Poétique et sémiotique du titre musical
Identifieur interne : 000084 ( PascalFrancis/Curation ); précédent : 000083; suivant : 000085Poétique et sémiotique du titre musical
Auteurs : Claude DauphinSource :
- Protée [ 1708-2307 ] ; 2008.
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Abstract
The usual basic terms as allegro, adagio, presto, used for naming the parts of Mozart's sonatas, Beethoven's concertos or Brahms' symphonies could be interpreted as fact of total abstraction either of absolute concrete process. Those movement headings express a state of the human soul and emotional mood likewise the constitution of the music as object. In this article I use the word of autonymy to qualify the association of the content and the form characterizing this type of musical works and the manner for naming them. Nevertheless the question of titles could not be resumed by this specific paradox because a history of referential designation between musical works and the external world existed also. In this type of work the link between music and facts is operated by the metaphorical title. It is the common path used by the French composers from Couperin to Debussy, from Rameau to Messiaen as we can see in those colourful titles: Le Rossignol en amour, Les Langueurs tendres, Les Moissonneuses, L'Entretien des Muses, Les Fées sont d'exquises danseuses, Couleurs de la Cité céleste. Could we see the French manner as a national musical feature associated with picturesque facts and, at the opposite side, the Italian and German style connected with formal and architectural representation? So the title would be not simply a symbol of the musical expressive individual project but an icon of the links between the art and the world.
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<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="fr" level="a">Poétique et sémiotique du titre musical</title><author><name sortKey="Dauphin, Claude" sort="Dauphin, Claude" uniqKey="Dauphin C" first="Claude" last="Dauphin">Claude Dauphin</name><affiliation><wicri:noCountry>no AF</wicri:noCountry></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">INIST</idno><idno type="inist">11-0313514</idno><date when="2008">2008</date><idno type="stanalyst">FRANCIS 11-0313514 INIST</idno><idno type="RBID">Francis:11-0313514</idno><idno type="wicri:Area/PascalFrancis/Corpus">000066</idno><idno type="wicri:Area/PascalFrancis/Curation">000084</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="fr" level="a">Poétique et sémiotique du titre musical</title><author><name sortKey="Dauphin, Claude" sort="Dauphin, Claude" uniqKey="Dauphin C" first="Claude" last="Dauphin">Claude Dauphin</name><affiliation><wicri:noCountry>no AF</wicri:noCountry></affiliation></author></analytic><series><title level="j" type="main">Protée</title><idno type="ISSN">1708-2307</idno><imprint><date when="2008">2008</date></imprint></series></biblStruct></sourceDesc><seriesStmt><title level="j" type="main">Protée</title><idno type="ISSN">1708-2307</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Culture</term><term>Music</term><term>Poetics</term><term>Semiotics</term></keywords><keywords scheme="Pascal" xml:lang="fr"><term>Poétique</term><term>Sémiotique</term><term>Musique</term><term>Culture</term></keywords><keywords scheme="Wicri" type="topic" xml:lang="fr"><term>Musique</term><term>Culture</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">The usual basic terms as allegro, adagio, presto, used for naming the parts of Mozart's sonatas, Beethoven's concertos or Brahms' symphonies could be interpreted as fact of total abstraction either of absolute concrete process. Those movement headings express a state of the human soul and emotional mood likewise the constitution of the music as object. In this article I use the word of autonymy to qualify the association of the content and the form characterizing this type of musical works and the manner for naming them. Nevertheless the question of titles could not be resumed by this specific paradox because a history of referential designation between musical works and the external world existed also. In this type of work the link between music and facts is operated by the metaphorical title. It is the common path used by the French composers from Couperin to Debussy, from Rameau to Messiaen as we can see in those colourful titles: Le Rossignol en amour, Les Langueurs tendres, Les Moissonneuses, L'Entretien des Muses, Les Fées sont d'exquises danseuses, Couleurs de la Cité céleste. Could we see the French manner as a national musical feature associated with picturesque facts and, at the opposite side, the Italian and German style connected with formal and architectural representation? So the title would be not simply a symbol of the musical expressive individual project but an icon of the links between the art and the world.