardiSituation actuelle Maître de Conférences HDR à l’Université Paris 8en délégation à l’IRCAM – CNRS – UMR 9912Domaine de rechercheprincipal Musicologie des œuvres mixtes temps réelPrincipaux diplômes Doctorat de musicologie de l’Université Paris 4 en 2000Habilitation à Diriger des Recherches en 2008Publications récentes Article dans une revue Bonardi, A. and Barthelemy, J. 2008.The preservation, emulation, migration, and virtualization of live electronicsfor performing arts: An overview of musical and technical issues.ACM J. Comput. Cultur. Heritage 1, 1, Article 6 (June 2008), 16 pages.Livre Représentations opérationnelles, Sampzon : Editions Delatour, 2008Contact alain.bonardi@ircam.fr120 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Investigating the history of the piano action usingscientific calculus:The case of an Érard grand piano from 1802Adrien Mamou-ManiAcoustics Research Group, Open University (UK)Thierry ManiguetMusée de la musique – Cité de la musique – Paris (France)BACKGROUND IN MUSICOLOGY AND ORGANOLOGYThe second half of the 18th century sees growing interest for the pianoforte in Europe. By the end of thecentury, among dozens of mechanisms, two types of actions prevail in the grand piano, regarding twodifferent geographic areas: the Viennese action and the English grand piano action. In France, severalmakers open workshops from the 1770’s and produce instruments which undoubtedly pay tribute to theEnglish tradition (Cole 1998). One of the preeminent, Sébastien Érard – later on famous for doubleescapement mechanism (1821) – makes at the start no exception to the rule. In particular, his grand pianomade from 1797 to 1809 looks very similar to the instruments built by the famous Londoner makerBroadwood. However, a careful study of both productions shows important discrepancies between theinstruments (Clarke 2009).Archives and literature of the time show that the spreading out of the Érard’s instrument was very wide:Haydn or Beethoven possessed a piano of the kind and many French pianists and composers used thisinstrument at home or in concert (Maniguet 2009). Now, if several instruments of Broadwood from theperiod 1790-1810 can be listened to nowadays, no such possibility exists with the pianos of Érard of thesame years (neither with French production in general), leading to ignore what could consists a specificaesthetics of a French school of piano. To fill this gap, the Musée de la musique has decided to built afacsimile of an Érard grand piano from 1802 which belongs to its collections and which is no longer inplayable conditions.BACKGROUND IN MECHANICSThe action of a piano is an essential part in the musical signature of the instrument. The behavior of theaction of modern pianos has been studied several times, using experimentations (Askenfelt & Jansson1990-1991) and numerical simulation (Hirschkorn et al. 2006). Simulations based on the method calledmulti-body were carried out, including the hammer shanks (Izadbakhsh et al. 2008). Beside, experimentsusing ultra speed camera (up to several thousands of images per second) were performed and automaticallytreated (Hirschkorn 2004).To accompany the making of the facsimile, the same experimental and numerical simulation protocolshave been used to describe the mechanical behavior of the action of the original piano. As a matter ofcomparison, the same experiments have been held on two actions of Broadwood grand pianos (1793 and1806).AIMSThe principle aim is to characterize the mechanical behavior of an important musical instrument whosemusical identity is almost unknown. The purpose is also to help us finding out if this action was a first stepin Sébastien Érard’s invention process of the double escapement.MAIN CONTRIBUTIONThe organological researches allow us to assert the importance of a corpus of grand pianos built bySébastien Érard during the turning point of the 18th century. The results of the characterization of themechanical behavior of the action of one Érard’s grand piano from 1802 show important similarities butalso visible differences when compared to instruments from Broadwood (1793 and 1806). It helps toconclude that Sébastien Érard was, at the beginning of his craft, closely inspired by the English school ofpiano making but had nonetheless already an innovative approach.IMPLICATIONSThis work is an example of mechanical modeling applied to a historical question. It gives a newunderstanding of this piano action and new tools for the facsimile maker. Beside the applied researches,122 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>these experiments should lead up to a powerful protocol of characterization of piano action, applicable to awide range of instruments.REFERENCESAskenfelt, A. and E.V. Jansson, From touch to string vibrations. I. Timing in the grand piano action. Journal of theAcoustical Society of America, 1990. 88(1): p. 52-63.Askenfelt, A. and E.V. Jansson, From touch to string vibrations. II. The motion of the key and hammer. Journal ofthe Acoustical Society of America, 1991. 90(5): p. 2383-2393.Clarke, C. Erard and Broadwood in the Classical Era: Two Schools of Piano-making, to be published in Musique,Images, Instruments, 2009Cole, M., The pianoforte in the classical area, Oxford, Clarendon Press, 1998.Hirschkorn, M., Dynamic Model of a Piano Action Mecanism. 2004, MSc Thesis, University of Waterloo: Canada.Izadbakhsh, A., McPhee J., Birkett S., Dynamic modelling and experimental testing of a piano action mechanismwith a flexible hammer shank, ASME Journal of Computational and Nonlinear Dynamics, 2008, Volume 3,Issue 3.Maniguet, T., Le piano en forme de clavecin d’Érard, to be published in Musique, Images, Instruments, 2009BIOGRAPHIESAdrien Mamou-ManiCurrent positionResearch Associate, Acoustics Research Group, Open University, UKIn collaboration with Howarth of London and Smith-Watkins Newton International Fellow, until April 2011Associate Lecturer in Acoustics, Paris Sorbonne University, Paris 4Positions and education2008 Post-doctoral researcher at Laboratoire de Recherche et de Restauration du Musée de la Musique, Paris.Prestresses and vibration of the soundboards, towards the modeling of the know-how of musical instruments makers (french)2004-2007 PhD in Mechanics and Acoustics , Université Pierre et Marie Curie (UPMC),Effects of the “downbearing” of the soundboards2003-2004 MSc Acoustics, Signal Processing and Computer Sciences Applied to Music (UPMC/ IRCAM)Numerical modelling and modal analysis of a vihuela (former guitar)2001-2003 BSc in Physics, Université Paris Diderot.Teaching2008-2009 Teacher in Acoustics applied to Musical Instruments (Paris 4 Sorbonne/UPMC)2006-2008 Teaching assistant in Signal Processing at the Musical Conservatory of Paris (CNSMDP)2004-2007 Teacher in Mechanics at UPMC, ParisOverview of research activitiesConsistency of wind instrument manufacturing.Multi-body dynamics applied to the piano action organology.Non-linear finite element analysis applied to soundboards.Non-linear vibrations of prestressed structures.Thierry ManiguetThierry Maniguet is curator at the Musée de la musique, Paris.After studies of sciences, musicology and musical acoustics at the Paris universities of Pierre-et-Marie-Curie andSorbonne and at the Conservatoire National Supérieur de Musique de Paris, Thierry Maniguet teaches piano andtheory in academy during ten years.Specialised in organology, he is, during eight years, a representative for the musical instrumental heritage. As curator atthe Musée de la musique since 2000, he conceived the new exhibition of the rooms devoted to 19th and 20th centuries.He teaches at the Conservatoire National Supérieur de Musique and is a lecturer in several French academicinstitutions.<strong>CIM09</strong> 123

<strong>CIM09</strong> 26-29 octobre 2009Violin playing techniques and settings in early 20thcenturyEdouard Martinviolinist, musician-researcher, Paris (France)Anne HoussayMusée de la musique (France)BACKGROUND IN HISTORY OF MUSICViolin technique in the 19 th century is well documented and has been analysed by French scholars such asA. Wirsta, or through the Performance Practice in England (R. Stowell). The field of Performance Studieshas later introduced the idea of recordings as sources, and underlined the key role of recorded musicians inearly 20 th century : whether old-fashioned or modern, they are disciples of 19 th century masters andestablished 20 th century’s standards.As pointed out by R. Philip, pre-recording artistry in performance is unreachable for us, only the musicalinstruments as they were are. That’s why we will investigate early 20 th century where changes in violintechnique and style could be compared with the evolution of violin’s settings.The progressive replacement of the gut E-string with a steel one, between World War I and 1930,divided violinists; some welcomed it, and some discarded it. Historical texts, musical scores, violin methods,recordings and pictures show the significant change of violin playing techniques and settings. Leadingfigures such as Carl Flesch or Lucien Capet illustrate this evolution.BACKGROUND IN ORGANOLOGY AND HISTORY OF VIOLIN MAKINGStudies on the musical instruments have been based in organology on a multidisciplinary approach asshown by Florence Gétreau in "Musique - Images - Instruments" : the study of heritage objects frommuseums and private collections, the study of musical treaties that describe sometimes details aboutmusical instruments and making and restoration techniques.As for the violin history, it is a field that has a particularly rich corpus of bibliography in violin makingand repairing. In the field of History of techniques and technology also, a wide approach allows comparingtechnical innovations from different fields, and a critical analysis of the patents gives us clues to understandinnovations.Also, the notion of technical systems, networks and circulations as studied by Liliane Hilaire-Perez givesus some tools to analyse the links between musicians, music performance organisers and instrumentsmakers.We are carrrying out a study of some violins in the collection of the music museum in Paris which haveremains of 1900-1930 settings. Some of them are directly linked to musicians who have done recordings inthat period. For instance, instruments by Paul Kaul, whose model was done for the violinist Capet, bearevidence of a setting for wire E string. The shaping of the fingerboard and its angle are done to fit thethinner and stiffer string. We will discuss the relations this could have with bowing angle and playingtechniques of the time.AIMSUnderstanding the violin aesthetics at the turn of the 20 th century.MAIN CONTRIBUTIONThe parallel between violin playing techniques and set-up, through historical texts, recordings, acousticalconsiderations and preserved instruments.IMPLICATIONSThe changes in violin playing techniques and settings correspond to changes of the expectation of what aviolin should sound like.124 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCESBrown, Clive, Classical and Romantic Performing Practice 1750-1900 (Oxford, 1999)Capet, Lucien, Technique supérieure de l’archet (Paris, 1916)Capet, quatuor, Complete Recordings [1928], OPK 2051/52/53/56/57 [CD]Eberhardt, Siegfried, Wiederaufstieg oder Untergang der Kunst der Geigens (Die Kunstfeidliche Stahlseite)[Recovery or Ruin of the Art of Violin Playing (The Steel String, Enemy of the Art)] (Amsterdam, 1938)Flesch, Carl, Die Kunst des Violinspiels. 2 vols. (Berlin, 1923, 1928)Flesch, Carl, Historical Recordings 1905-1936, Symposium 1032/3/4 [CD]Gétreau, Florence, Les collections instrumentales du Conservatoire de Paris, 1793-1993 (Paris, 1996)Herwig, Charles, “The Evil of the Wire E String.” Fiddlestrings 1 (1918): 5.Houssay Anne, « La fabrication des cordes harmoniques entre 1790 et 1960 : le rôle des artisans, des ingénieurs,des facteurs d’instruments et des musiciens », Mémoire de DEA, CDHTE, CNAM, 2005.Katz, Mark, “Portamento and the Phonograph Effect” Journal of Musicological Research 25 (2006): 211-32.Kaul, Paul, La querelle des anciens et des modernes: lutherie italienne ou lutherie française ? (Nantes, 1927)Philip, Robert, Early Recordings and Musical Style: Changing Taste in Instrumental Performance, 1900-1950(Cambridge, 1992)Stowell, Robin, Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries(Cambridge, 1985)Stoeving, Paul, The mastery of the bow and bowing subtleties (New-York, 1920)Tolbecque, Auguste, L'Art du luthier (Niort, 1903, reprinted 1984)Tolbecque, Auguste, Notice historique sur les instruments à cordes et à archet (Paris, 1898)Wirsta, Aristide, L'enseignement du violon au XIXe siècle : thèse pour le doctorat ès-lettres présentée à la Facultédes Lettres et Sciences humaines de l'Université de Paris, 1974.Witek, Anton. “The Wire E.” Violinist 24 (August 1919): 289–94.BIOGRAPHIESEdouard Martin- Maîtrise d’histoire, Paris I La Sorbonne, 2004- Master d’histoire des sciences, EHESS, 2006- Violinist: pupil of Jacques Dejean (pupil of Jules Boucherit (1877-1962), pupil of Jules Garcin (1830-1896); all CNSMteachers)- Publication in Musique-Images-Instruments, N°8, 2007.Anne Houssay- Violin-maker and restorer, Newark school of Violin Making (GB).- Conservator in the Musée de la musique since 1990.- MA degree in conservation – restauration, University of Paris-Sorbonne.- DEA in history of techniques, Centre d’histoire des techniques du CNAM.- Publications in : ISMA08 ; Proceedings of Acoustics08 ; CRBC, 24, 2006, pp. 21-29 ; Actes de journées d’études, Cité dela musique, 2008 ; Musique et Technique, ITEMM, Le Mans, 2008 ; « Altos », Cahiers du musée n°1, Cité de la musique,2000.- Ph. D. in preparation.<strong>CIM09</strong> 125

<strong>CIM09</strong> 26-29 octobre 2009Étude perceptive et dynamique de la guitare électriqueBenoît Navarret 1,2 , Jean-Loïc Le Carrou 2 , Anne Sèdes 1 , François Ollivier 3 , YoFujiso 21 -CICM, Université Paris 8, Maison des Sciences de l'Homme Paris-Nord (France)2- Équipe LAM, Institut Jean le Rond d'Alembert, UPMC Univ. Paris 06, CNRS, Paris (France)3- Équipe MPIA, Institut Jean le Rond d'Alembert, UPMC Univ. Paris 06, CNRS, Paris (France)Some perceptual and dynamical aspects of the electric guitarThe electric solid body guitar was popularized by two American stringed-instruments makers: Leo Fender with hisTelecaster (1950) and Stratocaster (1954), and Lester W. Polfuss with the Gibson Les Paul (1952). These guitarswere used by the most famous guitarists of popular music, becoming legends and a « must have » for manyguitarists. Musicians agree to say that the Fender and Gibson instruments sound is really different but the reasonswhy are not clear.In the present paper, we study the influence of the instrument's body material on the sound produced by aTelecaster. Our first perceptual and acoustical experiences consist in the comparison of three visually identicalTelecaster guitars of which bodies are made of different woods (medium, mahogany and ash). Thirty-twoguitarists played these guitars and had to compare the sound of each guitar in three situations: listening to theclean sound, the distorted sound and the acoustic sound. Results show that the guitarists found a particular soundbehavior for each instrument. In order to link these perceptual results to the instrument's vibrational structure,some measurements (experimental modal analysis, spectral center of gravity, energy decay curve) were alsocarried out. Throughout these vibrational measurements, it appears that the material of the body of an electricguitar has indeed an influence on the instrument's sound.ÉTAT DE L'ART EN MUSICOLOGIE ET ORGANOLOGIELa guitare électrique est aujourd’hui présente sur tous les continents et fait partie intégrante dupatrimoine musical mondial. L'électrification de la guitare a fait l'objet de recherches dès les années 1920aux États-Unis. Elle a constitué une solution efficace au manque de volume sonore dont souffrait la guitareacoustique [1]. Électrifiée et amplifiée, la guitare trouve une place nouvelle au sein des orchestres de jazzs’affirmant en tant qu’instrument soliste. Elle rivalise alors avec les instruments phares de l’époque tels quela trompette, le saxophone, le piano ou la voix [2]. La guitare électrique devient ainsi un instrument descène incontournable et un des piliers des musiques populaires du XX ème siècle.Malgré l'évolution permanente de ces musiques, les recherches de nouvelles sonorités, l'apparitiond'autres outils de création complémentaires (comme l'ordinateur), la plupart des modèles de guitareélectrique proposés actuellement sur le marché témoignent d’une filiation très forte avec les modèlesapparus dans les années 1950 [3]. Ces guitares ont leur propre identité sonore, ce que tout musiciens’accorde à décrire. Si l’histoire des luthiers et des instruments est richement documentée [4], lesexplications des différences de sonorités perçues ne sont pas toujours convaincantes.ÉTAT DE L'ART EN ACOUSTIQUELe son rayonné par une guitare électrique provient essentiellement du système électro-acoustiqueamplificateur du mouvement de la corde. Pour étudier les différences sonores entre instruments, les étudesse sont légitimement focalisées sur les différents « microphones » captant le mouvement de la corde [5].Cependant, le comportement dynamique de la structure de la guitare est important du fait du couplage de lavibration de la corde par le chevalet et les frettes du manche. Fleischer et Zwicker [6] ont comparé deuxmodèles de guitare électrique, une Gibson Les Paul et une Fender Stratocaster, et ont mis en évidencel’influence de la forme de la tête du manche dans l'apparition de notes creuses (notes très rapidementamorties).Cette étude montre donc que les éléments de lutherie de la guitare sont importants et conditionnentcertains aspects du son. Néanmoins, elle ne permet pas de lier ces éléments à la perception qu'ont lesmusiciens du son.OBJECTIFSL’objet de nos recherches est l’évaluation de l’influence des éléments de lutherie de la guitare électrique àcorps plein (en anglais solid body) sur le son amplifié perçu, et plus précisément, de l’influence du matériaudu corps de l’instrument.126 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>CONTRIBUTION PRINCIPALENotre approche comprend deux aspects complémentaires : d’une part, l’analyse de verbalisationsrecueillies auprès de guitaristes et d’autre part, le traitement de mesures physiques effectuées sur desguitares électriques.Il a été demandé à une trentaine de guitaristes de jouer trois guitares électriques esthétiquementidentiques. La forme des trois guitares était celle d'une Telecaster. Seul le matériau du corps plein avait étémodifié : les trois essences retenues (le frêne, l'acajou et le medium) étaient recouvertes d'une même laqueopaque de couleur noire.L'enjeu était de pouvoir comparer diverses configurations « toutes choses égales par ailleurs » sachantque cette situation est souvent inédite pour les guitaristes à cause des contraintes que cela impose. Lesmusiciens ont ensuite décrit le son qu’ils percevaient en jouant ces instruments dans trois situationsdistinctes i.e. en son clair, en son saturé puis en son acoustique (sans amplificateur).Ces étapes ont permis de recueillir des informations sur les trois attributs classiques du discours desmusiciens : la balance spectrale (perception du spectre du son produit), la réponse à l’attaque de la corde(sensation de dynamique, transitoires d’attaque) et le sustain (qualité de la résonance, pente de décroissancedu son et évolution fréquentielle). Puis, ces informations ont été confrontées au comportement dynamiquede la structure. Pour cela, une étude modale ainsi que la mesure de l'admittance d'entrée aux points decouplage avec les cordes (au chevalet et au niveau des frettes du manche) ont été effectuées pour les troisguitares testées.RETOMBÉESCes investigations ont pour but de fournir des résultats susceptibles d’aider le milieu de la factureinstrumentale en aidant à la compréhension du ressenti du guitariste et orientant les choix qui s’offrent auxluthiers pour satisfaire les demandes de leurs clients.Cette première étude a porté sur le matériau du corps mais elle sera étendue à l'étude de la rigidité dumanche ainsi qu'à d'autres composantes essentielles de la guitare (e.g. le type de chevalet).La recherche de matériaux de substitution au bois est aussi un enjeu non négligeable compte tenu de laconsommation importante de bois dans ce secteur d’activité. Enfin, la guitare électrique étant encore peuétudiée, cela permet d'éprouver les méthodes habituellement appliquées et d'optimiser les protocoles de testen les adaptant aux spécificités de cet instrument.BIBLIOGRAPHIE[1] GÉTREAU, F. (1988), Instruments et luthiers parisiens XVIIe-XIXe siècle, Délégation à l’action artistique de la Villede Paris.[2] EVANS, T. (1977), Guitars, Paddington Press, New York-London.[3] GRUHN, G. & CARTER, W. (1991), Gruhn’s guide to vintage guitars, GPI Books, San Francisco.[4] SÉGURET, Ch. (1997), L’Univers des guitares, Ed. Solar, Paris.[5] FLETCHER, N. H. & ROSSING, T. D. (1998), The Physics of Musical Instruments, Second Edition, Springer, New York.[6] FLEISCHER, H. & ZWICKER, T. (1998), « Mechanical Vibrations of Electric Guitars », in ACUSTICA, Vol. 84, Juil-Août,pp. 758-765.BIOGRAPHIESBenoît NavarretStatut Doctorant, CICM Université Paris 8 (MSH Paris Nord) / LAM Univ. Paris 06Principal champde recherche Musicologie, organologie et perceptionPrincipal domainede recherche Travaux de caractérisation de la guitare électriqueQualifications DFS d’Acoustique musicale,Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP), FranceDEA Arts de la Scène et du Spectacle, Université Paris 8, Saint-Denis, FranceContact benoit.navarret@gmail.com<strong>CIM09</strong> 127

