tag:blogger.com,1999:blog-58165891858504542452024-03-14T18:57:12.815+01:00Histoire d'une chasseuse de chansonsCamille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.comBlogger46125tag:blogger.com,1999:blog-5816589185850454245.post-65459257956603053502021-10-11T19:19:00.001+02:002021-10-11T19:19:14.304+02:00Projet de recherche sur les musiques francophones du Nord des États-Unis retenu pour le 2020 Jon B. Lovelace Fellowship du Kluge Center (Library of Congress, Washington D.C.)<p><span style="color: #38761d;"><i>Salut ! Il y a presque un an, fin novembre 2020, une grande nouvelle est tombée : ma candidature au Jon B. Lovelace Fellowship du Kluge Center (Bibliothèque du Congrès), que j'avais soumise avec culot et sans grand espoir étant donné le prestige de cette bourse de recherche, a été retenue par le jury. Ô joie ! Ô Bonheur ! </i></span></p><p><span style="color: #38761d;"><i>Cette boure est dédiée à l'étude de la collection Alan Lomax de la Bibliothèque du Congrès et est attribuée à un chercheur chaque année. <br /></i></span></p><p><span style="color: #38761d;"><i>Après plusieurs mois d'attente (attente des évolutions de la crise sanitaire et de son corollaire : la réouverture des frontières américaines et la possibilité de faire une demande de visa) j'ai enfin obtenu l'autorisation de voyager et travailler aux EU début septembre et je peux donc maintenant annoncer officiellement la nouvelle et partager sur ce blog les détails du projet de recherche sur lequel je vais travailler à partir de décembre à la Bibliothèque du Congrès. <br /></i></span></p><p><span style="color: #38761d;"><i>Voici donc une traduction en français du projet que j'avais soumis au Kluge Center en mars 2020 (et la VO en dessous) et avant quelques remerciements : <br /></i></span></p><p><span style="color: #38761d;"><i>Les lettres de
recommandations que Sara Le Menestrel, Catherine H. Kerst et James P.
Leary ont bien voulu ajouter à mon dossier ont certainement joué un rôle
crucial dans le choix du jury. Merci beaucoup à eux pour leur soutien
:-) </i></span></p><span style="color: #38761d;"><i>Bien
sûr, mille merci à Yves Dorémieux qui m'a grandement aidé à constituer le dossier et qui sera à Washington avec moi, en tant qu'"assistant de
recherche" -- autrement dit grouillot -- et qui continuera de m'aider à
dépouiller les sources et à échanger sur cette recherche (et qui me laissera lui écrabouiller la main lors du décollage de l'avion que j'appréhende tant !). </i></span><p><span style="color: #38761d;"><i>Enfin, un immense merci à l'équipe du Kluge Center de m'accueillir pendant huit mois pour mener à bien cette recherche et pour leur assistance dans la préparation administrative du séjour !! </i></span></p><p>
</p><p align="center" style="line-height: 150%; margin-bottom: 0cm;"><b>Les
enregistrements de musiques francophones d’Alan Lomax dans
l’Indiana et le Michigan (1938) : matériaux, portée et
contexte.</b></p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"> </p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"> Ce
projet de recherche est consacré à l’étude des enregistrements
de terrain de musiciens francophones réalisés par Alan Lomax dans
l’Indiana et le Michigan. En avril 1938, Alan Lomax, alors<i>
Assistant in Charge</i> de l’<i>Archive of American Folk Song </i>de
la Bibliothèque du Congrès, et sa femme Elizabeth Lyttleton
enregistrèrent dix-huit chants en langue française à Vincennes et
à Fort Wayne dans l’Indiana, principalement ceux de l’octogénaire
Josephine Caney.
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"> Six
mois plus tard, Lomax enregistra quarante et un disques (environ six
heures de musique) et produit un film documentant les communautés
franco-canadiennes de Baraga et de Champion, Michigan. Cette
collection inclut des morceaux au violon et des chants a capela ou
accompagnés de podorythmie interprétés par des descendants de
fermiers québécois et de bûcherons installés dans la péninsule
du Michigan dans les années 1870 (Leary, 2015).
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"> Si
les collectes d’Alan Lomax de musiques francophones en Louisiane
(1934) et dans les Caraïbes (1936-1937) ont été le sujet d’études
détaillées (Caffery, 2013 ; Averill, 2008), les matériaux
qu’il a collecté dans l’Indiana et le Michigan n’ont été que
très peu étudiés. Ce projet vise à combler cette lacune tout en
s’appuyant sur les travaux antérieurs de Todd Harvey et James P.