</div></front></TEI><inist><standard h6="B"><pA><fA01 i1="01" i2="2"><s0>1708-2307</s0></fA01><fA05><s2>36</s2></fA05><fA06><s2>3</s2></fA06><fA08 i1="01" i2="1" l="FRE"><s1>Poétique et sémiotique du titre musical</s1></fA08><fA09 i1="01" i2="1" l="FRE"><s1>Le titre des œuvres : accessoire, complément ou supplément</s1></fA09><fA11 i1="01" i2="1"><s1>Dauphin (Claude)</s1></fA11><fA12 i1="01" i2="1"><s1>PAQUIN (Nycole)</s1><s9>ed.</s9></fA12><fA20><s1>11-22</s1></fA20><fA21><s1>2008</s1></fA21><fA23 i1="01"><s0>FRE</s0></fA23><fA24 i1="01"><s0>eng</s0></fA24><fA43 i1="01"><s1>EN_LIGNE</s1><s5>354000602322210001</s5></fA43><fA44><s0>0000</s0><s1>© 2011 INIST-CNRS. All rights reserved. Tous droits réservés © Département des arts et lettres - Université du Québec à Chicoutimi, 2008</s1></fA44><fA45><s0>17</s0></fA45><fA47 i1="01" i2="1"><s0>11-0313514</s0></fA47><fA60><s1>P</s1></fA60><fA61><s0>A</s0></fA61><fA64 i1="01" i2="2"><s0>Protée</s0></fA64><fA65><s0>07</s0></fA65><fA66 i1="01"><s0>CAN</s0></fA66><fA99><s0>$$URL.http://id.erudit.org/iderudit/019630ar</s0></fA99><fC01 i1="01" l="ENG"><s0>The usual basic terms as allegro, adagio, presto, used for naming the parts of Mozart's sonatas, Beethoven's concertos or Brahms' symphonies could be interpreted as fact of total abstraction either of absolute concrete process. Those movement headings express a state of the human soul and emotional mood likewise the constitution of the music as object. In this article I use the word of autonymy to qualify the association of the content and the form characterizing this type of musical works and the manner for naming them. Nevertheless the question of titles could not be resumed by this specific paradox because a history of referential designation between musical works and the external world existed also. In this type of work the link between music and facts is operated by the metaphorical title. It is the common path used by the French composers from Couperin to Debussy, from Rameau to Messiaen as we can see in those colourful titles: Le Rossignol en amour, Les Langueurs tendres, Les Moissonneuses, L'Entretien des Muses, Les Fées sont d'exquises danseuses, Couleurs de la Cité céleste. Could we see the French manner as a national musical feature associated with picturesque facts and, at the opposite side, the Italian and German style connected with formal and architectural representation? So the title would be not simply a symbol of the musical expressive individual project but an icon of the links between the art and the world.</s0></fC01><fC01 i1="02" l="FRE"><s0>Les indications de mouvements, allegro, adagio, presto, qui désignent les parties des sonates de Mozart, des concertos de Beethoven ou des symphonies de Brahms ont ceci de remarquable qu'elles pourraient aussi bien relever de l'abstraction la plus radicale que de la concrétisation la plus absolue. Ces intitulés expriment un état d'esprit, une disposition émotive, autant qu'ils énoncent la constitution de la musique. Je qualifie d'autonyme l'association du contenu et de la forme qui spécifie ces oeuvres et les procédés de leur intitulation. Mais la problématique des titres musicaux ne se résume pas à ce seul paradoxe car il existe bien, en contrepartie, une tradition du titre référentiel qui, à lui seul, semble se charger de toute la métaphore de l'oeuvre. De Couperin à Debussy, de Rameau à Messiaen, nous baignons dans une poétique de la caractérisation, de l'impression, du récit et de l'image : Le Rossignol en amour, Les Langueurs tendres, Les Moissonneuses, L'Entretien des Muses, Les Fées sont d'exquises danseuses, Couleurs de la Cité céleste. Au-delà de cette catégorisation, il apparaît que le titre musical formel est relié à une esthétique résolument italo-allemande alors que la sensibilité française, plus visuelle qu'auditive, plus pittoresque qu'architecturale, privilégie l'intitulé référentiel. Ainsi, le titre ne se limiterait peut-être pas à la désignation de l'oeuvre musicale… Il dévoile la culture d'appartenance du compositeur et annonce une conception de l'art.</s0></fC01><fC02 i1="01" i2="L"><s0>52467</s0><s1>XIV</s1></fC02><fC02 i1="02" i2="L"><s0>524</s0></fC02><fC03 i1="01" i2="L" l="FRE"><s0>Poétique</s0><s2>NI</s2><s5>01</s5></fC03><fC03 i1="01" i2="L" l="ENG"><s0>Poetics</s0><s2>NI</s2><s5>01</s5></fC03><fC03 i1="02" i2="L" l="FRE"><s0>Sémiotique</s0><s2>NI</s2><s5>02</s5></fC03><fC03 i1="02" i2="L" l="ENG"><s0>Semiotics</s0><s2>NI</s2><s5>02</s5></fC03><fC03 i1="03" i2="C" l="FRE"><s0>Musique</s0><s5>03</s5></fC03><fC03 i1="03" i2="C" l="ENG"><s0>Music</s0><s5>03</s5></fC03><fC03 i1="04" i2="L" l="FRE"><s0>Culture</s0><s2>NI</s2><s5>04</s5></fC03><fC03 i1="04" i2="L" l="ENG"><s0>Culture</s0><s2>NI</s2><s5>04</s5></fC03><fN21><s1>213</s1></fN21></pA></standard></inist></record>Pour manipuler ce document sous Unix (Dilib)
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