<strong>CIM09</strong> 26-29 octobre 2009Jean-Loïc Le CarrouStatut Maître de Conférences à l'Université Pierre et Marie Curie Paris 06, à Parismembre de l'équipe LAM (Lutheries – Acoustique – Musique)de l'Institut Jean le Rond d'Alembert (CNRS UMR 7190)Principal champde recherche Physique des instruments de musiquePrincipaux domainesde recherche Vibro-acoustique des instrumentsinteraction musicien-instrumentlien entre facture instrumentale et sciencesQualifications Docteur de l'Université du Maine, spécialité Acoustique, 2006Ingénieur ENSIM, spécialité mesures acoustiques et vibrationsContact jean-loic.le_carrou@upmc.frAnne SèdesStatut Maître de Conférences, Département de musique de l'Université de Paris8Principal champde recherche MusicologiePrincipal domainede recherche Création musicale et nouvelles technologiesQualifications Docteur en "Esthétique, sciences et technologies des arts",spécialité musique, 2000,Habilitée à diriger des recherches, 2007.Publications "Musique et cognition", N° 48 de la revue Intellectica,revue de l'association pour la recherche cognitive, mai 2008.Espaces sonores, Actes de recherche, Ed. Transatlantiques, Paris, 2004.Contact sedes.anne@gmail.com128 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Piano Performance as Choreographic Practice in theMoving ImageImogene Newland, Conan McIvor, David BirdQueen's University, Belfast (UK)BACKGROUND IN CHOREOGRAPHYImogenes' background is in contemporary classical piano performance and post-modern choreography.Her arts practice combines both forms where the gestural possibilities of piano playing are acknowledgedand transformed into choreographic sequences. This is informed by the philosophical discourse of JeanBaudrillard relating to his theory of objects (Baudrillard, 1968) and seduction (Baudrillard, 1979).BACKGROUND IN FILMConans' practice explores the dynamics between sound and image in various visual forms workingtowards a point of convergence where both mediums operate together in a true equilibrium. Working fromthe premise of Richard Wagner’s 19th Century idea of the Gesamtkunstwerk (Complete Art Work),Conans' work moves toward a more fully integrated sonic/visual world where the relationship between thetwo mediums are challenged and reworked.BACKGROUND IN MUSICDavids’ background research is in creative music technology, electroacoustic music and fixed mediaacousmatic composition. His preferred compositional approach is to work with sound from an acousmaticperspective. Current research and interests include the exploration of soundscape composition, using theprocesses and techniques of acousmatic composition for collaborative projects with other artists andspatialization/diffusion.AIMS1. To emphasise the importance of the body in piano performance from a visual art perspective2. To use a multi-disciplinary analysis of piano playing in order to reveal the sociologicalimplications of piano performance3. To convey the relationship between the body and the piano as one in which the potentially ofdance can be met through the sequencing of gestures when revealed as a dubiety in a movingimage format4. Display the potential for an intimate and sensual physical interaction between body andinstrument though extreme close ups/abstraction of the imageMAIN CONTRIBUTIONThe strength of this collaboration is that the research topics between the two main authors arecomplimentary: on the one hand Imogenes' research places the movement aspects of musical performance asa primary interest where ordinarily sonic material would take precedence. By contrast, Conans' work seeksto address the issues of medium precedence in film aiming towards a balance of sound and image. Using aprocess of “jamming”, the film leads to an outcome which is the visual equivalent of musical improvisation.The main body of this presentation will discuss the representative characteristics of the piano as aninstrument and culturally symbolic object. It will locate the piano historically and present it'scharacteristics as an outcome of it's tradition, reflecting on specific performers/individuals that influencedthis trajectory. The analysis will be used to support an embodied approach to the examination of therelationship between the body and the piano where a multi-disciplinary outlook is informative in revealinghidden aspects of playing. This will be specific to the psychological experiences of the individual and willnot be a focussed gender study. Instead it will provide a theoretical analysis of the relationship between thebody and the piano using and extending Baudrillards' writings on objects (1968) and seduction (1979).The talk will be accompanied by the short experimental film Play (Imogene Newland, Conan McIvor2009) with sound design by David Bird. The film addresses issues of intimacy, dubiety and eroticism, andseeks to portray the physical struggle in the body both in dance improvisation and in playing the piano.The narrative of the piece is based on the state-of-being that arises from these seemingly disparate physicalactivities, through transposing footage of dance improvisation and piano play in an ambiguous manner soas to suggest paralleled actuality. By placing the film within the context of “Expanded Cinema” (a crossoverof experimental cinema, visual and performance arts), it provides a framework in which to explore the130 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>moments that intersect between live performance and the filmic. The piece transits from a state ofhyperrealism with an awareness of body and space, until the implication of body gradually dissolves in aseries of fleeting memories until perceived as shape and colour. The film reveals the very intimate musclemovements and rotations of the torso that are usually invisible to the observer through the distance of atraditional performance space.The soundtrack is improvised piano and ambient dance sound manipulated from hyperrealism toabstraction as an audio counterpoint to the image. The distinction between the diegetic and non-diegeticsound will be blurred, creating an ambiguity between the real and hyper-real video footage. The originalsound recorded from the video footage will be distinctive, although it will be extended, enhanced andmanipulated through Digital Signal Processing.IMPLICATIONS1. The deconstruction and re-institution of the piano as a culturally symbolic object2. How the physical relationship between the body and the instrument can be utilised to interpretperformance as a mode of seduction3. How the body/instrument relationship may be conducive to a film medium where extreme closeups of muscle movements and other 'hidden' aspects of traditional performance may be reframed totake on new significance4. Potential exhibition strategies for such interdisciplinary works that aim to address issues of spaceand audience in relation to “Expanded Cinema”REFERENCESBaudrillard, J., (1979) Seduction New York: St Martin’s PressBaudrillard, J., (1968) The System of Objects Verso BooksBIOGRAPHIESImogene NewlandCurrent position Doctoral student and performance tutor, Queen's University, BelfastMain research disciplines Music performance, choreographyMain research areas Philosophy, sociologyRelevant qualification LRSM (2008, Aberdeen), Master of choreography with distinction (MA)(2007, Dartington College of Arts)BA (Hons) Contemporary music (performance) (2003, Dartington College of Arts)Contact inewland01@qub.ac.ukConan McIvorCurrent position Film technician, CETL(NI): The Centre for Excellence in the Creativeand Performing Arts, Queen's University, BelfastMain research disciplines Film, Visual ArtMain research areas Sonic Art, film installationRelevant qualification MA film and visual studies (2007, Queen's University, Belfast),Northern Ireland screen's bill Miskelly Award 2007,BSC (Hons) interactive multimedia design with diploma in industrial studies (2006,University of Ulster)Contact cmcivor05@qub.ac.ukDavid BirdCurrent position Doctoral student at the Sonic Arts and Research Centre Queen's University,BelfastMain research disciplines Fixed media Acousmatic CompositionMain research areas Composition,Spatialization,diffusionRelevant qualification Master of Music (2008, Royal Welsh College of Music and Drama),Bachelor of Music (2006, RWCMD)Contact dbird02@qub.ac.uk<strong>CIM09</strong> 131

<strong>CIM09</strong> 26-29 octobre 2009The musical instrument as a natural extension of themusicianLuc Nijs, Marc Leman, Micheline LesaffreIPEM, Dept. of Musicology, Ghent University (Belgium)BACKGROUND IN MUSIC PERFORMANCEThe study of music performance is a fast evolving research area. The advent of new technologies and theviewpoint about the embodied nature of music cognition (Leman, 2007) have given a major impulse towardsnew empirical studies about the involvement of the human body during music performance. Althoughliterature on the performers instrumental and expressive gestures (Cadoz & Wanderley, 2000; Camurri etal., 2001) is growing, far less has been written on the musical instrument as an extension of the humanbody, the latter being considered to be the most natural mediator between subjective experience andphysical reality. This extension can become natural, i.e. part of the body, as a result of several processes.Research is needed that addresses these processes and the way in which the musical instrument influencesboth the construction and communication of musical meaning.BACKGROUND IN PHILOSOPHYAnalysis of the relationship between musician and musical instrument raises fundamental ontological andepistemological questions. To grasp the full meaning of this relationship, it should be considered from abroader philosophical perspective in which the interaction between musician and musical environment, thenature of human activity, the role of (self-) consciousness and the nature and quality of subjectiveexperience are central. The philosophical background of the research presented in this paper consists in acombination of ecological philosophy (Hirose, 2002), activity theory (Kaptelinin & Nardi, 2006) and thephilosophy of presence (Biocca, 2001).AIMSThis paper aims at gaining a theoretical understanding of the relationship between musician and musicalinstrument. Thorough knowledge of the nature and value of this relationship will reveal basic componentsof the embodied interaction during music performance. We develop a conceptual framework that providesan interdisciplinary theoretical basis for future in-depth studies, linked up with ongoing empirical research.MAIN CONTRIBUTIONThe main contribution of this paper is a refinement of the concept of musical embodiment in twodirections. First, from philosophy to music performance: concepts from ecological philosophy (affordance),activity theory (mediation, instrumental genesis) and presence research (presence-as-feeling/as-process) areused to reveal the central role of the musical instrument for the interaction during music performance. Notonly is it a basic constituent of the music performance situation, it also influences the quality of the musicalinteraction through its relation with the musician. After all, the musical instrument can hinder or allow anembodied interaction with the music, which is the basis for creative and expressive performance. Second,from music performance to philosophy: the study of a non-verbal (social and technology related)communication domain as a concrete example of embodied interaction will contribute to the refinement ofphilosophical concepts (such as the second-person perspective in music performance, the instrument asmediator, the coupling of action and perception).The starting point of the presented research is a finding that is shared and intuitively apprehended bymany musicians, namely the perceptual illusion that the musical instrument has become part of the body.We endorse to the viewpoint that this awareness is a necessary condition for a fine-grained expressivecommunication of musical meaning.In this paper it is argued that a symbiosis between musician and musical instrument results from agrowing integration of instrumental and interpretative movements into a coherent whole that is compatiblewith the body of the musician and with the movement repertoire of daily life. Such integration leads to thetransparency of the musical instrument that just like “natural” body parts disappears from consciousness.The musical instrument has then become part of the stable background of every human experience andno longer inhibits an embodied interaction with the music. It has become a natural extension of themusician, thus allowing a spontaneous corporeal articulation of the music.132 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>IMPLICATIONSA further elaborated theoretical framework for embodied music cognition will give empirical research afirm ontological and epistemological ground. This is linked up with modern philosophical approaches thatgo beyond the Cartesian dualism.Research into embodied music cognition is of particular interest for the development of interactivemultimedia platforms, music education, applications in rehabilitation and a number of applications withinthe cultural and creative sector (e.g. for music gaming).REFERENCESBIOCCA, FR. (2001). Inserting the Presence of Mind into a Philosophy of Presence: A Response to Sheridan andMantovani and Riva. In: Presence, 10(5): 546-556CADOZ, C. & WANDERLEY, M.M ., Gesture-Music. In: M. Wanderley and M. Battier, eds. (2000). Trends in GesturalControl of Music. Paris: IRCAM - Centre Pompidou, pp. 71–93CAMURRI, A., DE POLI, G., LEMAN, M., VOLPE, G. (2001). A multi-layered conceptual framework for expressivegesture applications. In: Proceedings of the International MOSART Workshop on Current Directions inComputer Music, Barcelona, Spain, pp. 29-34.HIROSE, N. (2002). An ecological approach to embodiment and cognition. In: Cognitive Systems Research, 3:289–299.KAPTELININ, V. & NARDI, B. A. (2006). Acting with Technology. Activity Theory and Interaction Design. Cambridge,MA: MIT PressLEMAN, M. (2007). Embodied Music Cognition. London: MIT Press.BIOGRAPHIESLuc NijsCurrent position PhD studentMain discipline music educationMain areas embodied music cognitionRelevant qualifications MA in performing arts (clarinet)MA in philosophyContact / Information http://ipem.lucnijs.beluc.nijs@ugent.beMarc LemanCurrent position Head of the Department of Art, Music, and Theater Studies(Faculty of Letters and Philosophy, Ghent University)Director of IPEM, Ghent UniversityResearch-Professor in Systematic MusicologyMain discipline Systematic musicologyMain areas Embodied music cognitionRelevant qualifications Phd in musicologyBook publication Embodied music cognition and mediation technology (MIT Press, 2007)Contact / Information http://www.ipem.ugent.bemarc.leman@ugent.beMicheline LesaffreCurrent position Post doctoral researcher at IPEM, Ghent UniversityMain discipline Systematic musicologyMain areas Music information retrieval, user-oriented researchRelevant qualifications PhD in musicologyContact / Information http://www.ipem.ugent.bemicheline.lesaffre@ugent.be<strong>CIM09</strong> 133

<strong>CIM09</strong> 26-29 octobre 2009“Sound and timing must be perfect.”Production aspects of the human beatboxingTriinu OjamaaEstonian Literary Museum (Estonia)Jaan RossEstonian Academy of Music and Theatre (Estonia)BACKGROUND IN ETHNOMUSICOLOGYBeatboxing is defined as the art of urban vocal percussion that originates from 1980s and belongs to thehip-hop culture. The Old School beatboxers mainly imitated the drum machines (beat box) manipulatingwith their speech organs and holding their hands like a cup over the mouth or microphone to modulate theacoustic response. Close-mic technique altered the role of microphone changing it into a part of the"instrument" (Stowell and Plumbley 2008). The New School beatboxing is technically more complicatedcontaining scratching, singing and beatboxing simultaniously etc. By some leading beatboxers's opinion(TyTe and Defenicial) the birth of human beatboxing created a new instrument – the mouth. Actually theimitation of percussions has existed in traditional music long before hip-hop (India, China, Africa).However, in beatboxing the imitation acquired new quality. The beatboxers usually demonstrate their skillsin clubs or on the face-to-face battles the goal of which is to find out who is the best. Hip-hop – mainly rap– has become a subject of numerous studies but very little attention has been paid to the beatbox.BACKGROUND IN PSYCHOLOGYA live beatbox composition is an improvisation by its nature and a good artist has to have manifoldmusical abilities. Improvisation in the Western music (e.g. jazz) is understood as a complex generativeprocess similar to that used in speech production (Johnson-Laird 2002). Improvisation is similar tocomposition in that it constitutes iterative stages in which the outcome is refined successively (Lehmann,Sloboda, and Woody 2007). It is different from composition, however, in that it is subject to real-timeconstraints which require automatic (or semi-automatic) use of many creative procedures and patternsinvolved.BACKGROUND IN SOCIOLOGYThe researchers mainly are interested in how the hip-hop culture can relieve society of racial strife(Kitwana 2005). The split in Estonian contemporary society is based on confrontation of two groups withdifferent ethno-cultural background. The Estonian-speakers form the majority, while the Russian-speakersamount to about less than one third of the whole population. Riots in Tallinn, April 2007, alienated the twocommunities from each other. As a part of the hip-hop culture, the beatbox battles and performancesprovide one of the few venues for a constructive dialogue between the linguistically and culturallyseparated groups.AIMSThis work was aimed at studying the structure of beatbox performances as well as the constraints whichset their limits to such a performance.MAIN CONTRIBUTIONIn-depth interviews with beatboxers in Estonia were conducted, where participants had to discuss theiractivities, to improvise a performance to be recorded, and finally to comment its playback. In addition, videorecording of a beatbox battle comprising 32 performances was analyzed. A beatbox performance can bedescribed in terms of sound production similar to speech and singing, where air from the lungs passes thelarynx and the vocal tract. Breathing out must be alternating with ingressive episodes as the sound isexpected to be continuous and the performer has no possibilities of sound production except by his ownbody.The structure of a performance is not pre-determined and acquires its shape in interaction with theaudience. A performance usually incorporates a number of the so-called covers, e.g. imitations of popularsongs familiar to the audience. The structure of a performance can be discussed in terms of units like a beat,a pattern, a loop, or a routine.Evaluation of the quality of a beatbox performance is based mostly on the character of produced soundand on its timing characteristics. Extra-musical qualities like movement of a performer on the stage are also134 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>considered important. In a multicultural society, representatives of different ethnic groups may choosedifferent ways of behavior on the stage (e.g. oriented to group or individual activities).IMPLICATIONSThe study highlights an original musical phenomenon which seems to be little known in the academiccommunity. The sounds to be imitated in a beatbox improvisation have often been reproducedelectronically. We prefer to consider beatbox improvisation as a double imitation: of musical sounds asproduced acoustically and of their recorded counterpart containing possible additional sounds (e.g. noisefrom scratches). The analysis demonstrates that the beatbox improvisation has some relations with the socalledturntablism – the art of creating music using phonograph turntables and DJ mixers. In the broadercontext it also has something common with electric boogie, which in its starting times imitated thehydraulic movements of a robot with mechanical rhythm.REFERENCESJohnson-Laird, P. N. (2002). How jazz musicians improvise. Music Psychology 19, 415-442.Kitwana, B. (2005). Why White Kids Love Hip-Hop. New York: Basic Civitas Books.Lehmann, A. C., Sloboda, J. A., Woody, R. H. (2007). Psychology forMusicians: Understanding and Acquiring theSkills. Oxford: Oxford University Press.Stowell, D., Plumbley, M. D. (2008). Characteristics of the beatboxing vocal style. Technical report C4DM-TR-08-01.http://www.elec.qmul.ac.uk/digitalmusic/papers/2008/Stowell08-beatboxvocalstyle-C4DM-TR-08-01.pdf (9February 2009).TyTe, Defenicial (s.a.). The Real History of Beatboxing: Part 1.http://www.humanbeatbox.com/history (9 February 2009).BIOGRAPHIESTriinu OjamaaCurrent position Head of the Department of Ethnomusicology, Estonian Literary Museum;Estonian Academy of Music and TheatreMain research discipline Ethnomusicology, popular musicMain research areas Music and identityRelevant qualifications PhD in linguistics 2000, University of Tartu,Book publications "Glissando in Nganasan Music. Morphological, semantic and syntactic levels", 2000Advisory boards Works in EthnomusicologyContact triinu@folklore.eeJaan RossCurrent position Professor, Estonian Academy of Music and TheatreMain research disciplines Musicology, auditory psychologyMain research areas Perception, production and analysis of sounds of speech and musicRelevant qualifications Ph.D. in musicology, 1988, Lithuanian State ConservatoirePh.D. in psychology, 1992, Abo Akademy, TurkuBook publications "The Temporal Structure of Estonian Runic Songs" (with Ilse Lehiste, 2001)"Reflecting on Music: An Introduction to Musicology”(edited with Kaire Maimets, 2004, in Estonian);"Consonance: Its Objective Pre-requisites in Music" (2006, in Russian)Editorial, advisory boards Musicae ScientiaeJournal of Interdisciplinary Music StudiesProceedings of the Estonian Academy of SciencesAkadeemiaContact jaan.ross@ut.ee<strong>CIM09</strong> 135