Leary qui ont tous deux étudiés l’expédition de Lomax dans le
Michigan – Leary ayant notamment déjà transcrit, traduit, édité
et étudié six des morceaux collectés par Lomax et a fait des
recherches sur les biographies des interprètes (Harvey, 2013 ;
Leary, 2015).
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><br />
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"> La
première étape de ce projet sera d’étudier les enregistrements
sonores et les films de Lomax, de transcrire et traduire les paroles
des chants et de rechercher des variantes de ceux-ci dans les
catalogues de référence de chants traditionnels français et
québécois (principalement les catalogues Coirault et Laforte). L’un
des objectifs sera de déterminer comment les chants voyagent avec
les chanteurs, et si de nouveaux chants ont été créés. Une étude
comparative des chants collectés par Alan Lomax dans l’Indiana et
le Michigan, ainsi que des collections de chants francophones et
wallons réalisées par la collectrice Helen Stratman-Thomas au début
des années 1940, avec des variantes de Louisiane, du Québec ou de
France pourrait produire des données intéressantes pour l’étude
des processus d’acculturation et de transferts culturels.
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><br />
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"> La
deuxième étape de ces recherches consistera à étudier le contexte
historique de ces collectes de musiques francophones à commencer par
les expéditions de Lomax dans lesquels ces séances d’enregistrement
s’insèrent. Les campagnes d’enregistrement de Lomax dans l’Ohio
et l’Indiana, puis dans le Michigan, couvrent une grande variété
de cultures musicales du point de vue ethnique et linguistique. Les
régions couvertes par ces deux expéditions ont de plus été
relativement négligées par les autres collecteurs de <i>folk music</i>.
Mis à part les enregistrements d’un violoniste franco-canadien par
Sidney Robertson en 1937 dans le Wisconsin, Lomax fut le premier
collecteur à documenter sur disque la <i>folk music</i>
franco-américaine du Nord des États-Unis. Son intérêt pour les
musiques dites ethniques – c’est à dire des musiques
non-anglo-américaines, hispaniques, africaines-américaines ou
amérindiennes – s’inscrit dans la nouvelle tendance des
collecteurs de l’époque du New Deal à considérer la <i>folk
music</i> comme une catégorie musicale devant inclure les musiques
des immigrants récents. Cette représentation moderne et dynamique
de la<i> folk music</i> tranche avec les représentations de leur
prédécesseurs, les folkloristes littéraires dits « antiquaires »
et leur conceptions anglo-centrées de la <i>folk music</i>.
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"> Si
les musiques francophones du Nord des États-Unis sont un terrain
relativement négligé par les chercheurs<span style="color: black;">, l</span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">e
travail d’Alan Lomax </span></span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">n’est
pas </span></span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">totalement
isolé</span></span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">.
</span></span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">D’autres
collecteurs s’intéressent à ce terrain, notamment </span></span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">Helen
Stratman Thomas et son équipe </span></span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">qui
collectent des musiques franco-canadiennes et wallones </span></span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">en
1940, 1941 et 1946 pour le compte de l’université du Wisconsin.
Lomax </span></span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">est</span></span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
également en contact avec le folkloriste Joseph Médard Carrière et
la professeur de musique Cecilia Ray Berry, dont l’ouvrage</span></span><span style="color: black;"><i><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
Folk Songs of Old Vincennes</span></i></span><span style="color: black;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
(1946) contient des chants de Josephine Caney. </span></span>
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"> Les
travaux de Lomax sur les musiques francophones de l’Indiana et du
Michigan devraient également être mis en perspective avec son
intérêt plus large pour les musiques d’autres régions
francophones : la Louisiane, le Québec, les Caraïbes et la
France. On cherchera à déterminer si, plus tard dans sa carrière,
il fait à nouveau référence à ses collectes dans le Nord des
États-Unis et s’il les compare ou non avec les autres matériaux
francophones qu’il a recueilli. On s’interrogera par exemple sur
son choix d’enregistrer de nouveaux chants à Montréal pour son
émission de radio diffusée sur CBS en 1941 et dédiée aux
« <i>voyageurs songs </i>» alors qu’il aurait pu
utiliser les matériaux de ses collectes de 1938 dont certains
documentent l’ancien fort français de Vincennes dont il discute
pourtant dans son émission. Si Lomax a su percevoir l’importance
de préserver les lambeaux de francophonie des anciens Pays d’en
Haut, ces derniers n’ont pu qu’être éclipsés par les cultures
musicales riches et vivantes du Québec et de la Louisiane.