<strong>CIM09</strong> 26-29 octobre 2009Bodies as (Critical) Instruments:Biomusic and its DiscontentsGascia Ouzounian, R. Benjamin KnappSchool of Music and Sonic Arts, Sonic Arts Research Centre; Queen’s University Belfast, Belfast (UK)BACKGROUND IN CRITICAL MUSICOLOGYThe human body has historically been absented from Western art music traditions, put to the service of'the music itself' but otherwise unseen and unheard.The historical conflation of the human body with the feminine, the sensual, the irrational, and the non-Western 'Other' has conspired to limit the body's visibility/audibility within compositional methodologiesand performance practices.Biomusic, in which music is composed for, and derived from, the physiological productions of the body,serves to reintegrate the human body within art music traditions.As such, Biomusic compels a renewed understanding of the body in relation to traditional modes ofcomposition, performance, and musical analysis; Biomusic equally mounts a critical challenge to thosetraditions that seek to limit the presence of the body within musical production.BACKGROUND IN ENGINEERING AND PERFORMANCEBiomusic has been used to describe a broad class of biologically created (or even sometimes biologicallyinspired) sounds. Much of the work done in Biomusic focuses on the use of human physiological andkinematic signals, measured directly on the body, to enable precision manipulation of sound in an ecologicalsetting.While sonification of biosignals has been a tool for scientists and musicians alike for over fifty years, itwas necessary to invent microcontrollers in order to enable the use of these signals as a real-timecontroller.It is fundamentally the real-time feature analysis and pattern recognition of the physiological signals thatgives the performer the capability of using these complex, seemingly random signals as a human-musicinterface (biocontrol).Early work on biocontrollers explored two areas: (a) physical gesture analysis and control usingprimarily signals from the muscles, and (b) cognitive control using signals from the brain. More recently,there has been a growing interest in the field of HCI in recognition of emotional states from physiologicalstates.AIMSThis study aims: (a) to introduce the history of Biomusic since the late 1960s, (b) to analyse historicaland contemporary Biomusic works (c) to critically examine Biomusic traditions in relation to Western artmusic traditions, wherein the body has historically been relegated to a secondary or undesirable role withinmusical production.MAIN CONTRIBUTIONThis study uses an interdisciplinary methodology that combines critical/cultural studies in music,engineering of Biomusic systems, and creation/performance/analysis of Biomusic works. It adds to existingliteratures in critical theories of performance and Biomusic systems design by introducing a critical study ofBiomusic.IMPLICATIONSA critical study of Biomusic must be developed, which illustrates the ways in which Biomusic challengesaccepted composition and performance practices within art music traditions.This study will focus upon the particular challenges of (a) composing for and from the human body, and(b) highlighting the body within musical performance.136 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCESB. Arslan, Andrew Brouse et al, “From Biological Signals to Music,” Proceedings from the 2nd International<strong>Conference</strong> on Enactive Interfaces, Enactive 05, Genova, Italy, November 17-18, 2005.R. Benjamin Knappand Perry R. Cook, “The Integral Music Controller: Introducing a Direct Emotional Interface toGestural Control of Sound Synthesis,” Proceedings of the International Computer Music <strong>Conference</strong>(ICMC), Barcelona, Spain, September 4-9, 2005.R. Benjamin Knappand Hugh S. Lusted, "A Bioelectric Controller for Computer Music Applications,” ComputerMusic Journal 14/1 (Spring 1990): 42-47.Hugh S. Lusted and R. Benjamin Knapp, “Controlling Computers with Neural Signals,” Scientific American(October 1996): 82-87.Gascia Ouzounian, “Embodied Sound: Aural Architectures and the Body,” Contemporary Music Review 25/1-2(2006): 66-79.Richard Teitelbaum, “In Tune: Some Early Experiments in Biofeedback Music,” Biofeedback and the Arts, Results ofEarly Experiments, D. Rosenboom, Ed., Aesthetic Research Centre of Canada, Toronto, Canada,1974.BIOGRAPHIESGascia OuzounianGascia Ouzounianis a historian of contemporary music and sound art, and a violinist working in new and intermediamusic. She received her Ph.D. in critical studies/experimental practices in music from the University of California, SanDiego, where she was a University Humanities Fellow. Her dissertation, Sound Art and Spatial Practices: SituatingSound Installation Art Since 1958, explored the history of sound installation art through the lens of critical spatialtheory.Ouzounian’s writings appear in such journals as Journal of the Society for American Music, Organised Sound,Contemporary Music Review, Women & Music, Revue Circuit, and The RADIO Journal.Ouzounian is a Lecturer in the School of Music and Sonic Arts at Queen’s University Belfast, where she serves asDirector of Performance Studies.Contact: g.ouzounian@qub.ac.ukR. Benjamin KnappR. Benjamin Knapp received his Master of Science and Ph.D. in Electrical Engineering from Stanford University inthe area of speech and sound coding for a multi-channel cochlear prosthesis. At the same time he collaborated withresearchers at the Center for Computer Research in Music and Acoustics (CCRMA) and began developing novelmusical interfaces based on physiological signal acquisition. Ben then became Professor and Chairman of theComputer, Information, and Systems Engineering Department at San Jose State University. In 1999, he became adirector at the consulting firm MOTO Development Group, where he helped develop new human-computerinteraction systems. In 2006, he served as a Fulbright Senior Specialist at University College, Dublin. Ben is also SeniorLecturer at the Sonic Arts Research Centre (SARC) at Queen’s University Belfast, where he leads the Music, Sensors,and Emotion (MuSE) research group.Contact: b.knapp@qub.ac.uk<strong>CIM09</strong> 137

<strong>CIM09</strong> 26-29 octobre 2009Digitizing Panamanian Mejorana Music:New MIDI Instruments for ComposersEmiliano Pardo-TristánDepartment of Music and Performing Arts Professions, Steinhardt School of Culture, Education, andHuman Development, New York University (USA)Sandra L. JamesBoyer College of Music, Temple University (USA)BACKGROUND IN MUSIC COMPOSITION AND ETHNOMUSICOLOGYComposers throughout history have transformed original elements from their countries’ ancestral musicto create new works. The rich musical folklore of Latin America and the Caribbean has spawned animmense array of national compositions. Local styles and instruments, as well as indigenous idiosyncrasiesare elements that flavor the concert music of the region. In Panama, much of the folkloric music is playedon the mejorana, a small and rustic five-stringed guitar-like instrument unique to this country (Zárate,1962). Detailed transcriptions of mejorana music are an important means of documenting and preserving it,a good source for further analysis, and consequently, valuable raw material for new compositions.BACKGROUND IN COMPUTER MUSICNew hybrid sonorities, produced by synthesizing sampled sounds, are desirable for the novelty they canbring to a new work. The ability to extend the range of a traditional instrument and play its timbres ondifferent types of MIDI devices allows its sounds to be combined and played in unprecedented ways. Manynewly emerging gadgets and toys allow for the capture of gestural data. Crafting electronic instrumentsbased on transcription and analysis of in situ recordings of the folkloric mejorana necessitated theexamination of what relevant core material could be mapped into which type of MIDI triggering device formaximum leveraging of the new technology on the traditional sound or playing technique.AIMSOur interest is in the collaboration between composer and computer engineer. The composer asks fornew MIDI instruments and techniques, which have been selected after the analyses of originaltranscriptions from rural performers of mejorana music in Panama. The programmer creates theinstruments from samples or electronic media. The results are electronic instruments that conserve, besidesthe traditional timber and sound response, other elements of the music played with the mejorana. Theobjective is that the programmer delivers to the composer a fresh palette of sounds to be triggered byMIDI instruments, as tools for new compositions.MAIN CONTRIBUTIONIn the process of gathering, transcribing, and analyzing mejorana music from Panama; and creatingelectronic instruments for composing, we answer questions such as: How can music elements from theprimary source be changed—or conserved—in the electronic instruments, without losing connection withthe original source, but without being just a mere parody? What are the aesthetic limitations, if any, forusing or modifying original folkloric materials in modern compositions? We have considered differentmethods to treat mejorana music’s materials, comparing their suitability in the new context, and selectingthose elements that after due consideration, could best serve as tools for composers.The mejorana styles’ transcriptions for this study were drawn from audio and video recordings of ruralmusicians, who have performed mejorana music since childhood, allowing them to be trusted custodians ofPanamanian folklore. The modeling of mejorana materials with electronics is strongly supported when theoriginal music is first transcribed and analyzed.IMPLICATIONSIt is possible to recontextualize the Panamanian mejorana styles, allowing for an extension of the rangeof its contours and timbres to electronic instruments using pd (pure data) and a variety of MIDIcontrollers. Notably, the wireless controllers allow for broad gestures to trigger playing techniques, whilethe familiar MIDI keyboard controllers provide access to non-mejorana players to the timbre of theinstrument without its physical limitations. Mimicking folk music could indicate a lack of original ideas anddeliver nothing more interesting than sound “postcards,” but an awkward or complex transformation couldalso negate the beauty carried by the simplicity of the folk music. Therefore, the value of art music when138 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>presenting original or altered folk material depends on the composer's treatment of its elements. A sincereapproach derived from knowledge of the native music employed is critical. Nevertheless, we believe thatwhat will make new MIDI instruments derived from Panamanian mejorana music work in a new setting, isthe craftsmanship of the composer, supported by a thorough knowledge of the original style to betransformed.REFERENCESBoulanger, Richard. (2000). The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing,and Programming. The MIT Press.Dodge, Charles. (1985). Computer Music, Synthesis, Composition, and Performance. Schirmer Books.Garay, Narciso. (1930). Tradiciones y Cantares de Panamá. Bruselas: L'expansion Belge.Lehrman, Paul D. (2009). Music in the Air. Electronic Musician, 25 (4). Overland Park: Penton Media, Inc.Pardo-Tristán, Emiliano. (2006). Concierto Mejorana: A Composition for Guitar and Large Orchestra, Based onPanamanian Folkloric Music. (D.M.A. dissertation, Temple University).Puckett, Miller. (2007). The Theory and Techniques of Electronic Music. World Scientific Publishing Co. Pte. Ltd.Suchoff, Benjamin. (1976). Béla Bartók Essays. Lincoln: University of Nebraska Press.Zárate, Dora P. (1996). Sobre Nuestra Música Típica. Panamá: Editorial Universitaria.Zárate, Manuel F. and Dora P. de. (1962). Tambor y Socavón. Panamá: Imprenta Nacional.BIOGRAPHIESEmiliano Pardo-TristánCurrent position Postdoctoral fellow, New York UniversityMain research disciplines Musical Composition, Performance and EthnomusicologyMain research areas Panamanian mejorana musicLatin American folklore and its application in concert musicRelevant qualifications D.M.A. (Music Composition), Temple UniversityMasters (Guitar), Temple UniversityArtistic Director and President of the Panama Guitar AssociationPublic conferences Panama National Library, New York, Temple University,University of Salamanca and Salamanca Professional Conservatory of MusicAwards Dr. John Henry Heller, Jr. Memorial for excellence in composition; Presser Music AwardRecordings Hecho en Salamanca,Contemporary Chamber Music from Panama and Classical Guitar JourneyMembership American Composer ForumAmerican Music CenterSociety of Composers Inc.American Musicological SocietySociety of Music TheorySociety of EthnomusicologyBroadcast Music Inc.Contact epardo@nyu.eduSandra L. JamesCurrent position Senior Systems Engineer, Boyer College of Music and Dance, Temple UniversityMain research disciplines Electronic Music, Fine Arts and PerformanceMain research areas Csound, pd, Max/MSP JitterMIDI Controllers and sensors, Afro-Cuban and Panamanian PercussionRelevant qualifications BS Computer Science, Temple UniversityAfro-Cuban Percussion studies and performanceCo-curator of Temple University’s CybersoundsPennsylvania Academy of Fine Arts CertificationProgrammer Computer Associates, AKT and B2Port CorporationSpecific activities Electronic MultiMedia installations, Cybersounds audio and video showingsPublic conferences Guest Lecturer for Computer Synthesis class at Temple UniversityCorporate software demonstrations at PC Expo, Macworld and CA WorldContact sandyjam@temple.edu<strong>CIM09</strong> 139

<strong>CIM09</strong> 26-29 octobre 2009La cithare chinoise qin,contextes de jeu et enregistrementFrançois PicardUniversité Paris-Sorbonne – Patrimoine et Langages Musicaux (France)Marie-Hélène BernardCompositrice - Université Paris-Sorbonne – Patrimoine et Langages Musicaux (France)Sun Ko-ShuBureau de représentation de Taipei en France (Taipei)The Chinese zither qin, contexts of playing and recordingState of the art in ethnomusicology/historical musicologyThe Chinese zither qin or guqin is a very quiet instrument, played as a solo instrument or occasionallyaccompanied by the vertical end-blown flute also very quiet; the repertoire with voice is considered assecondary. Although the player is often depicted solitary, the presence of a listener is, according to some legends,absolutely vital. XXth century has brought two new technical devices, with two series of questions: recording, andamplification, two situations: listening in absentia and stage performance.State of the art in the use of electro acoustic means for compositionIn the few pieces where guqin has been integrated in an electro acoustic setting, one can observe that, mostsignificantly, its special status remains, the instrument being relatively isolated from the other instruments andbeing free of too radical transformations. We will examine three examples: The Symphony n° 10 by Zhu Jian’er,Hanshan by Marie-Hélène Bernard, and GuoFeng by Xu YiObjectivesWe will propose several ways of enjoying, taste, situate the recording or performance situations, but will try not toevaluate or judge them too quickly; we will try to place them in the guqin’s historical, esthetical and social context.Main contributionKnowledge developed the French school of electro acoustic music, specially the questioning of the receiveddivision between noise and music by musique concrète, followed by the development of écoute acousmatique [listeningwithout seeing] all meet with the intimate diffusion of qin music and with the composition of electro acousticmusic for the qin; the both share the same preoccupations which are the heart of the tradition of an instrumentstaid for millennium away from stage performance.ResultsWe could propose that the intimate listening of guqin through the home diffusion of recordings has met with thehistorical esthetical view of the instrument. At the same time, the lack of personal meeting between player andlistener seems to get in contradistinction with the ideal relation. For its part, putting on stage such an instrumentimplies the renewal of the relation between emitted and perceived sound. The solution presumably lies in the reexaminationof classical situations in which the guqin was played and listened to. We hope to contribute to theinsertion of the instrument and its music in present days culture and soundscape.INTRODUCTIONDans certaines disciplines, dont le modèle peut même être considéré comme canonique pour la science, lelaboratoire sert à des expériences, des expérimentations, des vérifications. En musique, du moins dans lapratique musicale dont il est question ici, celle du jeu de la cithare chinoise qin, le laboratoire, tout en offrantun terrain nouveau, est ici studio, studio du lettré, retiré à l’écart de l’agitation de la ville et de la politique,studio de prise de son, studio d’électroacoustique. Après une vingtaine d’années d’expérience de jeu,d’écoute, de partage, et d’enregistrement de qin, nous posons la question de l’évaluation de cesenregistrements, et de leur valeur comme expérience, et comme expérimentation.ETAT DE L’ART EN ETHNOMUSICOLOGIE/MUSICOLOGIE HISTORIQUELe plus vieil instrument à cordes encore joué (on joue encore des cithares de l’époque Tang, soit VIIIesiècle), la cithare qin est un instrument de l’intimité, du recueillement. Son passage brutal dans les années1950 à la scène de concert s’est effectué parallèlement à la pratique de l’enregistrement et de la diffusionradiophonique et en disques, permettant elle une écoute intime, proche.ETAT DE L’ART EN PRISE DE SON ET ÉLECTROACOUSTIQUELe qin pose des problèmes classiques de prise de son : doit-on rendre le son entendu par un auditeuridéalement placé, le son des cordes et du bois, ou le son idéal entendu intérieurement ? S’ajoutent quelquesdifficultés particulières : le rapport entre glissements et crissements des doigts sur la corde, la balance sons140 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>appuyés/sons à vide/sons harmoniques, l’espace. Qu’analyser dans un enregistrement de qin, tel que parexemple publié en CD : le son, la technique, le répertoire, l’espace, ou plutôt, peut-être, l’expérience quiconsiste à écouter en différé ? Quelques études d’acoustique et d’électroacoustiques (Henri Penttinen,Huang Chih-fang), voire de psychoacoustique (Marc Leman) se sont penchées récemment sur l’analyse(Mäder, Latartara) ou la modélisation, voire la synthèse, du son, ou plutôt des timbres, de la cithare qin.ETAT DE L’ART EN AMPLIFICATIONLe qin pose des problèmes exceptionnels d’amplification. En effet, c’est un instrument quitraditionnellement ne s’accomode, de par sa faible intensité, que de la solitude ou de l’accompagnement de laflûte xiao ou de la voix. Mais la subtilité de ses timbres et la variété de ses modes de jeu alliés à la richessede son répertoire et au haut niveau artistique de nombre de ses interprètes ont donné envie à nombre demusiciens, interprètes ou compositeurs, de l’associer à d’autres instruments, voire à l’orchestresymphonique. Se pose donc le problème de l’amplification, et de la maîtrise du jeu dans ces conditions.Plusieurs concertos ont déjà mis à l’épreuve l’instrument (Luo, Liu, Chen). Le rendu équilibré des glissés,des cordes à vide et des harmoniques est tout particulièrement délicat, et interdit les solutions avecexclusivement micros de contact.ETAT DE L’ART EN COMPOSITION MUSICALED’abord intégrée mais tard comme d’autres instruments chinois dans le modèle « concerto pourinstrument traditionnel soliste et orchestre occidental » (Zhu Jian-er, Chen Qigang, Liu Yuan, LuoZhongrong), la cithare qin est désormais sollicitée pour des performances multi-médias (Shuen-git Chow),amplifiées (Yan Jun et Wu Na), avec électroacoustique (Qi Yao), ou sert de modèle à la composition (XU Yi,Charles Nichols).OBJECTIFSMatériaux : un parc dans la cité interdite ; un temple bouddhique du Henan ; un studio d’enregistrementde variétés ; un studio de radio ; l’auditorium d’un conservatoire ; un théâtre en Suisse. Nous proposeronsplusieurs voies pour goûter, commenter, juger, situer, mais sans doute pas évaluer, les prises de son de qin,et leur place dans l’histoire de la pratique de l’instrument.CONTRIBUTION PRINCIPALELes savoirs développés par l’école française d’électroacoustique, en particulier à travers la remise enquestion des oppositions bruit/musique par la musique concrète, puis le développement de l’écouteacousmatique, rencontrent dans la composition électroacoustique avec qin des préoccupations au cœur de latradition même d’un instrument rebelle au concert.IMPLICATIONS (POUR L’INTERDISCIPLINARITÉ EN MUSICOLOGIE, POUR LA PRATIQUEMUSICALE)Dans une certaine mesure, la cithare qin voit dans l’écoute intime permise par la diffusion différée etaveugle un cadre idéal nettement supérieur au concert. Pourtant, l’absence de coprésence de l’auditeur et dujoueur perturbe la relation idéale. Une relecture des textes classiques s’impose, et de la place qu’y joue latechnique, la relation, l’espace, la vibration.BIBLIOGRAPHIEBayle, François, Musique acousmatique : propositions, positions, Bry-sur-Marne / Paris, Institut national del'audiovisuel / Buchet-Chastel, 1993.Chion, Michel, Musiques, médias et technologies : un exposé pour comprendre, un essai pour réfléchir, Paris,Flammarion, « Dominos », 1994.Goormaghtigh, Georges. L'art du qin, deux textes d'esthétique musicale chinoise, Bruxelles, Institut belge desHautes études chinoises, « Mélanges chinois et bouddhiques », volume XXIII, 1990.Huang Chih-fang, "Approach and Indirect Creative Synthesis on Spectrum Analysis of Gu Qin by Computer",Musicacoustica Beijing, 2008Latartara, John, "Theoretical Approaches towards Qin Analysis : Water and Clouds over Xiao Xiang",Ethnomusicology 49-2, Spring/Summer 2005, p. 247-258Leman, Marc; Desmet, Frank; Styns, Frederik; van Noorden, Leon et al., "Sharing musical expression throughembodied listening: a case study based on Chinese guqin music", Music Perception (2009).Li Henbing; Leman, Marc, "A gesture-based typology of sliding-tones in guqin music", Journal of New MusicResearch, 2007.Mäder, Marion, Die Musik der Qin im Umfeld von Li Xiangting, Bonn, Holos, « ethnomusiCologne », 2001Penttinen, H., Pakarinen, J., Välimäki, V., Laurson, M., Li, H., and Leman, M., ''Model-Based Sound Synthesis of theGuqin,'' Journal of the Acoustical Society of America, vol. 120, no. 6, pp. 4052-4063, December 2006<strong>CIM09</strong> 141

<strong>CIM09</strong> 26-29 octobre 2009ENREGISTREMENTSDai Xiaolian, qin, Chen Zhong, flûte xiao, chant, Voyage musical Chine, les 18 provinces, prise de son François Picard, Pékin, citéinterdite, Silex-Auvidis YA225701.Chine: l'Art du qin, Li Xiangting, prise de son Myron Meerson, Radio France, Ocora C559100.Chine: l'Art de la cithare qin, Dai Xiaolian, prise de son Julien Jauny, Auvidis Ethnic B 6765.China Racines, soliste Yang Lining, prise de son Daniel Deshays, ED 9801, Buda.COMPOSITIONSBernard Marie-Hélène, Han Shan, Radio France (2002)Chen Qigang, Concerto pour un instrument de silence (1996) pour Guqin et ensemble instrumental.Chow Shuen-git , http://hosting.zkm.de/MIDIguqin/stories/storyReader$39Liu Yuan 刘湲 , Concerto pour qin Youlan《幽兰》Luo Zhongrong 罗忠鎔 , Concerto pour qin Qin yun《琴韵》Nichols, Charles, Strata 3: Guqin (2003)QI Yao 祁瑶 , Yong shu 《咏书》 Intonation of Calligraphy, Shanghai, 2006Zhu Jian-er 朱践耳 , Symphonie n°10 op. 42 (1998)Xu Yi, Temple Han-Shan (1985) ; Guo Feng (2006-2007)BIOGRAPHIESFrançois PicardFrançois Picard a appris la cithare qin auprès de Lin Youren à Shanghai. Il a effectué la prise de son et/ou la directionartistique pour des disques de six interprètes de qin différents. Il est professeur d’ethnomusicologie analytique àl’université Paris-Sorbonne.francois.picard@paris-sorbonne.frMarie-Hélène BernardMarie-Hélène Bernard est compositrice et mène une recherche doctorale sur les compositeurs en Chine. elle a composéplusieurs œuvres incluant le guqin, dont Hanshan (2002), commande de Radio France, Lu Chen (2005) commande del'Etat et de l'ensemble Aleph, et Une seconde est un monde, (2009), avec Ma Desheng, Shi Kelong, l’ensemble Aleph et desmusiciens du Conservatoire de musique de Shanghai.mhelene.bernard@wanadoo.frSun Ko-ShuBureau de représentation de Taipei en France.arsisthesis@gmail.com142 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Rabeca reborn: the revival of the Brazilian fiddleand the Historical Performance of MusicAcácio Tadeu de C. PiedadeState University of Santa Catarina (Brazil)Luiz Henrique FiaminghiState University of Campinas (Brazil)BACKGROUND IN ETHNOMUSICOLOGYIn spite of its impressive emergence in Brazilian World Music and Pop groups, the rabeca is very fewstudied by the musicological perspective. As this is an instrument that is deeply bound to Brazilian easterncultures, and is present in many native narratives and rituals, the ethnomusicological approach is the idealone to grasp the various socio-cultural and historical connections established by the rabeca.BACKGROUND INPERFORMANCEThe second half of 20th century witnessed a large transformation on musical performance parameters,especially in what concerns the performance of Baroque music. Musical historical instruments started beingplayed again, now oriented by a Musicology that has turned its focus from the musical text and composerto the act of performance and the instruments themselves.We claim that this movement, which was called Historically Informed Performance, may be connectedwith the emergence of the World Music at the 70s, which brought to the musical scenario many nativeexotic or folk instruments. We envisage both these movements as postmodern reactions to musicalModernism and to the structural analytical approach that dominated the Performance Theory until then.AIMSWe're trying to answer the following questions: How important is the role of historical or folkloricinstruments in the choices that a musical performance may take? Concerning the music of J. S. Bach, forinstance, Theodor Adorno claims that historical instruments are meaningless and unable to reveal thenuances of Bach’s textures. What these instruments bring to us both musically and symbolically nowadays?Do they represent, as suggested by Adorno, just a historicist revival movement, a retrograde force thatblocks the progressive flow of music? Or, on the contrary, do they actually stand for the most importantrenovation of musical interpretation occurred in the last decades?The Brazilian rabeca may also be put in this debate: brought by Portuguese settlers to Brazil at the 16thcentury, it was long restricted to local villages rituals, but its recent emergence has to do with theempowering of regional identities and search for authenticity. We aim to study these movements as part ofglobal changes in the world of music after the 70s.MAIN CONTRIBUTIONThe performance of string instruments is still strongly attached to a Romantic approach. The dialoguebetween historical instruments and popular traditional ones can open new ways to the understanding of themusical phenomena and its connections with history and culture.We intend to view these two movements as part of the same quest for Otherness: while the World musicmovement looks for the Other in the diversity of distant musical living cultures, the Historically InformedPerformance movement, with its glance at the Past, aims to go towards this Other which is distant in termsof historical time.IMPLICATIONSSeveral questions about the rabeca in its authentic traditional setting and its new usage out of it refer tothe same problems of the re-integration of historic instruments in the concert rooms. One question is thefollowing: why these instruments that remained for such a long time outcast from the urban musicalpractices suddenly became accepted by musicians and audiences that were until then completely unaware oftheir existence?Our paper intends to bring answers to this and other questions related to the links between the Baroqueviolin and the Brazilian fiddle Rabeca.144 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCESAdorno, Theodor W. – Bach Defended against his Devotees. In Prisms Cambridge, Massachusetts, USA, the MITPress, 1981, pp. 133-46.Butt, John – Playing with History: The Historical Approach to Musical Performance. Cambridge, U.K., CambridgeUniversity Press, 2002.Blacking, John – How Musical is Man? Seattle, the University of Washington Press, 1973.Blacking, John - Music, Culture, and Experience. Chicago, the University of Chicago Press, 1995.Boyden, David D. – The History of Violin Playing from its Origins to 1761. Oxford, Oxford University Press, 1965.Hindemith, Paul – A Composer´s World: Horizons and Limitations. Gloucester, Massachusetts, Peter Smith Ed., 1969.Kerman, Joseph – Musicology. London, Fontana, 1985.Kivy, Peter – Authenticities: Philosophical Reflections on Musical Performance. Ithaca, Cornell University Press,1995.Murphy, John P. – The rabeca and its music, old and new, in Pernambuco, Brazil. Latin American Review.University of Texas Press, Austin, 1997.Page, Christopher – Voices and Instruments of the Middle Ages: Instrumental practice and songs in France1100/1300. Los Angeles, University of California Press, 1986.Taruskin, Richard – Text and Act. Essays on Music and Performance. New York/Oxford University, 1995.BIOGRAPHIESAcácio Tadeu de C. PiedadeAcácio received his bachelor's degree in music from the University of Campinas and his Masters Degree and Ph.D. insocial anthropology from the Federal University of Santa Catarina. He currently is Associate Professor of Music at theState University of Santa Catarina. Acácio`s research interests include music in its sociocultural and historical context,and musical analysis. His teaching includes seminars on Music Analysis (that focuses in the several analytical and theirapplication to diverse repertoires), Musicology and Ethnomusicology, investigating the integration of the disciplines intheir historical and theoretical foundations.Luiz Henrique FiaminghiL. Fiaminghi received his bachelor’s degree in music (composition) from the University of Campinas. He also followedthe violin degree at the State University of São Paulo under tutoring from Prof. Ayrton Pinto. He studied baroqueviolin performance in Holland at the Conservatory of Rotterdam (Prof. Marie Leonhardt) and at the Conservatory ofUtrecht (Prof. Alda Stuurop). As violinist, violist and Brazilian rabeca player, he has being playing with some of the mostimportant Brazilian early music ensembles. As a member of Anima group, he has recorded five CDs since 1997 andone DVD, and has performed in U.S., Canada, Mexico, Colombia, Bolivia, Argentina, Uruguay, Italy, France, andmost of Brazilians Capitals. He also works as a musical producer. He got in 2008 his Ph.D. degree in MusicPerformance from the State University of Campinas.<strong>CIM09</strong> 145

<strong>CIM09</strong> 26-29 octobre 2009Modernist representations of the guitarand the instrument’s classical revival in the 1920sRuth Piquer SanclementeFaculty of Humanities, Universidad CEU San Pablo, Madrid (Spain)Michael ChristoforidisSchool of Music, University of Melbourne (Australia)BACKGROUND IN HISTORY OF ART (ART THEORY, ICONOGRAPHIE)Although numerous studies deal with cubism and some discuss the representation of instruments like theguitar in cubist still-life constructions by Picasso and Juan Gris, practically none have addressed therelation between this modern vision of the guitar and musical thought of the time. While this musicaldebate attempted to synthesise elements of tradition and the avant-garde, and paralleled the emergence ofthe concept of “modern classicism”, it was often underpinned by cubist ideas.BACKGROUND IN MUSICOLOGY/MUSICAL PRACTICEThere is a growing body of literature on the re-emergence of the classical guitar in the 20th century andits international dissemination in the 1920s. However, little work has been undertaken on the impact of thevisual arts in shaping critical constructions of the instrument, and the aesthetics and the repertory of itsprotagonists.AIMSTo explore the multifaceted impact of modernist representations of the guitar in the visual arts on therevival of the classical guitar in Spain and the projection of the instrument internationally in the 1920s. Aninterdisciplinary approach is proposed to examine how emerging concepts of Neoclassicism were intimatelylinked to the rise of the modern classical guitar (and the creation and “rediscovery” of its repertory), andhow these constructions of the instrument were drawn from and paralleled in the visual and literary arts.MAIN CONTRIBUTIONThe classical guitar’s revival in the 1920s was a phenomenon primarily driven by Spanish protagonists.The instrument was closely tied to Hispanic nationalism and a constant source of evocation in therenaissance of Spanish music since the late 19th century.However, it was the guitar’s links with modernist representations in early 20th-century visual arts, andwith the emerging aesthetics of “modern classicism” in music, that were crucial to its critical reception andbroader dissemination in Europe and the Americas. These modernist associations also permitted theclassical guitar to distinguish itself from the folk and popular music manifestations of the instrument, whichhad proliferated internationally since the 1890s.This paper will examine the sources behind Picasso and other cubists’ fascination with the guitar, exploretheir representations of the instrument, and outline the dissemination of its modernist imagery. It will beargued that there is a close nexus between this imagery and the literary constructions of the instrument inSpanish authors such Gómez de la Serna and Federico García Lorca (in whose case, a direct correlation canbe seen in his drawings).The modernist visual legacy of the instrument was influential in Manuel de Falla’s new aestheticconfiguration of the classical guitar. Falla provided the impetus for a new repertory with his original piecefor guitar, Homenaje pour le “Tombeau de Claude Debussy”, and his subsequent redefinition of the guitaras a key symbol of Spain’s pre-classical legacy, in line with his neoclassical musical reorientation of the1920s. A consequence of Falla’s outlook was the emergence of a modern harpsichord repertory, aninstrument he employed to evoke the baroque guitar and the vihuela.Falla’s influence was crucial in shaping the aesthetic outlook and repertory of a number of emergingguitarists in the 1920s, including Andrés Segovia, Regino Sainz de la Maza, Emilio Pujol, as well as moreestablished artists such as Miguel Llobet. The projection and critical reception of these performers in the1920s will also be examined in the light of allusions to modernist visual and literary topoi associated withthe instrument.IMPLICATIONSOur research demonstrates that the revival of the classical guitar in the 1920s was inextricably linked toits modernist representation in the visual arts and emerging concepts of neoclassicism in music.146 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCESBOSSEUR, Jean-Yves: Musique et arts plastiques. Interactions au XXe siècle, Paris, Minerve, 1998.BOZAL, Valeriano: "El horizonte de la renovación plástica española o hemisferio Paris", en: La Sociedad de artistasibéricos y el arte español de 1925, Madrid, Museo Nacional Centro de Arte Reina Sofía, 1995, pp. 33-47.CHRISTOFORIDIS, Michael: "La guitarra en la obra y el pensamiento de Manuel de Falla", La guitarra en la historia,IX Jornadas de estudio sobre historia de la guitarra, Córdoba, Centro de documentación musical deAndalucía, 1998, pp. 31-57.——: "Madrid de Igor Strawinsky, Pablo Picasso y la vanguardia", Campos interdisciplinares de la musicología,Madrid, 2001, pp. 1303-1309.MAINER, José Carlos: "Contra el marasmo. Las revistas culturales en España (1900-1936)", Arte moderno y revistasespañolas, 1898-1936, (eds. Eugenio Carmona y Juan José Lahuerta), Museo Nacional Centro de ArteReina Sofía-Museo de Bellas Artes de Bilbao, 1977, pp. 103-116.——: La Edad de Plata (1902-1939): ensayo de interpretación de un proceso cultural, Madrid, Cátedra, 1987.PERSIA, Jorge de: "La guitarra y la renovación músical", La guitarra, visiones en la vanguardia, Granada, Huertade San Vicente, 1996, pp. 25-41.——: “Falla, Ortega y la renovación musical”, Revista de Occidente, núm. 156, mayo de 1994, pp. 102-115.PIQUER SANCLEMENTE, “Clasicismo, Nuevo Clasicismo y Neoclasicismo. Aproximación al concepto estético deNeoclasicismo musical en España”, Revista de Musicología, vol. 28, núm. 2, 2005 (Actas del VI Congresode la Sociedad Española de Musicología (Oviedo, 17-20 de noviembre de 2004), pp. 977-998——: “Aspectos estéticos del Neoclasicismo musical en la obra de Ernesto Halffter”, Cuadernos de músicaiberoamericana, vol. 11, 2006, pp. 51-82.BIOGRAPHIESRuth Piquer SanclementeCurrent position Lecturer, Universidad CEU San Pablo, MadridMain field of research Art History, Aesthetics of Music and ArtMain research areas Iconography of music (in relation to Orientalism, Goya, 1920s modernism)The aesthetics of NeoclassicismRelevant qualifications Degrees in History of Art (2000) and Musicology (2002)PhD 2009 (Universidad Complutense, Madrid)Contact ruthpiquer@hotmail.comMichael ChristoforidisCurrent position Senior Lecturer, School of Music, University of MelbourneMain field of research Historical musicology, music performanceMain research areas Spanish music (esp. Manuel de Falla), Igor StravinskyNeoclassicism in music, the guitar in the 19th and early 20th centuriesRelevant qualifications PhD (musicology), 1997 (University of Melbourne)Contact mchri@unimelb.edu.au<strong>CIM09</strong> 147

<strong>CIM09</strong> 26-29 octobre 2009Traditional Orchestral Japanese Music:The Correlation between Time and TimbreFrançois RoseConservatory of Music, University of the Pacific (USA)Jaroslaw KapuscinskiMusic Department, Stanford University (USA)BACKGROUND IN MUSICTime: The Japanese traditional concept of Time emphasizes the present. The past and the future arereplaced by Eternity and a focus on Now [1]. In music it is manifested among else by extreme slowness,bordering on stillness.[2] Timbre: The Japanese Imperial Court orchestra is a heterogeneous ensemble divided into threechoirs: woodwinds, strings, and percussion. Each choir has a different and strictly prescribed function; thewoodwinds present the melody, the percussion mark off time units and the strings operate between the twoby coloring selected melodic tones. The superposition of the three layers results in a non-fusing compositeof clearly distinguishable timbres.BACKGROUND IN ACOUSTICSHermann von Helmholtz (1821-1894) [3] established that complex sounds that evoke a sensation ofpitch have periodic waveforms comprised of a unique set of harmonic partials. Since then, researchers [4, 5,6] have demonstrated that the partial content of a sound, its spectral power distribution, and the location ofits formant(s) all pay an important role in the perception of timbre. Spectral analysis is the standard methodused to access this information.AIMSAs composers educated in Western classical tradition there are two features of Japanese traditional musicthat we found particularly striking: the importance of timbre and extreme slowness of time. In this paperwe will show how the two are interrelated. We will begin by summarizing selected time-related notionsfound in traditional Japanese culture.Then, we will elaborate on the role of timbre, acoustical properties of instruments and Japaneseorchestration techniques and how they collaborate to create this uniquely Japanese time experience. Wewill demonstrate among else that the fixed and highly stratified orchestral structure described above under‘Background in Music’ has very much to do with the instruments’ acoustical properties. To illustrate ourviews we will refer to Etenraku, a representative work from the Kangen repertoire, a sub-genre of Gagaku -instrumental music for the Imperial Court. Etenraku is the best known of all Kangen pieces. It is theprincipal example of Gagaku music shown in Japanese general education [7].MAIN CONTRIBUTIONWe have extracted samples of isolated Gagaku instruments from a commercial CD by the internationallyacclaimed ensemble Tokyo Gakuso, and analyzed the sustain part of the sounds. Our spectral analyses haveshown that conversely to Western instruments, Gagaku instruments adhere only partially to the Westernideal of harmonicity and fusion.In analyzed instruments the lower partials are 'harmonic enough' to create a sense of definite pitch butthe inharmonic quality of the higher partials precludes any type of sound fusion [8]. This is reinforced bythe orchestral techniques used by traditional Japanese composers who increase the non-blending quality ofthe instruments by assigning them divergent roles as well as by using heterophony. Our paper will show acorrelation between this approach to timbre and the focus on the present, an attribute of non-linear time[9].IMPLICATIONSUnderstanding how to listen to Kangen music is a possible first step in developing an appreciation for athousand year old music, which remains fairly unknown among general public even in Japan. The study ofthe relationship between time and timbre in Japanese music also helps reveal by way of comparison howthese two elements function in Western and other cultures.148 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCES[1] Yuasa, Joji “Temporality and I: From the Composer’s Workshop”, in Perspectives of New Music, Vol. 31, No. 2(Summer, 1993), pp. 216-228.[2] Tamba, Akira, La Théorie et l’esthétique musicale japonaises,Publications Orientales de France, 1988, pp. 335-336.[3] von Helmholtz, H. L. F. On the Sensations of Tone as the Physiological Basisfor the Theory of Music. 2nd. Ed.trans. A. J. Ellis (1885), from German 4th Ed., Dover, New York, 1954.[4] Grey,J.,, Gordon J.W., Perception of Spectral Modifications on Orchestral andInstrument Tones, (1977)Journalof the Acoustical Society of America, 62 (2), pp. 454-462.[5] Terhardt, E. (1985). Fourier transformation of time signals - Conceptual revision. Acustica 57, pp. 242-256[6] Krimphoff J, Caractérisation du timbre des sons complexes. II: McAdams S, Analyses acoustiques etquantification psychophysique. Winsberg S (1994) Journal de Physique, 4(C5), pp. 625-628.[7] Wade, Bonnie C.; Music in Japan. Experiencing Music, Expressing Culture, Oxford University Press, 2005, pp.41.[8] Bregman, Albert; S. Auditory Scene Analysis: The Perceptual Organization of Sound, Cambridge,Massachusetts, MIT Press 1990. pp. 245-248.[9] Kramer, Jonathan, The Time of Music. New York: Schirmer Books,_ 1988. pp. 55BIOGRAPHIESFrançois RoseCurrent position Professor of Composition, University of the PacificMain discipline CompositionMain areas Composition, Orchestration, AcousticsRelevant qualifications PhD (Composition) UCSD, 1997DEA (Computer Music/Acoustics), IRCAM, 1991MMus (Composition) McGill, 1991BMus (Composition) McGill 1986Publications Enhancing orchestration technique via spectrally based linear algebra methods”,Computer Music Journal Vol 33, no.1, 2009“Spectral Analysis as a Resource for ContemporaryOrchestration Technique”,Proceedings of the <strong>Conference</strong> on Interdisciplinary Musicology, 2005“Introduction to Pitch Organization in French Spectral Music“,Perspectives of New Music, 1996Membership Canadian Music Centre, (CMC)League of Canadian Composers, (LCC)Music Honor Society: Pi Kappa Lambda, (PKL)Contact frose@pacific.eduJaroslaw KapuscinskiCurrent position Assistant-Professor of Composition, StanfordUniversityMain disciplines CompositionMain areas Composition, Intermedia, Asian musicRelevant qualifications PhD (Composition) UCSD, 1997MMus (Composition) F. Chopin Academy of Music in Warsaw, 1991MMus (Piano Performance) F. Chopin Academy of Music in Warsaw, 1987Publications “Interfacing graphic and musical elements in Counterlines”,Proceedings of the New Interfaces for Musical Expression<strong>Conference</strong>, 2009“Counterlines: Studies in Interfacing Graphic and MelodicLines”,Proceedings of the International Computer Music<strong>Conference</strong>, 2009“McLaren: Synergist”, in WRO99 Media Art Biennale Catalog"Open Studio/WRO Foundation, Wroclaw, 1999.“Composing with Sounds and Images", in Monochord.De musica acta, studia et commentarii, Vol. XIX, A. Marszelek Publications, Torun 1998Membership Union of Polish ComposersMusic Honor Society: Pi Kappa Lambda, (PKL)Society for Electro-acoustic Music in the US, (SEAMUS)International Society for Electro-acoustic Music, (ISEM)International Society for Contemporary Music, (ISCM)Contact jkapuscinski@stanford.edu<strong>CIM09</strong> 149