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><br />
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"> Enfin,
ce projet de recherche pourrait s’étendre à une étude
comparative entre les méthodes de collecte de Lomax et celles
d’autres spécialistes des folklores francophones d’Amérique du
Nord. Par exemple, en 1946, l’anthropologue française Ariane De
Félice à collecté des contes en français en Louisiane, dans le
Michigan et en Nouvelle-Angleterre pour le compte du Musée des arts
et traditions populaires de Paris. De Félice et Lomax se sont
rencontrés à l’université de Bloomington dans l’Indiana à
l’occasion du <i>Second Folklore Institute. </i><span style="font-style: normal;">Il
s’agira de rechercher des traces d</span><span style="font-style: normal;">es
échanges qu’il ont pu avoir, </span><span style="font-style: normal;">mais
aussi de comparer le type de matériaux qu’ils ont collectés,
d’analyser leurs méthodes et la manière dont ils conçoivent ces
matériaux en fonction de leur</span><span style="font-style: normal;">s
approches</span><span style="font-style: normal;"> épistémologiques
respectives. </span>
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><span style="font-style: normal;"> À
</span><span style="font-style: normal;">partir des années 1950,
Lomax va fréquemment travailler avec des chercheurs français. Son
association avec le Musée des arts et traditions populaires et le
Musée de l’homme où il travaille plusieurs mois avec Claudie
Marcel Dubois et Gilbert Rouget a du avoir un impact sur ses
représentations des musiques francophones. Une étude du travail en
commun de Lomax, Marcel Dubois et Rouget sur les musiques
francophones pourrait enrichir notre compréhension des échanges en
folkloristique entre les France et les États-Unis.</span></p>
<p align="justify" style="font-style: normal; line-height: 150%; margin-bottom: 0cm;">
<br />
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><span style="font-style: normal;"> </span><span style="font-style: normal;">En
dépit d’un intérêt grandissant pour l’histoire et la culture
des populations francophones du Nord des États-Unis, en particulier
de la part de l’American Folklife Center<a class="sdfootnoteanc" href="#sdfootnote1sym" name="sdfootnote1anc"><sup>1</sup></a>,
les collectes d’Alan Lomax dans l’Indiana et le Michigan restent
relativement méconnues des spécialistes et du grand public. Les
matériaux de l’enquête dans le Michigan sont disponibles en
ligne, mais ceux d’Indiana n’ont pas </span><span style="font-style: normal;">encore
</span><span style="font-style: normal;">été numérisés. Une
présentation en ligne contenant des copies numériques des
enregistrements de Lomax et des informations contextuelles les
concernant pourrait contribuer et encourager d’autres recherches,
et populariser </span><span style="font-style: normal;">ces matériaux.
</span>
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><a name="tw-target-text"></a>
<span style="font-family: Liberation Serif, serif;"><span style="font-size: small;"><span style="font-style: normal;"> </span><span lang="fr-FR"><span style="font-style: normal;">Ce
travail </span></span><span lang="fr-FR"><span style="font-style: normal;">pourrait
</span></span><span lang="fr-FR"><span style="font-style: normal;">également
</span></span><span lang="fr-FR"><span style="font-style: normal;">constituer
</span></span><span lang="fr-FR"><span style="font-style: normal;">une
étape préliminaire nécessaire vers l'édition de certains de ces
documents pour publication si l'</span></span><span lang="fr-FR"><i>Association
for Cultural Equity / ACE</i></span><span lang="fr-FR"><span style="font-style: normal;">
et l'</span></span><span lang="fr-FR"><i>American Folklife Center</i></span><span lang="fr-FR"><span style="font-style: normal;">
souhaitent les inclure dans des anthologies destinées au grand
public.</span></span></span></span></p>
<pre class="western" style="line-height: 150%; margin-bottom: 0.5cm; text-align: left;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: small;"> Le travail d'Alan Lomax vit toujours parmi les chanteurs et musiciens de divers pays et cultures. Dans le prolongement de cette recherche académique, je voudrais également contribuer à cet héritage en tant que musicienne en adaptant et en interprétant ces chansons pour un public américain comme français.</span></span></pre><p align="justify" style="font-style: normal; line-height: 150%; margin-bottom: 0cm;">
<br />
</p>
<div id="sdfootnote1">
<p class="sdfootnote"><a class="sdfootnotesym" href="#sdfootnote1anc" name="sdfootnote1sym">1</a>Par
exemple grâce au Maine Acadian Cultural Survey de 1991 et à
l’organisation des concerts de Daniel Boucher and Friends en 2011
et de Denis Stroughmatt French Creole of Mississippi en 2012.