<strong>CIM09</strong> 26-29 octobre 2009Le sampleur : de la machine à l’instrumentVincent RouzéCentre d’étude sur les médias, les technologies et l’internationalisation (CEMTI)-Université Paris 8(France)Maxence DéonUniversité de Paris Sorbonne - Paris IV (France)Sampler : from machine to instrumentThis paper deals with the role of sampler in composition devices. Far from being a simple and a functionnalmachine, it will be considered as a real instrument. It means it is the interface of multiples mediations andinteractions between musicians and sound extracts called ‘samples’. We begin with a short history of samplingdevices and its uses by composers and musicians. Then, based on both musicology and communicationlapproaches, our analyse will specifically lean on important rap bands extracts such as Wu-Tang Clan, Gang Starrand A Tribe Called Quest. Considering sampler as an instrument finally lead us to the questions of aesthetics, newways of practising, learning and hearing music.ETAT DE L’ART EN COMMUNICATIONSi les machines et autres artefacts sont au cœur des problématiques des sciences de l’information et de lacommunication, leur rapport à la musique et au son demeure un sujet peu étudié. D’une part parce quel’image prend inévitablement le pas sur le sonore. D’autre part, parce que la problématique technique esttrop souvent envisagée indépendamment de ses contenus. Initiée en France par Pierre Schaeffer et certainsmembres du GRM au travers de la musique concrète, cette approche croisée s’est peu à peu diluée dans desperspectives disciplinaires rigidifiées.Pour les sciences de l’information et de la communication, la musique, lorsqu’elle est étudiée, est soitanalysée comme un bien culturel intégré dans des analyses socio-économiques liées aux industriesculturelles (Bouquillion, 2007; Vandiedonck, 2007), soit envisagée comme une pratique sociale etcommunicationnelle (Debruynne, 2005). A cet égard, les « medias studies » anglo-saxonnes proposent unelittérature plus abondante (de Simon Frith à Philipp Tagg en passant par Michael Bull). Traitant desarticulations entre medium, processus de création et d’appropriation, tout en faisant de la musique unvéritable objet d’analyse.Or avec l’omniprésence de l’électronique, de l’informatique, d’Internet, ce rapport entre l’homme et lamachine se repose de manière plus pressante. Dans quelle mesure ces technologies de la communicationparticipent à la création et dans quelles mesures elles peuvent être considérées comme des instruments ?Sont-elles de simples outils de conception et de composition ou de véritables objets esthétiques comme lesont les instruments traditionnels ? Quels rapports entretiennent-elles avec les instruments classiques ?Quelles transformations cela induit dans les modalités de création, de composition et d’écoute ?ETAT DE L’ART EN MUSICOLOGIEEn musicologie, le rapport homme/machine est envisagé au travers de la problématique instrumentale.Sous la plume des musicologues et des ethnomusicologues, celle-ci donne lieu à une abondante littérature.Très codifiée dans la musique savante ou la musique ethnique, la question instrumentale devientproblématique et beaucoup moins évidente lorsqu’il s’agit de musiques populaires.Comme l’a montré Philippe Rousselot (1995), de façon très pertinente, les recherches sur l’instrument,menées conjointement par l’artiste et par le « luthier », interviennent en amont de la création et sont tropsouvent occultées des analyses. Or à mesure que la machine s’immisce et est intégrée dans le processus decréation, qu’elle s’invite sur scène, la question de l’instrument, du statut du musicien et des médiations entreles deux resurgit.OBJECTIFSDans cette communication nous proposons d’interroger ce rapport homme/machine au travers dusampleur ou échantillonneur. L’enjeu est ici de l’aborder non pas seulement comme un simple objet, uneinnovation technologique parmi d’autres mais comme un véritable instrument de création. S’il trouve saplace dans de nombreux courants musicaux, il est devenu l’instrument central du rap et plus globalementdes musiques électroniques (Jouvenet, 2006).Notre ambition est de questionner ici le rôle qu’il joue et les effets qu’il produit dans les dispositifs decompositions (exemplification du passage d’un paradigme d’écriture à un paradigme sonore, forme de readymadesonore). Notre propos sera étayé par l’analyse de morceaux de quelques groupes rap (dont Wu-Tang150 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>Clan, Gang Starr, A Tribe Called Quest) afin de mettre en évidence les rapports existants entrel’instrument (sampleur) et le son produit ‘le sample’.CONTRIBUTION PRINCIPALEAprès un rappel historique du « sampling » tant sur le plan de la composition (Varèse, Schaeffer, Cage)que sur le plan technique (des orgues aux radios jusqu’aux premiers sampleurs) nous tenterons de montreren quoi le rapport à la machine est ici complètement bouleversé. Le sampleur n’est pas un simple appareilqui permet de « jouer » des samples comme on joue des notes. Car s’il permet cette modalité, il se double encreux d’une dimension instrumentale déjà existante liée au sample lui-même, sorte de « réalité de la réalité »comme l’appelle le psychologue Paul Watzalawick.Nous aborderons ensuite les processus compositionnels. Instrument générateur de sons, le sampleur estun catalyseur sonore relevant ici d’un régime communicationnel plus qu’informationnel. Le son entendun’est pas a priori concrètement lié au geste du rappeur. Il est le résultat de manipulations conjointes entrel’idée du musicien et sa traduction « filtrée » par la machine. L’échantillonnage d’éléments préexistants oujoués pour être ensuite retravaillés donne ainsi naissance à de nouvelles stratégies compositionnelles. Dansle rap « east coast » des années 1985/2000 par exemple, le procédé musical du sample est essentiel à lacréation du « son » et contribue à des modalités compositionnelles formalisées, notamment par le choix desmachines. Fort de cet examen, nous verrons enfin comment cette performativité contribue à musicaliser desons incongrus, ouvrant sur des territoires sonores surprenants, cet « ocean de sons » dont parle DavidToop (1996) et sur des formes esthétiques hybrides.RETOMBÉESAu travers le cas du sampleur, de multiples médiations sont à l’œuvre. La machine devient instrument autravers la mise en place de dispositifs singuliers de création qui donnent naissance à la musique. Dès lors,d’autres pistes de recherche s’ouvrent tant en musicologie que pour les sciences de l’information et de lacommunication. Est-ce que toute machine peut potentiellement devenir un instrument musical (l’iPod parexemple) ou faut-il que cette dernière possède des caractéristiques minimales? Quelles nouveautés celainduit-il en terme de compétences musicales et techniques, d’apprentissage mais aussi et plus globalementen terme de création et de diffusion des messages, de séquençage de l’information ? Dans quelle mesure lesampleur est symptomatique du passage de l’information à la communication, du bouclage réseautique del’information ?BIBLIOGRAPHIEBETHUNE, Christian, Le rap : une esthétique hors la loi, Paris, Ed. Autrement, 2003 (1/1999).BLONDEAU, Thomas et Fred HANAK, Combat Rap, Bordeaux, Le Castor Astral, 2007.CHION, Michel, Musiques, médias et technologies, Paris : Dominos/Flammarion, 1994.GOODWIN ANDREW, Sample and hold: pop music in the digital age of reproduction, 1988JOUVENET Morgan, Rap, Techno, Électro… Le musicien entre travail artistique et critique sociale, Paris, Éditions dela Maison des sciences de l’homme, 2006POSCHARDT ULF, DJ Culture, KARGO, 2002ROUSSELOT, Philippe, « L’homme et l’instrument dans le répertoire libre », in Les cahiers de l’Ircam, Recherche etmusique 7 : Instruments, Paris, Editions Ircam, Les cahiers de l’Ircam, 1995, p. 105-130.TOOP, David, Ocean Of Sound : ambient music, mondes imaginaires et voix de l'éther, Paris : Kargo, 1996.VANDIEDONCK, David, L’industrie de la musique enregistrée recomposée, in BOUQUILLION, Philippe, COMBESYolande (dir.), Les industries de la culture et de la communication en mutation, Harmattan, 2007, pp 91-98BIOGRAPHIESVincent RouzéVincent Rouzé est maître de conférence à l’université Paris 8 St Denis et chercheur au Centre d’étude sur les médias,les technologies et l’internationalisation (CEMTI).Contact : vincent.rouze@univ-paris8.frMaxence DéonMaxence Déon est actuellement en M1 de Musique et Musicologie à l’université de Paris Sorbonne - Paris IV, sous ladirection de Catherine Rudent.Contact : maxence.deon@wanadoo.fr<strong>CIM09</strong> 151

<strong>CIM09</strong> 26-29 octobre 2009Investigating instrumental repertoirefollowing the technique of parataxis: A case studyHaris Sarris 1 , Michalis Kostakis 2 , Tassos Kolydas 21- Department of Music Studies, University of Athens/ Department of Traditional Music,Technological Educational Institute of Epirus (Greece)2- Department of Traditional Music, Technological Educational Institute of EpirusBACKGROUND IN ETHNOMUSICOLOGYOrganological transformations as well as the study of the repertoire can speak volumes about theinteraction between music, and social and historical context. Regarding the music of the Aegean, theorganological transformation of the lira fiddle after the violin has been associated with the rapidurbanization of the first half of the 20th century (Liavas 1986). However, ‘sophisticated’ instruments, (i.e.the violin), have ‘inherited’ the potentials, the repertoire, as well as the aesthetics of their predecessors, suchas the tsaboúna bagpipe (Sarris 2007). The study of the instrumental repertoire combining an insider’s andan outsider’s perspective, may reveal an enlightening view regarding the interweaving of potentials,techniques and influences (Sarris, Kolydas & Tzevelekos 2008).BACKGROUND IN MUSIC PERFORMANCEBeing a remote and isolated village in the island of Karpathos, Olymbos has retained a lot of culturalelements that delve back in time, such as the predominance of repertoire based upon the tsaboúna. Ghlendi(fest), where dialogical verse singing and dancing takes place, has been brought out by ethnographicresearch as the symbolical place for communication and interaction between the community’s members(Kavouras 1990, 1992). Páno Chorós (‘Upper dance’), which is the culmination of the dancing procedure, is ofgreat importance: It offers the opportunity for the re-negotiation of one’s social status through his skilfuldancing or even through tipping the instruments that play for the dance with large amount of money.Within this context, a musician has not only to be a mere instrument player, but also an administrator ofthe ghlendi and a ‘guard’ of its ‘unwritten laws’. The late Giannis Pavlidis was one of them. He was anoutstanding lira and tsaboúna player, and he was respected by all the musicians and the inhabitants ofOlymbos. Living in Rhodes, in an urban environment, he got in touch with various music traditions of theAegean. He introduced elements of Dodecanesian and Cretan tradition in the repertoire of Olymbos, henceinnovating regardless of the highly conservative principles of his village.AIMSIn this study we analyze a recording of an instrumental Páno Chorós dance recorded back in 1982 usingParataxis (Sarris, Kolydas & Tzevelekos 2008). Systematic analysis under the prism of local musicalinstrument’s potentials, combined with the way musicians from Olymbos perceive this recording in 2009,sheds light on this genre of repertoire.MAIN CONTRIBUTIONThe piece under analysis has been recorded during a ghlendi, performed by the late Giannis Pavlidis. Itconsists of a series of doksaries. This is the term used in Olymbos for the short, complete, but notautonomous music segments played by the lira, which are placed one after the other in a matter ofparataxis.The recording is analyzed in terms of structure both from the perspective of systematic analysis as wellas from the native’s point of view using Parataxis. Regarding the native’s point, a group of musicians fromOlymbos tag and annotate Pavlidis’ Páno Chorós, hence providing a present day view of the recording.Metadata is entered in Parataxis’ web-based database (www.parataxis.eu). The conclusive analysis is basedon the side-by-side commentary of the metadata gathered, as well as to the organological data and playingtechniques used in the instruments related to the recording: the lira fiddle, the tsaboúna bagpipe, the violinand the laúto lute. Through systematic analysis we can find three groups of music segments: segmentsrelated to the tsaboúna, to the lira and to the violin. Analysis from a native’s perspective offers an evaluationof these three groups, in the context of Páno Chorós’ performance. At the same time, it acts as a bridge forthe investigation of contemporary performative practices regarding this genre of repertoire.IMPLICATIONS152 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>Our research can hopefully act as a case study for the multilateral analysis of instrumental musicfollowing the technique of parataxis. Data from structural analysis coded with Parataxis project, combinedwith organological data and performative practices may result to a ‘holographic depiction’ of the musicunder analysis.REFERENCESKavouras, P. (1990). Ghlendi and Xenitia: The poetics of exile in rural Greece (Olymbos, Karpathos). Ph.D. diss. TheNew School for Social Research. Ann Arbor, Michigan.--------------. (1992). Dance at Olymbos, Karpathos: Cultural change and political confrontations. Ethnographika, 8,173-190.Liavas, L. (1986). La lira piriforme en Créte et dans le Dodécanèse: Facture, histoire et application sociale. Ph.D.diss. Paris: École des Hautes Études en Sciences Sociales.Sarris, H. (2007). The influence of the tsaboúna bagpipe on the lira and violin. The Galpin Society Journal, 60, 167-80, 116-17.Sarris, H., Kolydas, T. & Tzevelekos, P. (2008). Parataxis: a framework of structure analysis for instrumental folk music.In: C. Tsougras, R. Parncutt (Eds.). Proceedings of the fourth <strong>Conference</strong> on Interdisciplinary Musicology(CIM08), http://web.auth.gr/cim08, 1-10.BIOGRAPHIESHaris SarrisCurrent position Department of Music Studies, University of Athens/ Department of Traditional Music,Technological Educational Institute of EpirusMain field of research EthnomusicologyMain research areas OrganologyRelevant qualifications Bachelor in Music, University of AthensPhD. In Ethnomusicology, University of AthensAreas addressedin published articles Greek folk musical instrumentsvocal-instrumental music correlationContact hsarris@otenet.grMichalis KostakisCurrent position Department of Traditional Music, Technological Educational Institute of EpirusMain field of research Music PerformanceMain research areas Music of KarpathosContact mailto:kakkostakis@hotmail.comTassos KolydasCurrent position Department of Traditional Music, Technological Educational Institute of EpirusMain field of research Historic Musicology, Computer ScienceMain research areas Guitar history and guitar music, music DataBasesRelevant qualifications Bachelor in Musicology, University of AthensMSc in Computer SciencePhD in Historic MusicologyAreas addressedin published articles History of the Guitarhistory of music in Greecemusic DataBasesContact kolydart@gmail.com<strong>CIM09</strong> 153

<strong>CIM09</strong> 26-29 octobre 2009Drawing a parallel between the gaida (bagpipe) and theZonarádikos line dance through StatisticsHaris SarrisDepartment of Music Studies, University of Athens/ Department of Traditional Music, TechnologicalEducational Institute of Epirus (Greece)Agelos VelegrakisIndependent scholar (Greece)Tassos KolydasDepartment of Traditional Music, Technological Educational Institute of Epirus (Greece)BACKGROUND IN ETHNOMUSICOLOGYThe gaida bagpipe is an emblematic musical instrument for the agricultural societies of Western Thrace.Its narrow range, as well as the side effects from its continuous sound, have formed a special playingtechnique, which in turn affects the repertoire of the gaida (Sarris 2007, Sarris & Tzevelekos 2008). One ofthe main characteristics observed in most genres of the instrument’s repertoire is the technique ofparataxis: the act of placing the melodic units side by side, hence creating the form (Sarris, Kolydas, &Tzevelekos 2008). This technique is dominant in Zonarádikos line dance, which can be considered as the‘backbone’ of the instrumental dancing repertoire of Thrace.BACKGROUND IN STATISTICSStatistics, as a scientific tool, has been broadly used in sciences as well as in humanities. Regarding musicstudies, statistics has been applied in compositional techniques, as well as in historical musicology(Ceulemans 1998). Regarding Greek traditional music, limited application has been done. Spyridis (1997)has applied the methods of descriptive statistics (distributions, graphic charts, histograms etc.) andstochastic processes for the multilateral charting of Zonarádikos line dance songs from Western Thrace. Hefocuses on absolute pitches, rhythmical patterns, melodic intervals etc.AIMSInstrumental Zonarádikos follows the technique of parataxis. Its melodic material consists of dance songmelodies, as well as of instrumental phrases. Provided that the gaida was the principal musical instrumentfor the agricultural societies of Thrace, it was the main instrument that played the Zonarádikos. In thisstudy we scope to a ‘charting’ of instrumental Zonarádikos dance played by the gaida bagpipe in WesternThrace, in terms of melody, rhythm, and structure. We use tools of descriptive statistics, such as graphiccharts, mean values, standard deviations, correlations, and distributions in order to extract musicologicalconclusions regarding the repertoire, as well as conclusions about playing techniques.MAIN CONTRIBUTIONHow can one describe a ‘floating’ music, which is re-created each time it is played, by using amethodology with numerical basis such as Statistics? What numbers can say about a complicated musicaland cultural phenomenon such as Zonarádikos, which has been mainly administrated by the gaida in thepast?In order to answer the abovementioned questions we use statistical tools such as charts, mean values,standard deviations, correlations, etc. We scope to acquire frequency distributions of absolute pitches,melodic and rhythmical patterns and other musicological elements of Zonarádikos. In a second level ofanalysis, we attempt to evaluate statistical data under the prism of the gaida’s playing techniques andpotentials. For the purposes of our research we select a random sample of gaida recordings throughResearch Programme Thrace’s corpus (http://epth.sfm.gr). We analyze it through Parataxis (Sarris,Kolydas, & Tzevelekos 2008), from the perspective of systematic analysis, focusing on special technicalparameters delving from the potentials of the gaida. Metadata is entered in Parataxis’ web-based database(www.parataxis.eu). Analysis’ metadata is processed through SPSS software (www.spss.com), a tool for thestatistical analysis and data management, focused on social studies.We conclude that instrumental Zonarádikos is characterized by ‘bipolarity’: song melodies andinstrumental phrases, both having distinctive musical characteristics, are ‘interwoven’, hence creating theform.154 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>IMPLICATIONSOur research can hopefully help us to draw parallels between the gaida, an emblematic instrument for theagricultural societies of Thrace, and Zonarádikos, which is the ‘backbone’ of instrumental dance repertoire ofthose societies. Statistical analysis may also help us to investigate whether there is a connection between amusic piece of uncertain origin and the gaida. Besides, our data may have a tutorial application for aprospective gaida player wishing to shed light on this genre of repertoire, given that the bearers of this oraltradition cease to exist.REFERENCESCeulemans, A.E. (1998). A stylistic investigation of “Missa Une mousse de Biscaye”, in the light of its attribution toJosquin des Prez. Tijdschrift van de Koniklijke Vereniging voor Nederlandse Muziekgeschiedenis, 48(1), 30-50.Croxton F. (1953). Elementary statistics. New York: Dover Publication.Mood Al., Graybill F., & Boes D. (1974). Introduction to the theory of Statistics [3rd edn]. New York: MacGraw-Hill.Sarris, H. (2007). I gaida ston Evro: Mia organologiki ethnographia [The gaida bagpipe in the Evros region of GreekThrace: An organological ethnography]. Ph.D. diss., University of Athens.Sarris, H., Kolydas, T. & Tzevelekos, P. (2008). Parataxis: a framework of structure analysis for instrumental folk music.In: C. Tsougras, R. Parncutt (Eds.). Proceedings of the fourth <strong>Conference</strong> on Interdisciplinary Musicology(CIM08), http://web.auth.gr/cim08, 1-10.Sarris, H., & Tzevelekos, P. (2008). "Singing like the gaida (bagpipe)": Investigating relations between singing andinstrumental playing techniques in Greek Thrace. Journal of Interdisciplinary Music Studies, 2(1-2), 33-57.Spiegel, M. (1975). Probability and Statistics. New York: McGraw-Hill.Spyridis, Ch. (1997). Informatics in Ethnomusicology. Thessaloniki: GartaganisBIOGRAPHIESHarris SarrisCurrent position Department of Music Studies, University of AthensDepartment of Traditional Music,Technological Educational Institute of EpirusMain field of research EthnomusicologyMain research areas OrganologyRelevant qualifications Bachelor in Music, University of AthensPhD. In Ethnomusicology, University of Athens.Areas addressedin published articles Greek folk musical instrumentsvocal-instrumental music correlationContact hsarris@otenet.grAgelos VelegrakisCurrent position Independent scholarMain field of research PhysicsMusic theoryMain research areas StatisticsRelevant qualifications Bachelor in Physics, University of PatraAreas addressedin published articles AcousticsContact veleg@hotmail.comTassos KolydasCurrent position Department of Traditional Music, Technological Educational Institute of EpirusMain field of research Historic MusicologyComputer ScienceMain research areas Guitar history and guitar music, music DataBasesRelevant qualifications Bachelor in Musicology, University of AthensMSc in Computer SciencePh.D. in Historic MusicologyAreas addressedin published articles History of the Guitarhistory of music in Greecemusic DataBasesContact kolydart@gmail.com<strong>CIM09</strong> 155

<strong>CIM09</strong> 26-29 octobre 2009The player and the instrument: Analysisof bowing gestures in violin and viola performanceErwin SchoonderwaldtDept. of Speech, Music and Hearing, CSC, KTH, Stockholm (Sweden)Input Devices and Music Interaction Laboratory, Schulich School of Music, McGill University,Montréal (Canada)Lambert Jun-Yuan ChenSchulich School of Music, McGill University, Montréal (Canada)BACKGROUND IN MUSIC PERFORMANCEMastery of the bow forms a key element in performing on bowed-string instruments. The production of amusical tone, articulation and phrasing, as well as the mastery of a variety of bowing techniques requirerefined skills and a high degree of coordination from the player, acquired during years of practicing(Galamian, 1962; Rasamimanana, 2008). Even though the principles of sound production are very similaramong different members of the violin family, their performance practices have evolved into specializeddisciplines associated with distinct repertoires and playing techniques, and performers are therefore oftendedicated to a particular instrument (Chen, 2008). On the other hand, bowed-string instruments are highlyversatile, and are used in a large variety of musical styles, including classical, country and jazz. Much of thediversity as well as the commonalities in performance can be related to the use of the bow, and a deepenedinsight in the details of bowing might therefore be helpful to the player, who wants to explore differentinstruments (e.g., violin/viola) and/or musical styles.BACKGROUND IN MUSIC ACOUSTICSThe interaction between the bow and the string has been extensively studied, and can claim to be wellunderstood (Woodhouse et al., 2004). The vibration of the string is mainly governed by three parameters:bow velocity, bow force and bow-bridge distance. The production of an acceptable musical tone requires asubtle coordination of these bowing parameters by the player, as formalized by Schelleng (1973) for“steady” tones and by Guettler (2002) for attacks. The playable combinations of bowing parameters aredependent on properties of the string and the instrument. The player can exert continuous control of thetone quality (loudness, brightness, etc) via the main bowing parameters (Schoonderwaldt, 2009). In recentstudies it has been convincingly shown that the gestural control of the bow forms an essential part of thecharacteristic sound of the violin (Demoucron, 2008).AIMSThe major goal of the study was to learn more about the physical interaction between the player and theinstrument. The study included basic aspects of sound production, relating the coordination of bowingparameters in performance to empirically found bow-force limits (Schoonderwaldt, 2008). Furthermore, itwas studied how players adapted their bowing parameters to different strings and instruments. Finally,high-level aspects of bow control were studied, including the use of bow angles, anticipation and complexbowing patterns.MAIN CONTRIBUTIONMethodA method was developed for measurement and analysis of bowing gestures using motion capture andsensors mounted on the bow. The method provided complete and accurate measurement of all relevantbowing parameters under realistic performance conditions. A performance experiment was done withclassically schooled violin and viola players. In addition, performances of two country fiddlers wererecorded.ResultsIt was shown that the players coordinated their bowing parameters respecting the constraints of toneproduction. Furthermore, it was shown that the players adapted their bowing strategies to physicalproperties of the strings and the instrument. Generally, the players showed a high consistency in their useof bow angles, suggesting a functional use; skewness (of bowing direction) was used to facilitate the controlof bow-bridge distance, tilt (amount of bow hair in contact with the string) was used for gradation of bowforce.Customized visualizations of the bowing gestures (Schoonderwaldt et al., 2007) revealed clear156 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>subtleties of bow control, including anticipation, coordination of bow changes and string crossings (circularand figure-of-eight motion patterns) and ornamentations (“shakes” in the fiddler performances).IMPLICATIONSThe results of this study have high pedagogical potential, and might contribute to more “informed” andeffective teaching and practicing of bowed-string instruments. The measurements, in combination with thevisualizations allow for exploration and comparison of bowing strategies in real performance, providingvaluable feedback to students and teachers. Furthermore, the results might be useful for composers to gaininsight in the possibilities and limitations of bowed-string instrument performance, allowing exploitation ofthe full range of the instrument, including extended and interactive performance.REFERENCESChen, L. J.-Y. (2008). A modern study of viola playing. DMus thesis, Schulich School of Music, McGill University,Montreal.Demoucron, M. (2008). On the control of virtual violins: Physical modeling and control of bowed string instruments.PhD thesis, UPMC/IRCAM & KTH, Paris/Stockholm.Galamian, I. (1962). Principles of violin playing and teaching. Prentice-Hall, Inc., Englewood Cliffs, N. J.Guettler, K. (2002). On the creation of the Helmholtz motion in bowed strings. Acta Acustica uw Acustica, 88 (6),970-985.Rasamimanana, N. (2008). Geste instrumental du violoniste en situation de jeu : analyse et modélisation. [transl.:Violin player instrumental gesture: analysis and modeling]. PhD thesis, UPMC/IRCAM, Paris.Schelleng, J. C. (1973). The bowed string and the player. J. Acoust. Soc. Am., 53 (1),26-41.Schoonderwaldt, E. & Wanderley, M. M. (2007). Visualization of bowing gestures for feedback: The Hodgson plot.In Proc. of AXMEDIS07 (Barcelona), Vol II., 65-70Schoonderwaldt, E. (2008). An empirical investigation of bow-force limits in the Schelleng diagram. Acta Acusticauw Acustica, 94 (4), 604-622.Schoonderwaldt, E. (2009). Mechanics and acoustics of violin bowing: Freedom, constraints and control inperformance. PhD thesis, KTH, Stockholm.Woodhouse, J. & Galluzzo, P. M. (2004). The bowed string as we know it today. Acta Acustica uw Acustica, 90 (4),579-589.BIOGRAPHIESErwin SchoonderwaldtCurrent position Researcher, KTH, StockholmMain research disciplines Music acoustics, Music technologyMain research areas Bowed string, Music pedagogical applicationsRelevant qualifications Master in physics, University of Amsterdam, 1999PhD in speech and music communication, KTH, Stockholm, 2009Contact schoondw@kth.seLambert Jun-Yuan ChenCurrent position Viola Instructor, Schulich School of Music, McGill UniversityMain disciplines Performance, modern viola playingRelevant qualifications D. Mus., McGill University, 2008M.M., New England Conservatory of Music, 2003Laureate in various national and international music competitionsContact lambertchen@gmail.com<strong>CIM09</strong> 157

<strong>CIM09</strong> 26-29 octobre 2009Balance – brillance – nostalgie :des inventions d’instruments d’orchestre vers 1880Gesine SchröderUMT Leipzig, département de composition/écriture musicale (Germany)Elisabeth Sasso-FruthUMT Leipzig, département de musicologie/langues (Germany)Lu WollnyDepartment of Early Music ; University of Music and Theatre “Felix Mendelssohn Bartholdy” LeipzigBalance – Brilliance – Nostalgia: The invention of orchestral instruments around 1880Background in music theoryResearch in the field of organology has seldom been applied to orchestral culture (Aringer, 2008). Whatsignificance the budding musical historicism had for an epoch otherwise marked by general enthusiasm towardtechnology, has been shown in part in studies by Brown (1999). The invention of new orchestral instrumentsaround 1880 and the technical improvements of existing instruments reflect a certain orientation to the past(Restle 2004 and Schröder 2008).Background in linguistics/Romance languagesCompositional theories and in turn theories of orchestration, which is the topic at hand, must always translate theobject under consideration into another medium; that is, from sound to language (Dahlhaus 1989). Whatconsequences this transformation has on the perception of sound phenomena with regards to instrumentalinnovations and in particular a characteristic and specific idiomatic style of writing for an instrument has alreadybeen studied on occasion (Kramer 2009 and Schröder 2005).AimsBy analysing the language in three examples portraying typical everyday practices in the instruction ofinstrumentation around 1880, insight shall be gained into new currents in orchestration that one truly feltconfronted with around that time as a result of the invention of orchestral instruments: Against what did one feelone had to struggle? What threats would be posed by these changes? Which orchestral innovations were desired,accepted, greeted with enthusiasm or condemned?Main contributionAt the beginning of the 1880s there was a radical change in European orchestral culture. This change will bereconstructed using the example of the Leipziger Gewandhausorchester by examining the language in threetheories of composition that were written around 1880: two by authors in Leipzig and, to provide a comparison,one by an author in Genf (Jadassohn, Hofmann, Kling).The idea of the equality of all tones in the chromatic scale, as well as the phantasm of “favourable progress” gaveway to a new notion: instead of pursuing endless technical possibilities, one strove for distinct characteristics ofeach instrument, even accepting limitations to achieve this. Some examples for this development that are describedin detail are the Pfundt timpani, the thumb valve, as well as the Kruspe trombones, the Kruspe-Schwedler flutes,and the five-string double bass. All the versions mentioned can be traced to innovations made by musicians in theorchestra.Even as late as 1880 the artistic and intellectual atmosphere at the Gewandhaus was one in which members of theorchestra invented or even ‘reinvented’ their own instruments. Near the end of the nineteenth century a growingincapacitation of this type of creative musician may be observed. Moreover there is a new trend: alongside an earlyform of a performance practice increasingly oriented on historical traditions, the practice of updating a historicalsound through the process of retouching developed.ImplicationsOrganological research, performance practice, and the theory of orchestration are brought into connection withone another.Knowledge of new instruments and conventions in orchestration around 1880 can have powerful consequences formusical performance insofar as it strives to reproduce a historical sound or in some other way makes a claim tobeing historically informed. It would radically estrange the sound of this music as we know it, thus making it – ina formalistic sense – possible to hear it in a new way for the first time.ETAT DE L’ART EN THÉORIE MUSICALECe n’est que rarement que les recherches organographiques ont pris en considération l’ambiance et letravail dans les orchestres (Aringer 2008). Ce que signifiait la naissance de l’Historisme musical pour uneère qui s’enthousiasmait pour la technologie a été démontré partiellement dans des études de Brown (1999) :Les inventions de nouveaux instruments d’orchestre aux environs de 1880 et les améliorations techniquesd’instruments qui existaient déjà portaient des traits d’une certaine rétrogradation (Restle 2004 et Schröder2008).158 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>ETAT DE L’ART EN LINGUISTIQUELes théories de la composition et avec elles l’aspect dont il est question ici, à savoir les théories del’instrumentation, sont toujours contraintes de traduire le sujet qu’ils traitent dans un autre medium: du sonau langage (Dahlhaus 1989). Les effets qu’a cette transformation sur la perception du phénomène sonore -et, lorsqu’il s’agit d’inventions de nouveaux instruments la transformation regarde particulièrementl’attribution d’une idiomatique spécifique de l’instrument - ont déjà été le sujet de recherches sporadiques(Kramer 2009 et Schröder 2005).OBJECTIFSA travers l’analyse linguistique de trois textes exemplaires sur la théorie de l’instrumentation écrits auxalentours de 1880 on cherchera des éclaircissements sur les mouvements auxquels on se voyaiteffectivement exposé à l’époque par l’invention de nouveaux instruments d’orchestre :Qu’est-ce qu’on croyait devoir combattre avec les inventions d’instruments ? Quels périls pensait-ondevoir envisager ? Quelles nouveautés orchestrales désirait-on, approuvait-on, saluait-on avecenthousiasme, condamnait-on ?CONTRIBUTION PRINCIPALEAu début des années 80 du 19ème siècle on assiste en Europe à un changement décisif dans le monde desorchestres. On reconstruira ce changement dans le (!) cas concret de l’orchestre du Gewandhaus de Leipzigà l’aide de l’analyse linguistique de trois théories d’instrumentation qui ont été rédigées toutes les trois vers1880, dont deux par des auteurs de Leipzig, tandis que la troisième a été écrite par un auteur de Genève(Jadassohn, Hofmann, Kling).L’idée de la parité de tous les sons chromatiques et le phantasme d’un « bon progrès » qui concernait ledéveloppement des instruments cèdent leur place à une nouvelle idée : désormais on vise à unecaractéristique marquée des instruments au lieu d’une infinité de possibilités techniques ; pour atteindre cebut on est même prêt à accepter des restrictions.Les timbales de Pfundt, les trombones à piston du pouce et dans la suite ceux de Kruspe, la flûte deKruspe et Schwedler et les nouveaux cors de basset, parmi les contrebasses celle à cinq cordes sont tous desexemples pour cette évolution – toutes ces variantes d’instruments remontent à des inventions de musiciensd’orchestre : Encore en 1880 l’ambiance intellectuelle du Gewandhaus était caractérisée par le musicien quine cessait d’inventer et de perfectionner son « outil ».La motivation de sa créativité tenait à son désir d’exprimer sa virtuosité et de la porter à pleinépanouissement dans ses propres compositions ou improvisations. Vers la fin du siècle on remarque de plusen plus souvent la déresponsabilisation de ce musicien créateur.Les inventions de nouveaux instruments d’orchestre par les musiciens de l’orchestre du Gewandhausseront décrites en détail dans leur évolution. En outre c’est juste aux environs de 1880 que change aussi ladistribution : on peut observer une sorte de différenciation historique qui se manifeste surtout dans lescordes dont le nombre varie pour la première fois selon l’époque de laquelle date l’œuvre à exécuter. À côtéde cette forme primitive d’une historisation de la pratique d’exécution apparaît pourtant la pratique del’actualisation d’une image sonore par retouches.IMPLICATIONSOn instaurera une connexion entre la recherche organographique, la pratique d’exécution etl’enseignement d’orchestration. Pour la pratique musicale qui cherche à obtenir une image sonore historiqueou à s’informer sur les données historiques la prise de connaissance des nouveaux instruments ainsi que duchangement de la distribution vers 1880 peut avoir des conséquences considérables. Elle mènerait à unealiénation profonde de l’image sonore de cette musique telle qu’on y est habitué aujourd’hui, une aliénationqui impliquerait – conformément au formalisme – une nouvelle perception.<strong>CIM09</strong> 159

<strong>CIM09</strong> 26-29 octobre 2009RÉFÉRENCESAringer, Klaus 2008. Die Dienstlisten des Münchner Hoforchesters als aufführungspraktische Quellen, Vortraggehalten an der Universität für Musik Wien, im DruckBrown, Clive 1999. Classical and romantic performing practice 1750-1900, New YorkDahlhaus, Carl 1989. Die Musiktheorie im 18. und 19. Jahrhundert. Zweiter Teil. Deutschland (Geschichte derMusiktheorie, vol. 11), StuttgartHofmann, Richard 1893. Praktische Instrumentationslehre, LeipzigJadassohn, Salomon 1889. Lehrbuch der Instrumentation, LeipzigKling, Henri 1888. Populäre Instrumentationslehre oder Die Kunst des Instrumentierens HannoverKramer, Ursula 2009. Lortzings musikalischer Tonfall im Spiegel seiner Instrumentation, Vortrag gehalten an derHochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ Leipzig, im DruckRestle, Conny 2004. Faszination Klarinette. MünchenSchröder, Gesine 2005. Timbre. Ein Fremdwort der deutschsprachigen Instrumentationslehre, in: ZwischenKomposition und Hermeneutik, Festschrift für Hartmut Fladt, édité par Ariane Jeßulat et autres, Würzburg,pp. 105-113________ 2008 : „Die Wirkung ist unschön“. Orchestrale Besetzungs- und Spielgepflogenheiten, Vortrag gehaltenan der Universität für Musik Wien, im DruckBIOGRAPHIESGesine SchröderProfesseur de la théorie de la musique, UMT LeipzigDomaine de la recherche : Théorie de la musique (en particulier : écriture musicale, orchestration, nouvelle musique,contrepoint)Qualifications relevantes : diplôme théorie de la musique/ improvisation, PhD HdK BerlinElle a enseigné à Berlin et à Leipzig depuis 1992.Professeur invitée au CNSM et au CNR de Paris en 2002 et 2003. Plusieurs publications.http://www.hmt-leipzig.de/index.php?id=505,0,0,1,0,0&ma_id=352Elisabeth Sasso-FruthProfesseur de français et d’italien, UMT LeipzigDomaine central de la recherche : opéra italienne, mélodie française (sous l’aspect littéraire)Qualifications relevantes : maîtrise ès lettres modernes (français/italien/allemand), Université de Munich (LMU)Elle a enseigné l’allemand à l’Institut de Culture Allemande à Vicenza, à l’Institut Universitaire de Langues ModernesMilan et à l’Académie de Toulouse.Interprète (p. ex. au Premio Montecchio) et traductrice d’œuvres littéraires du français et de l’italien.http://www.hmt-leipzig.de/index.php?id=506,0,0,1,0,0&ma_id=385Lu WollnyÉtudiante de clavecin, assistente musicologique et linguistique, UMT LeipzigDomaine de la recherche: organographie historique, connexité musique-languesQualifications relevantes: publications sur Jean Jacques Froberger, Antonio Vivaldi, Johannes BrahmsLu Wollny a suivi des séminaires à la Schola Cantorum Basiliensis, au château de Fürsteneck et à la Fondazione Cini,VeniseActivité concertante.160 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009Design and make a novel music instrument “Sorahi”Mohammad Reza ShajarianHead of High Council of music, Iran Music Home Tehran (Iran)Shabnam AtaeiElectrical & Computer Engineering, Shahid Beheshti University Tehran (Iran)(BACKGROUND I,II) INTRODUCTIONIn order to understand why certain combinations of notes make harmony and others do not, we willstudy the simplest instrument, a single string. The formula for the frequency of a vibrating string is:Frequency=(1/2*length)(tension/line density)^0.5When: Frequency is in Hertz=1/sec; Length is in meters; Tension is a force in Newton=kg*m/sec^2; Line densityis the string thickness, in kg/mThis fact has many physical manifestations, such as: Low instruments must be much larger than highinstruments. In general, an instrument which is an octave lower must be twice as large. For example, in thestring family, as we progress from violin, viola, cello, to bass, the cello is large and the bass is very large.(AIM) SORAHISorahi is a family of Persian musical instrument like violin, Have 4 members: soprano, alto, bass andcontrabass. “Sorahi” in Persian language is bottle or cup of wind and because of similarity of its shape theinstrument called “Sorahi”. They have 4 strings. And have a surface of animals skin which cause thedifference it sound from violin. The skin can be change in few minutes then the type of sound will change sodepends on the required sound the instrument can change the type of its sound. It play with it’s bow alsocan play with violin’s bow. “Sorahi” which is introducing in this paper is designed and made regarding tonovel method of designing and measuring of resonating strings, such as new measurements and newdesigning method with new bridge sizes. For strings measurements we use this formula:Frequency=(1/2*length)(tension/line density)^0.5The figs below show two members of Sorahi family:Sorahi alto162 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>Bass Sorahi(IMPLICATIONS) CONCLUSIONTwo Characteristics of a musical sound are volume and pitch. What is the difference between flute andviolin, when they play the same note? If we see the waveform of the sound of these instruments in a samenote it would be like this:The frequencies are the same because the notes are same. A note has one frequency and a frequency as anumber is relate to one note.REFERENCES1- Mathematical Harmonies, Mark Petersen, 2001.2- Johnston, Ian, Measured Tones, The interplay of physics and music, Hilger, NY, 1989.3- Pierce, John R., The Science of Musical Sound, Scientific American Library, NY, 1983.BIOGRAPHIESMohammad Reza Shajarian is the most Iranian famous vocalist, composer and the musical instruments builder. Hisworks are brilliant in the history of Persian music. In 1999 UNESCO in France presented him with the prestigiousPicasso Award, one of Europe's highest honors. He has many international awards. He Nominated for Grammy awardin Best World Music 2006 and 2004. Also he have won Mozart award in 2007 in Moscow. He is the Head of Highcouncil of music in Iran Music Home, that most of Persian music Masters are member of there.S.Shajarian@gmail.comhttp://en.wikipedia.org/wiki/Shabnam Ataei is Electrical Engineer from University of Shahid Beheshti (National University), Iran. She has manypublications about Electrical Circuits, communications and speech signal processing. Also she has designed and madeelectrical tuner, show quartertone that useful for Persian music.M.R. Shajarian himself have designed and built this instrument. S. Ataei is just his paper presenter.<strong>CIM09</strong> 163

<strong>CIM09</strong> 26-29 octobre 2009Design and make a novel music instrument “Bam-Saz(Bass Satour)”Mohammad Reza ShajarianHead of High Council of music, Iran Music Home Tehran (Iran)Shabnam AtaeiElectrical & Computer Engineering, Shahid Beheshti University Tehran (Iran)(BACKGROUND I,II) INTRODUCTIONIn order to understand why certain combinations of notes make harmony and others do not, we willstudy the simplest instrument, a single string. The formula for the frequency of a vibrating string is:Frequency=(1/2*length)(tension/line density)^0.5When: Frequency is in Hertz=1/sec; Length is in meters; Tension is a force in Newton=kg*m/sec^2; Line densityis the string thickness, in kg/mThis fact has many physical manifestations, such as: Low instruments must be much larger than highinstruments. In general, an instrument which is an octave lower must be twice as large. For example, in thestring family, as we progress from violin, viola, cello, to bass, the cello is large and the bass is very large.AIMPersian musical instruments covers about 3-4 octaves in a moment with a specific tune. Also lowfrequencies and bass notes not covered with available instruments.Santoor or hammered Dulcimer is a Persian musical instrument. It covers about 3 octaves but all of thesenotes can not play well and don’t have a sharp sound. So an instrument which covers much more lowfrequencies and bass notes is need. “BAM-SAZ” which is introducing in this paper is designed and maderegarding to novel method of designing and measuring of resonating strings, such as new measurementsand new designing method with new bridge sizes. It covers about 4.5 octaves, from A2 to G6. It can havebass frequencies that none of available Persian instruments have them.The strings diameter sizes are between .035 and .070 and all of them are steel and without wounding andwrapping in the left hand and the right side strings diameters are between .24 and .070 with wrappingcover. Because of the bass sounds and long length of strings it can use with damper.The figs below show two members of Bass Santour family:Bam-Saz (Bass Santour)164 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCES1-Mathematical Harmonies, Mark Petersen, 2001.2-Johnston, Ian, Measured Tones, The interplay of physics and music, Hilger, NY, 1989.3-Pierce, John R., The Science of Musical Sound, Scientific American Library, NY, 1983.BIOGRAPHIESMohammad Reza Shajarian is the most Iranian famous vocalist, composer and the musical instruments builder. Hisworks are brilliant in the history of Persian music. In 1999 UNESCO in France presented him with the prestigiousPicasso Award, one of Europe's highest honors. He has many international awards. He Nominated for Grammy awardin Best World Music 2006 and 2004. Also he have won Mozart award in 2007 in Moscow. He is the Head of Highcouncil of music in Iran Music Home, that most of Persian music Masters are member of there.S.Shajarian@gmail.comhttp://en.wikipedia.org/wiki/Shabnam Ataei is Electrical Engineer from University of Shahid Beheshti (National University), Iran. She has manypublications about Electrical Circuits, communications and speech signal processing. Also she has designed and madeelectrical tuner, show quartertone that useful for Persian music.M.R. Shajarian himself have designed and built this instrument. S. Ataei is just his paper presenter.<strong>CIM09</strong> 165

<strong>CIM09</strong> 26-29 octobre 2009The influence of the ‘full-Böehm’ system instrumenton the development of a Brazilian clarinet repertoireFernando José SilveiraVilla-Lobos Institute, Rio de Janeiro State Federal University (Brazil)Eliete Figueira Batista da SilveiraDepartment of Vernacular Languages, Rio de Janeiro Federal University (Brazil)BACKGROUND IN PERFORMANCEOur project aims to study a repertoire of a delimited period of time - 1870`s until nowadays, with focuson the pieces composed for the so called ‘full Böehm’ system clarinet. At the same time that we can see theimportance of that instrument to the development of the Brazilian clarinet repertoire, it is now a subject ofperformance issues, since nowadays that system of clarinet is out of use (Hoeprich, 2008).BACKGROUND IN HUMANITIESThe process of language change is incontestable. It is not abrupt or on a random basis, but a product of alinguistics and social factors (Labov, 1993; 2000). Its process is based on an adaption of the new upon theold, to make sure that the language still does its work: establish communication. So, the language is, at thesame time, tradition and innovation. On that paper, we want to establish those linguistics and social factorsrelated to the development and contemporary performance of the clarinet repertoire in Brazil.AIMSThis paper aims to research the development of the clarinet repertoire in Brazil since XVIII Century,comparing the use of different models and setups of clarinets and its relationship with 1) the repertoirecomposed to the instrument and 2) the development of the language to be used on that repertoire. Aims,yet, to study the impact upon the repertoire and make an analysis what are the possibilities to maintain themusical meaning, i.e. the language, as much as intact for today`s performances.Even we already had clarinets in Brazil since the end of the XVIII Century (Borba, 1976 apud Pires,2000), the beginning of the XIX Century, with the move of the Portuguese Real Family to Brazil in 1808,were the beginning of the intense use of clarinets on the Church Orchestra through religious musical works(Freire, 2000). Laemmert Almanak (Laemmert, 1859, p. 26) describes that the clarinets sold in Brazil until1860`s had up to 13 keys. Hoeprich (2008, p. 182) states that the ‘full-Böehm’ clarinets arises in Europeabout 1860. The main difference to the regular Böehm system is, between others, the addition of a minorsecond lower to the normal compass of the clarinet - to fit the ‘A’ clarinet compass. Hoeprich (2008, p. 182)says, yet, that “the instrument is only played occasionally today […]”.Recently researches (Silva & Silveira, 2008) states that, before 1940`s and the use of ‘full Böehm’ systemclarinets, there were just three or four pieces for clarinet by Brazilian composers and very few of those youcould find to use all of the clarinet potentials (Silveira, 2008). ‘Full Böehm’ system clarinets became popularin Italy, and in Brazil, on the beginning of the XX Century (Hoeprich, 2008).MAIN CONTRIBUTIONThe research drives to the conclusion that since 1940’s to 1980’s, the period that we can find relevantcompositions for clarinet in Brazil, the common use of the ‘full Böehm’ clarinets was a determinant fact onthe development, by those important composers as Francisco Mignone, José Siqueira, Claudio Santoro etc.,of a language to be used on clarinet repertoire in all XX Century music for clarinet. That kind ofdevelopment of the clarinet Language seems to appear as the same process to the development of the anyspoken language (Sapir, 1929).IMPLICATIONSSince the ‘full Böehm’ clarinets descends to low c# (written Eb), a minor second down of the ordinarysystems of clarinets, contemporary performances of those repertoire can miss an important part of themeaning of those pieces. After the research we point out that the best to be done must have to be choose bythe interpreter between those actions: 1)arrange the musical material to fit the today`s Bb clarinet compass;2)play an octave higher just the note that couldn`t be reached; 3)own a ‘full-Böehm’ clarinet, 4)play it on ‘A’clarinet or 5)do not play those pieces. So, we discuss each of those possible choices and its musical, cultural,educational and linguistic implications (Coseriu, 1979).166 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>REFERENCESCOSERIU, Eugenio. Sincronia, diacronia e história: o problema da mudança lingüística. Rio de Janeiro/São Paulo:Presença, 1979.FREIRE, Ricardo. The History and Development of the Clarinet in Brazil. Michigan/USA: Michigan State University,2000. DMA Tesis.HOEPRICH, Eric. The Clarinet. London: Yale University, 2008.LABOV, William. Principles of linguistic changes: internal factors. Oxford/Cambridge: Blackwell, 1993.______________. Principles of linguistic changes: social factors. Oxford/Cambridge: Blackwell, 2000.LAEMMERT, Eduardo. Administrative, Business and Industrial Almanak of the Rio de Janeiro Court and Province.Rio de Janeiro/Brazil: Eduardo Laemmert, 1859.PIRES, Roberto. “A clarineta no Brasil” In: Brazilian Clarinet Association Magazine. Salvador/Brazil: ABCl, 2000.SAPIR, Edward. A linguagem: introdução ao estudo da fala. Rio de Janeiro: Livraria Acadêmica, 1971.SILVA, Mauricio; SILVEIRA, Fernando José. “Clarinetistas Profissionais do Rio de Janeiro” In: Proceedings of VIIINational Seminar of UFG. Goiânia/Brazil: UFG, 2008.SILVEIRA, Fernando José. “‘Concertino per Clarino in Sib con Accomp.to di Pianoforte’ di José Lino Fleming” inProceedings of the XVIII Congress of ANPPOM. Salvador/Brazil: Bahia Federal University, 2008.BIOGRAPHIESFernando José SilveiraCurrent position Adjunct Clarinet Professor and Researcher, Villa-Lobos Institute,Rio de Janeiro State Federal University, BrazilMain research discipline The History of the Clarinet in BrazilMain research areas Performance practicemusic historyRelevant qualifications Graduated in Music(1994) and Post-Graduated in Music(1998),Rio de Janeiro Federal University, BrazilDoctor in Music(2005), Bahia Federal University, BrazilPublications http://buscatextual.cnpq.br/buscatextual/visualizacv.jsp?id=K4763937Y3Contact fernandounirio@hotmail.comEliete Figueira Batista da SilveiraCurrent position Adjunct Portuguese Language Professor and Researcher,Rio de Janeiro Federal University, BrazilMain research discipline The several different developments of the Portuguese languageon the colonial countries;Main research area Portuguese language, linguisticsRelevant qualifications Graduated in Portuguese Language(1990)Master in Portuguese Language(1996)Doctor in Portuguese Language(2003), Rio de Janeiro Federal University, Brazil;Publications http://buscatextual.cnpq.br/buscatextual/visualizacv.jsp?id=K4797191T3Contact elietesilveira@hotmail.com<strong>CIM09</strong> 167

<strong>CIM09</strong> 26-29 octobre 2009Changing Baglama Performancein Urban Culture of TurkeyErdem Simsek, Ozan AnlasCentre for Advanced Studies in Music - Istanbul Technical University (Turkey)Folk music of Anatolia has undergone a change in the perspective of performance, after the affects of theestablishment of republic, westernization, modernization, urbanization and globalization. This change canbe observed mainly in the case of “bağlama” perfomance. Bağlama is the long-necked Anatolian lute that iswidely being used throughout Anatolia, and at least has about 4000 years old history. Nowadays, in urbanlife, both the bağlama itself, as an instrument, and the playing techniques have become different than theprevious rural ones.In our presentation we will try to look this topic from two different, but related viewpoints. First of all,we will analyze the subject from the “performance practice” perspectives of ethnomusicology discipline.Secondly, the social backgrounds of this change will be debated both from the ethnomusicological andsociological perspectives. Moreover, as a method of presentation, different bağlama playing styles andtechniques will be performed and analyzed lively.After the establishment of the Turkish Radio, an ensemble performing songs from different regions of thecountry was established in 1940. At the radio, the folk lute formed the core of the newly-formedinstrumental ensembles where they functioned somewhat like the violin in a western orchestra. Bağlamawas chosen as the core instrument due to the fact that it was the oldest instrument of Anatolia and widelybeing used throughout Anatolia. Yet another political reason, of course, was the effort for excluding“Ottoman Music”. Because of the transformation of the solo instrument bağlama into an ensembleinstrument the performance practice of bağlama started to change. Bağlama started to be used to play all ofthe regions’s songs, despite the fact that it was not used in some of the musical traditions. So, it is obviousthat some inventions and adaptations were begin to seen in bağlama performance.In Anatolia there are various kinds of bağlamas in different sizes which also have distinct names like cura,tanbura, bağlama, çöğür, divan sazı, bozuk, ırızva, ruzba and bulgari (Picken 1975; Gazimihal, 1975). Picken(1975) classifies bağlama under chordophones, as a necked lute plucked with fingers or a plectrum andhaving a carved resonator (oyma saz) or a carvel-built box (yaprak) resonator. Bağlama has also undergonean observable structural and constructional change in the period of urbanization. So, the timbre of thebağlama also changes.In mid-1960s, the “arabesk music” appeared in a period that the music industry was just crawling andsupplying a creative expression way as an alternative to the government’s media (Özbek, 1998:171). Inthose years, bağlama was used in a different style by Orhan Gencebay, who is the most important arabeskmusic performer. This style started to become widespread with the style indicators like a dynamic and fastperformance, intense embellishments, Arabic and Egyptian-like ornamentations and vibratos.After 1980s, the neck of the bağlama has been shortened and a new kind of bağlama called “short-neckedbağlama” started to be used widely due to the influences of Arif Sağ, an important virtuoso of bağlama whogave the first bağlama recital in 1982. “Bağlama düzeni”, a traditional tuning (La-Sol-Re), started to be usedpredominantly in urban, after the late 1980s.In 1990s playing bağlama without plectrum became an alternative way of performance as well. In fact,playing bağlama without plectrum was not a new style. There are lots of traditions still going on playingbağlama with hand techniques. Nowadays, in urban culture, new generation bağlama players are alsoaffected by different culture’s musical instruments like guitar, tar, sitar and so on. Some performers add afourth string on bağlama. Some performers add a fourth string on bağlama. Moreover, following ErkanOğur’s studies, arpeggio techniques are adapted to bağlama and also fretless bağlama started to be used.To conclude, bağlama performance has undergone a change after republic period because of themodernization and westernization processes, and this change has continued in various ways in followingyears because of urbanization. Besides, more hybrid styles are started to be formed. Moreover, new stylesand new performance techniques are being invented. However, nowadays it is very easy to listen, watch andlearn from different performers and performance continues to change in urban culture because of some168 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>social changes and lots of hybrid styles will probably form due to the interactions of different cultures, inthe following years.In sociological view, Ozan Anlaş will discuss about the transformation process of urban culture and musicin the sense of social change and identity. This process will include the period from the establishment ofRepublic of Turkey (1923) to recent times. Standardization of folk music in early-republican period, rural tourban migration wave in 1960’s and hybridization of Turkish music, social profile of new urban people willalso be debated.Erdem Şimşek as a bağlama performer and an ethnomusicologist will try to indicate the bağlamaperformance styles in the rural and urban in the same periods; by performing bağlama and using recordings.The bağlama techniques in and the wide range of performance styles from the Ottomans to present will bedemonstrated with baglama in the direction of urbanization process of Turkey. In addition, the historicaloverview of Turkish folk music and bağlama performance will be presented by Erdem Şimşek.There are plenty of studies about the Turkish folk music and its main instrument “bağlama”, especially inTurkey. However, the question how Turkish folk music experienced the change in the urbanization processwas not widely debated in the light of sociology, performance practice and ethnomusicology. Thus, ourproject aims to investigate the effects of social change process in Turkish Republic in the sense of folkmusic and we will use bağlama as the key structure to observe the change. To some up, the relationshipbetween the social change and musical change of Turkey will be tried to be debated and determined in thecase of bağlama performance practice.REFERENCES[1] Altınay, F.Reyhan. 2004. Cumhuriyet Döneminde Türk Halk Müziği. İzmir: Meta Basım.[2] Gazimihal, Mahmut Ragıp. 1975. Ülkelerde Kopuz ve Tezeneli Sazlarımız. Ankara: Kültür Bakanlığı Milli FolklorAraştırması Dairesi Yayınları.[3] Gökalp, Ziya. 1972. Türkçülüğün Esasları, İstanbul: Başbk. Kül. Müst. Kül. Yay.[4] Markoff, Irene Judyth. 1986. “Musical Theory, Performance and Contemporary Bağlama Specialist in Turkey”.Unpublished Ph.D dissertation. University of Washington (pages:[5] Özbek, Meral. 1998. “Arabesk Kültür”. 168-188. In Sibel Bozdoğan and Reşat Kasaba eds. TürkiyedeModernleşme ve Müzikal Kimlik. İstanbul: Tarih Vakfı Yurt Yayınları.[6] Öztürk, Okan Murat. 2008. Onyedi’den Yirmidört’e: Bağlama Ailesi Çalgılar ve Geleneksel Perde Sistemi.Unpublished article.[7] Parlak, Erol 2001. Şelpe Tekniği Metodu 1. p.13.İsanbul: Ekin Yayınları.[8] Parlak, Erol. 2000. Türkiye’de El ile (şelpe) Bağlama Geleneği Ve Çalış Teknikleri. Ankara: T.C. Kültür Bakanlığı.[9] Picken, Laurence. 1975. Folk Musical Instruments of Turkey. London: Oxford University Press.BIOGRAPHIESErdem SimsekBorn in 1984, Ankara, Turkey.He was graduated from the geological engineering department of Middle East Technical University. Simsek, who playsbağlama since he was seven, is one of the important young bağlama performers. He plays with his Bengi Bağlama Trioand Lal Bağlama Trio; and also plays in TRT’s weekly TV music programs. He performed in many albums as well.He completed his master’s degree in ethnomusicology in Istanbul Technical University. Now, he continues hiseducation in musicology and music theory doctorate program in ITU.sazende_simsek@yahoo.comOzan AnlasBorn in 1982, Bursa, Turkey.He was graduated from sociology in Bilgi University, IstanbulHe takes stage since he was nine as a performer-singer. Still studies in ethnomusicology for master degree in IstanbulTechnical University and his interested areas are popular music studies, social change, identity, etc...ozanlas@gmail.com<strong>CIM09</strong> 169

<strong>CIM09</strong> 26-29 octobre 2009Sensorimotor synchronization in IF,a 5-year-old drummer prodigyJakub Sowiński 1 , Simone Dalla Bella 1,2 , Ilona Laskowska 31.Department of Cognitive Psychology, University of Finance and Management in Warsaw(Poland)2. BRAMS laboratories, Montréal (Canada)3. Institute of Psychology, Kazimierz Wielki University, Bydgoszcz (Poland)ORIGINS OF DRUMMINGPercussion instruments (e.g., idiophones) are present in all world’s cultures, and are likely to be theoldest musical instruments known to man (apart from voice) (Miller 2000). Accordingly, drumming is oneof the most ancient form of music performance (Fitch, 2006). Accurate performance on drums requiresexcellent motor control, as well as fine time perception and production skills. For example, the ability tosynchronize with others to a shared beat is necessary for group performance. This ability is likely a keyelements which may have played a role at the origins of music (Mithen, 2006). That drumming andsensorimotor synchronization may find their roots in biology suggests that these activities should bewidespread in the general population. This possibility is confirmed by preliminary evidence that themajority can synchronize with isochronous sequences and with the beat of music (Sowiński & Dalla Bella2008).BACKGROUND IN DEVELOPMENTAL PSYCHOLOGYHumans, as soon as in the first year of life, exhibit sensitivity to auditory temporal patterns. For example,infants respond to violations of repetitive timing patters (i.e., meter; Hannon & Trehub, 2005), and can codemeter in auditory patterns via body movement (Phillips-Silver & Trainor, 2005). Still at this age there areno clear signs of sustained synchronization with auditory patterns. It is only around 2.5 years that childrenstart adjusting their movement to the beat of an auditory stimulus, in particular in a social setting (i.e.,when drumming with a social partner, Kirschner & Tomasello, 2009). At 4 years, children are ablesynchronize with sequences in the vicinity of their preferred spontaneous tempo (McAuley et al. 2006). Therange of synchronization rates widens with age; yet, at 8 years of age synchronization is still worse than inadults (Drake et al. 2000). Only after 12 years children’s ability to synchronize is comparable to that ofadults.AIMSWe aimed to describe time perception and performance in IF, a 5-year-old drummer showing veryprecocious and outstanding musical abilities. At age 4, IF exhibited astounding performance abilities, whichattracted the attention of world-class percussion teachers, who presently provide him with cutting-edgetraining.MAIN CONTRIBUTIONIF and 2 comparison groups (5 age-matched controls, and 20 university students without musicaltraining) were asked to perform sensorimotor synchronization (SMS) tasks. In addition, their perceptualabilities were tested with anisochrony detection tasks. In SMS tasks participants were asked to play on adrum pad in correspondence with isochronously presented sounds (with various IOIs), with the musicalbeat of familiar and unfamiliar musical excerpts, and with the main metrical stress of familiar spokensegments.In the anisochrony detection task, participants had to detect an anisochrony in 5-tone sequences. IF wasmore accurate and less variable in SMS tasks than both comparison groups for most of the presentedstimuli. Moreover, IF exhibited higher sensitivity to anisochronies than age-matched controls. Still, hisperformance in detecting anisochronies was comparable to that of adult non-musicians.IMPLICATIONSWe found that IF, in spite of his young age, entrains to regular temporal patterns (e.g., musical beat)more accurately than adult nonmusicians do. IF’s performance in synchronization tasks cannot be fullyexplained by his ability to detect deviations from isochrony (which is comparable to adult performance).Other mechanisms (e.g., better motor control or variability of the internal clock) are likely responsible forIF’s precocious ability to synchronize with regular auditory patterns.170 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>These results shed new light on the relations between skilled performance in drumming and the ability tosynchronize with regular temporal patterns during development. In addition they allow to examine theeffect of musical talent and early/late training on the development of timing and synchronizationmechanisms. This information will be useful in improving existing training methods for percussionists.REFERENCESDrake, C., Jones, M. R., & Baruch, C. (2000). The development of rhythmic attending in auditory sequences:Attunement, referent period, focal attending. Cognition, 77(3), 251-288.Fitch, W. T. (2006). The biology and evolution of music: A comparative perspective. Cognition, 100(1), 173-215.Hannon, E. E., & Trehub, S. E. (2005). Metrical categories in infancy and adulthood. Psychological Science, 16, 48-55.Kirschner, S., & Tomasello, M. (2009). Joint drumming: Social context facilitates synchronization in preschoolchildren. Journal of Experimental Child Psychology, 102(3), 299-314.McAuley, J.D., Jones, M.R. , Holub, S. Johnson, H., Miller, N. S. (2006). The time of our lives: Lifespan developmentof timing and event tracking. Journal of Experimental Psychology: General, 135 (3), 327-347.Miller, G. (2000). Evolution of human music through sexual selection. (pp. 329-360). In Wallin, Merker & Brown (Eds.)The origins of music. Cambridge, MA: MIT Press.Mithen, S. (2006). The Singing Neanderthals. Cambridge, MA: Harvard University Press.Phillips-Silver, J., & Trainor, L.J. (2005). Feeling the beat in music: Movement influences rhythm perception ininfants. Science, 308, 1430.Sowiński, J., & Dalla Bella, S. (2008). Brains out of sync, but still in tune. Poster. “The Neurosciences and Music III”,Montreal (Canada), June 25-28.BIOGRAPHIESJakub Sowińskijsowinski@vizja.plJakub Sowiński is a Ph.D candidate in the Department of Cognitive Psychology at the University of Finance andManagement in Warsaw (Poland). He completed a M.Sc. in Psychology (University of Finance and Management,Poland), and worked with on sensorimotor synchronization abilities in the the general population. His research mainlyfocuses on timing in music perception and performance.Simone Dalla Bellasdallabella@vizja.plSimone Dalla Bella is Associate Professor in the Department of Cognitive Psychology at the University of Finance andManagement in Warsaw (Poland), and Associate Member of BRAMS laboratories (Montreal, Canada). He completedhis Ph.D. (University of Montreal) under the supervision of Isabelle Peretz and received post-doctoral training underthe supervision of Tomas Paus (Montreal Neurological Institute) and Caroline Palmer (Ohio-State University). SimoneDalla Bella’s present research interests concern music performance (in particular singing and sensory-motorsynchronization) in normal and impaired individuals.Ilona Laskowskailaskowska@gmail.com<strong>CIM09</strong> 171

<strong>CIM09</strong> 26-29 octobre 2009The Cretan lyre:an ethnomusicological and music acoustics approachIrene TheodosopoulouInstitute of Mediterranean Studies (IMS), Rethymnon, Crete (Greece)L. Chartofylakas, M. Bakarezos, I. Orfanos and N.A. PapadogiannisDepartment of Music Technology and Acoustics, T.E.I. of Crete, E. Daskalaki 1 Str, GR-74100,Rethymnon, Crete (Greece)BACKGROUND IN ETHNOMUSICOLOGYIn the past a comprehensive and extenisive research concerning the Cretan traditional music and the“Cretan lyre” had never been carried out. The ethnomusicological part of this work is based on the primaryethnographic material which was collected through a field-research (Barz, 1997) in Crete in the frame of theethnomusicological research program “Crinno Music II: The musical tradition of ‘lyra’ in the Cretan traditionalmusic of Rethymnon Prefecture” (2004-2006) of the Institute of Mediterranean Studies (IMS).The ethnographic material (50 interviews) covers a wide spectrum of thematic areas (performance,musical instruments and their music, evaluations of a “good” lyre by the musicians via their “discourse”).Tunes such as “sytro” dance, “kondylies”, “pidihto” dance, “sousta” dance are performed by “lyra”- players inthe Rethymnon prefecture.BACKGROUND IN MUSIC ACOUSTICSIn the musical acoustics part of this work the contribution of the individual parts of the bowed stringmusical instrument Cretan Lyre to its emitted sound is studied. The acoustical properties of bowed musicalinstruments, and especially those belonging in the violin family, have been extensively studied during thepast decades.Several different techniques have been employed, for example holographic interferometry (Lökberg,1984: Jansson, 1994), spectral response techniques (Jansson, 1994) and spectral emission techniques. Fromthese studies became evident that the individual parts of the instruments play an important role in theemitted sound. The present acoustical study is applied for the first time in the Cretan ‘lyra’, since previousstudies were limited in individual parts of the instrument, like for example, the top plates (Bakarezos, 2006).AIMSWe aim to investigate how the ethnographic method of Ethnomusicology can “communicate with” theexperimental method of Music Acoustics called time-average Electronic Speckle Pattern Interferometry(ESPI). A main objective of our paper concerns the “discourse” of the musicians. Our aim is to see whetherthe data of the experiemental method ESPI coincide with the opinion of musicians on the quality of theinstruments.MAIN CONTRIBUTIONMethodA. Through the field research and the participant observation, primary material was collected andethnographic “texts” were created. From the ethnomusicological programs “Crinno Music II” and “MusicalRoutes” 50 long-hour semi-structured interviews with musicians and lyre-makers emerged.This ethnographic material was classified by 1169 keywords and 280 thematic units (“Musical Routes”,IMS). The terms “performance practices”, “discourse”, “evaluations”, concerning the manufacturer of theCretan lyre, constitute analytical tools of the ethnographic research. The lyre-players talk about the qualityof their instrument and look for the “best” instrument.B. The study was performed using an optical experimental method named time-average ElectronicSpeckle Pattern Interferometry (ESPI). In this method, a single longitudinal mode laser is used, in additionto mechanical techniques for vibration determination. The sound emitted from 12 such instruments wasrecorded and analyzed using specific protocol.172 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>Through this analysis, the relation between the spectral characteristics of the emitted sound and thevibrational attributes of the instruments’ parts is determined. The recorded sound was then evaluated by 11selected Cretan music experts by means of a specifically designed psychoacoustic test. In this way, thestudied musical instruments were rated in quality, and the basic structural characteristics, from which thegood quality timbre depends, are identified.ResultsA. In the frame of a field-research several issues arise, related to the method and the practices via whichthe ethnographer - researcher engages with the experiences of his interlocutors, transubstantiates them in“ethnographic notes” and afterwards processes them as his own experiences, in order to write a “final–notdefinite” ethnographic “text”.The ethnographic essays function as a “mirror” via which real, fantastic and symbolic identities arereflected. The narration of the ethnographer's interlocutor often transubstantiates into the ethnographer'snarration.B. The experimental methods for the study of the acoustical properties and their application are alsodescribed, along with the methodology of collecting the sound material from 12 lyres and its analysis usingspecial software. The vibrational behaviour of the instrument is then described, along with the respectiveinfluence of the individual parts.From the degree of correlation of the results, the modes of vibration of the sound boxes that play animportant role in the emitted sound are identified for the 3 best musical instruments that were studied.These data acquire particular interest when compared with ethnographic material.CONCLUSIONSDifferent methods, practices and approach techniques may contribute towards the pursuit of a “truth”relevant to music and musical instruments. The ethnographic method can “converse with” experimentalmethods in order to co-interpret elements concerning music in culture and music as culture. This“conversation” may trigger a dialogue concerning the limits and options of Music Acoustics inEthnomusicology.IMPLICATIONSThe creation of a plan concerning the interdisciplinary study of musical instruments (from the viewpointof Ethnomusicology and Music Acoustics) might have direct implications in the way amateurs andprofessional musicians will make musical instruments in the future.Today there are machines (pantographs, sound processing equipment) that take data from our study andgive geometric elements in the musical instruments that are manufactured and these instruments have verygood quality for use by amateurs who want to learn how to play the Cretan lyre.We are also in contact with manufacturers and we suggest improvements during the construction ofparts of the musical instruments, which suggestions can also help so that finally the musical instrument tohave the spectral emission characteristics that are favoured today!REFERENCESBarz, G. (1997) “Confronting the field(note) in and out of the field. Music, voices, texts and experiences indialogue”. In G. Barz, T. Cooley (Eds.), Shadows in the Field. N.Y: O.U.P.:45-62.Bakarezos, M. et al (2006). “Vibration Analysis of the Top Plates of Traditional Greek String Musical Instruments”. InJ. Eberhardsteiner, H.A. Mang, H. Waubke (Eds.), The Thirteenth International Congress on Sound andVibration, Vienna, Austria.Dawe, Kevin (2005). “‘Power-geometry’ in motion: space, place and gender in the lyra music of Crete”. In SheilaWhiteley, Andy Bennett and Stan Hawkins (ed.), Music, Space and Place. Popular music and CulturalIdentity. Burlington: Ashgate Publishing Limited: p. 55-66.Jansson, E., Molin, N-E. and Saldner, H.O. (1994). “On eigenmodes of the violin - Electronic holography andadmittance measurements”. J. Acoust. Soc. Am., 95, 1100-1105.Lökberg, O. (1984). “ESPI – The ultimate holographic tool for vibration analysis”. J. Acoust. Soc. Am., 75, 1783-1791.http://digitalcrete.ims.forth.gr/MusicalRoutes/index.php?Itemid=69<strong>CIM09</strong> 173

<strong>CIM09</strong> 26-29 octobre 2009BIOGRAPHIESIrene TheodosopoulouCurrent position Main researcher of the Ethnomusicological Program “Musical Routes”(2008, Digital Crete), Institute of Mediterranean Studies (IMS), GREECE /Hellenic Open University, Studies in Greek Cultrue, GREECEMain research discipline EthnomusicologyMain research areas Field-ResearchRelevant qualifications Ph.D. in Musicology, University of Athens, GREECEMain researcher of the Ethnomusicological Program “Crinno Music II:The musical tradition of ‘lyra’ in the Cretan traditional musicof the Rethymnon Prefecture” (2004-2006).Book publications 16 International Journal Publications and 2 Book PublicationsContact eirinitheodosopoulou@hotmail.comN.A. PapadogiannisCurrent position Professor of Wave Acoustical and Optical Physics,Department of Music Technology and Acoustics, T.E.I. of Crete, GREECEMain research disciplines Wave PhysicsMain research areas Optoacoustics, laser acoustics, nanoacousticsRelevant qualification Ph.D. in Experimetal Physics, University of Crete, GREECEand Bernard Lyon I University, FRANCEBook publications 41 International Journal Publications in Physics with 700 citationsand 6 Book Chapters PublicationsContact npapadogiannis@stef.teicrete.gr174 <strong>CIM09</strong>


<strong>CIM09</strong> 26-29 octobre 2009The nonlinear membrane of Chinese flutes:its impacts on timbre and performance techniquesChen-Gia TsaiNational Taiwan University (Taiwan)Wolfgang AuhagenMartin-Luther-University Halle-Wittenberg (Germany)René CausseIRCAM, Paris (France)BACKGROUND IN ACOUSTICSAmong the flute-type instruments all over the world, only the large Korean flute (taegum) and theChinese flute (dizi) have a membrane. The dizi has a membrane covering a hole in the wall of theinstrument between the embouchure hole and the uppermost finger-hole. The membrane can enhance upperharmonics of dizi tones through nonlinear vibration. Because of the predominance of odd-numberedharmonics in some dizi tones, we predict that vibration of the dizi membrane is governed by Duffingequation.Figure 1: Photo of the dizi.BACKGROUND IN MUSIC PERFORMANCEThe Chinese membrane flute was first mentioned in the early twelfth century treatise yueshu. It became apopular instrument in the Song dynasty (960–1279 AC), while the membrane-less flutes continued to bementioned under several different names (Thrasher 1978). By the following Ming dynasty (1368–1662 AC)the membrane-less flute had all but been replaced by the membrane flute. Its basic construction remainsunchanged up to now. The popularization of the membrane flute was a consequence of the rise of Kunquopera in the Ming dynasty. Because the membrane brings a bright timbre to the flute, it can be clearlyheard by all performers and the audience, even when the singing and the percussion instruments are fairlyloud. The membrane noticeably reinforces the leading role of the dizi on Kunqu opera and the membranelessflutes rapidly faded away. Moreover, singers’ vocal expression in Kunqu opera benefited from theaccompaniment of the dizi.In the past century there are two mainstream types of Chinese flute music: southern style and northernstyle. These styles are played by different instruments : qudi and bangdi. Both Chinese flutes produce loudand bright sounds, therefore being the principal instruments of some operatic genres. The qudi is normallyassociated with slow and lyrical melodies originating from the singing style of Kunqu opera. On thecontrary, bangdi melodies are generally lively, requiring a more animated performance style with tonguetechniques and glissandos. The bass dizi with various sizes larger than the qudi have been invented in thepast several decades. Interestingly, the use of flutter tonguing is very limited in the bass dizi. This is in asharp contrast to the bangdi, whose musical style heavily relies on the flutter tonguing.AIMSWe conduct an experiment to test the Duffing-oscillator model of the flute membrane. This experimenthighlights the differences between the harmonic generation in the dizi and membrane-less flue instruments(Fletcher and Douglas, 1980). Another experiment aims to answer the question of why musicians considerflutter tongued tones of larger membrane flutes as “ineffective”.MAIN CONTRIBUTIONMethodThe first experiment examined the membrane’s harmonic generation due to nonlinearity, which ispredicted to be governed by Duffing equation. To measure the sounds radiated by the membrane, a176 <strong>CIM09</strong>

26-29 octobre 2009 <strong>CIM09</strong>microphone was placed approximately 1 cm above the membrane. A box enclosed the membrane so as toinsulate the microphone from sounds radiated at the embouchure hole, finger holes and from theenvironment. Two kinds of tones driving the membrane were produced and recorded: dizi tones producedby blowing the instrument and tones produced by singing into the dizi with a falsetto voice. The acousticpressure waves recorded above the membrane is approximately in proportion to the acceleration of themembrane. They were integrated twice to give the membrane’s displacement, which was compared to theresults predicted by the Duffing-oscillator model of the flute membrane.In the second experiment, a professional player used a longer flute (bass dizi) and a shorter flute (bangdi)to produce flutter tongued tones. These flutes were played twice with the same fingering. First, themembrane was covered with a palm, so that the membrane did not vibrate. Second, the membrane vibratedfreely. To observe the effects of flute length and flute membrane on the flutter tongued tones, we carriedout spectral analysis of these tones.ResultsThe experimental result of tones produced by singing into the dizi was in agreement with the Duffingoscillatormodel. For the tones produced by playing the dizi the agreement is restricted to frequencieslower than 10 kHz.The experimental result of flutter tongued tones showed broadened spectral lines of harmonics in thefrequency domain. This phenomenon is due to the quasi-periodic amplitude modulation characteristic toflutter tongued tones. A similar example is that beatings can be attributed to two adjacent pure tones in thefrequency domain and 100 % amplitude modulation in the time domain.For the bass dizi, the broadened spectral lines around 4 kHz tend to overlap each other. On the contrary,the frequency difference between adjacent harmonics of bangdi tones is so large that the widened spectrallines at high frequencies do not overlap each other.CONCLUSIONSThe flute membrane can be regarded as a Duffing-oscillator, which generates high-frequency harmonicswhen driven by sinusoidal pressure. The use of flutter tonguing is restricted to the shorter membraneflutes, because the frequency difference between adjacent harmonics is so large that the widened spectrallines do not overlap each other. On the contrary, flutter tongued tones of larger membrane flutes haveoverlapped spectral components at high frequencies (> 3 kHz), and therefore sound “ineffective” and ratherrough. Flutter tongued tones of the Boehm flute would not encounter this problem, because this flute hasno membrane and is unable to produce significant high-frequency harmonics.IMPLICATIONSInnovation of a musical instrument can result in a new timbre through mechanical mechanisms. Thistimbre may restrict the use of specific performance techniques. Advantage and cost of an instrumentinnovation are governed by both physical and perceptual principles.REFERENCESFletcher, N.H., and Douglas L.M. (1980). The harmonic generation in organ pipes, recorders and flutes. Journal ofthe Acoustical Society of America 68, 767-771.Thrasher, A. (1978). The transverse flute in traditional Chinese music. Asian Music 5, 92-114.Tsai, C.-G. (2003). Relating the harmonic-rich sound of the Chinese flute (dizi) to the cubic nonlinearity of itsmembrane. Stockholm Music Acoustics <strong>Conference</strong>, August 6-9.Tsai, C.-G. (2004). The Chinese Membrane Flute (dizi): Physics and Perception of its Tones. PhD thesis, HumboldtUniversity Berlin.BIOGRAPHIESChen-Gia TsaiCurrent position Assistant Professor of Musicology, National Taiwan University, TaiwanMain research discipline Music acoustics, music perceptionMain research areas Timbre, physics of wind instruments, mirror neuron systemRelevant qualifications Dr. phil. in musicology, Humboldt University of Berlin, 2004Bachelor of Science (physics), National Taiwan University, 1994Contact tsaichengia@ntu.edu.tw<strong>CIM09</strong> 177

<strong>CIM09</strong> 26-29 octobre 2009Wolfgang AuhagenCurrent position Professor of Systematic Musicology,Martin-Luther-University Halle-Wittenberg, GermanyMain research discipline Music psychologyMain research areas Perception of tonality, perception of tempoRelevant qualifications Dr. phil. in musicology, University of Göttingen, 1983Habilitation in musicology, University of Köln 1992Book publications Studien zur Tonartencharakteristik in theoretischen Schriftenund Kompositionen vom späten 17. bis zum Beginn des 20.Jahrhunderts. Frankfurt/M., Bern, New York: Peter Lang 1983Experimentelle Untersuchungen zur auditiven Tonalitätsbestimmungin Melodien. Kölner Beiträge zur Musikforschung, Bd. 180. Kassel: Gustav Bosse 1994Advisory boards Musikpsychologie.Jahrbuch der deutschen Gesellschaft für Musikpsychologie musica humanaContact Wolfgang.Auhagen@musikwiss.uni-halle.deRené CausseCurrent position Head researcher, Instrument Acoustics research team, IRCAM, Paris.Main research discipline Music acousticsMain research areas Acoustics, physical models, experimentation, synthesis and instrument makingContact Rene.Causse@ircam.fr178 <strong>CIM09</strong>

INDEX DES AUTEURSAblitzer,2Ambrazevičius,4,6Andrieu,8Anlas,168Ataei,162,164Auhagen,176Backstrom,10Bakarezos,172Balsienė,4Barras,14Becard,90Berger,62Berkowska,18Bernard,140Bernays,20Berton,82Beşiroğlu,24Besnainou,26,30Beyhom,34Bird,130Blackwell,80Blanc,38Bogunović,40Bolton,38Bonardi,118Bossis,42Bousquet,86Boyer,86Bozkurt,46Brémaud,48Bruguière,52Cance,54Carlé,58Causse,176Chartofylakas,172Chen,156Chin,62Christoforidis,146Ciavarella,118Çırak,46Coin,26Criton,64Cross,80Dalla Bella,18,170Dalmont,2Darmstädter,66Dauchez,2Dauvier,68Delume,64Déon,150Doutaut,72Doval,14Dubois,54Dufeu,42Ergur,24Fabre,38Ferguson,70Feygelson,80Fiaminghi,144Figueira Batista da Silveira,166Fouilhe,90Fouilleul,72Foulon,76Fritz,80Fujiso,126Gaillard,82Gautier,72,86,90Gedik,46Genevois,54Georgaki,58Gorton,94Greenberg,96Guillot,98Harper,102Hartman-Claverie,98Henriques,102Heyde,94Houssay,96,124James,138Jedrzejewski,76Jeltsch,104Kapuscinski,148Khannanov,106Khannanova,106Kiik-Salupere,108Knapp,136Kolydas,152,154Ko-Shu,140Kostakis,152Kotta J.,110

Kotta K.,110Lagrée,38Lähdeoja,112Lambert,116Laskowska,170Le Carrou,86,126Le Conte,52Leman,132Lemoine,86Lemouton,118Lesaffre,132Makhlouf,34Mamou-Mani,122Maniguet,122Marclay,42Martin,124McIvor,130Molle,90Moore,80Moser,68Musson-Gonneaud,30Navarret,112,126Negretto,10Newland,130Nijs,132Ojamaa,134Ollivier,126Orfanos,172Ouzounian,136Papadogiannis,172Pardo-Tristán,138Perković,40Picard,140Piedade,144Piquer Sanclemente,146Poidevin,2,48Popović Mladjenović,40Prévost-Thomas,8Quintans,112Rault,116Rose,148Ross,108,134Rouzé,150Salaberger,66Sarris,152,154Sasso-Fruth,158Schoonderwaldt,156Schröder,158Sèdes,112,126Shajarian,162,164Shaw-Miller,94Silveira,166Simsek,168Sowiński,170Spanghero-Gaillard,82Theodosopoulou,172Traube,20Tsai,176Vaiedelich,98Vasseur,104Velegrakis,154Wanderley,70Wasmine,90Wollny,158Woodhouse,80Žarskienė,6

Michèle Castellengo & Hugues Genevois (editors)<strong>CIM09</strong>5 e Congrès de Musicologie Interdisciplinaire5 th <strong>Conference</strong> on Interdisciplinary MusicologyParis, France, 26-29 octobre 2009Résumés / AbstractsCover design : Hugues GenevoisLayout : Hugues GenevoisCopyright 2009 by LAM - Institut Jean le Rond d’AlembertPrix / Price : 15,00 €

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