</p>
</div>
<p><style type="text/css">pre.cjk { font-family: "Courier New", monospace }p.sdfootnote { margin-left: 0.6cm; text-indent: -0.6cm; margin-bottom: 0cm; font-size: 10pt; line-height: 100% }p { margin-bottom: 0.25cm; line-height: 120% }a.sdfootnoteanc { font-size: 57% }</style></p><p lang="en-US" style="line-height: 100%; margin-bottom: 0cm; margin-left: 40px; text-align: left;"> <b> </b></p><p lang="en-US" style="line-height: 100%; margin-bottom: 0cm; margin-left: 40px; text-align: left;"><b>The
Alan Lomax 1938 french folk music recordings in Indiana and Michigan:
materials, scope and context.</b></p>
<p style="line-height: 150%; margin-bottom: 0cm;"><br />
</p>
<p align="justify" lang="en-US" style="line-height: 150%; margin-bottom: 0cm;">
This research project aims to study Alan Lomax field recordings of
French-speaking musicians in Indiana and Michigan. It shall also
extend
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><span lang="en-US"> In
April 1938, recently appointed </span><span lang="en-US">A</span><span lang="en-US">ssistant
in </span><span lang="en-US">C</span><span lang="en-US">harge of the
Archive of American Folk Song Alan Lomax </span><span lang="en-US">and
his wife Elizabeth Lyttleton </span><span lang="en-US">recorded 18
French-language songs in Vincennes and Fort Wayne Indiana, mainly
from the octogenarian Josephine Caney.</span></p>
<p align="justify" lang="en-US" style="line-height: 150%; margin-bottom: 0cm;">
Six months later, Lomax recorded 41 disks (about 6 hours of music)
and produced film footage documenting Michigan’s French Canadian
communities in Baraga and Champion. This collection includes
fiddling, foot percussion, and a cappella songs by descendants of
Quebecois farmers and lumberjacks who settled in Michigan’s Upper
Peninsula in the 1870’s (Leary, 2015).</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"> While
Alan Lomax’s documentation of French-speaking musicians in
Louisiana (1934) and in the <span lang="en-US">Caribbeans</span><span lang="en-US">
</span><span lang="en-US">(1936-1937)</span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">have
been the subject of in-depth studies</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
</span></span><span lang="en-US">(Caf</span><span lang="en-US">f</span><span lang="en-US">ery,
2013 ; Averill, 2008), </span><span lang="en-US">the </span><span lang="en-US">materials
he gathered in Indiana and in Michigan </span><span lang="en-US">ha</span><span lang="en-US">ve</span><span lang="en-US">
been less studied.</span><span lang="en-US"> </span><span lang="en-US">This
project </span><span lang="en-US">intend</span><span lang="en-US">s</span><span lang="en-US">
to fill this gap while d</span><span lang="en-US">rawing from
</span><span lang="en-US">previous</span><span lang="en-US"> works of
Todd Harvey and James P. Leary, who </span><span lang="en-US">both</span><span lang="en-US">
studied Alan Lomax’s 1938 Michigan expedition, </span><span lang="en-US">and
for the la</span><span lang="en-US">t</span><span lang="en-US">ter
</span><span lang="en-US">already </span><span lang="en-US">transcribed,
</span><span lang="en-US">translated,</span><span lang="en-US">
</span><span lang="en-US">edited</span><span lang="en-US"> and
studied </span><span lang="en-US">a small portion</span><span lang="en-US">
of the French materials </span><span lang="en-US">and researched the
biographies of the performers </span><span lang="en-US">(Harvey,
2013; Leary, 2015)</span><span lang="en-US">. </span>
</p>
<p align="justify" lang="en-US" style="line-height: 150%; margin-bottom: 0cm;">
<br />
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><span lang="en-US"> </span><span lang="en-US">The
first </span><span lang="en-US">stage</span><span lang="en-US"> of
this project would be</span><span lang="en-US"> to study the
recordings and film footage, </span><span lang="en-US">to </span><span lang="en-US">transcribe
</span><span lang="en-US">and translate </span><span lang="en-US">all
</span><span lang="en-US">the </span><span lang="en-US">songs’</span><span lang="en-US">
lyrics</span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">,
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">and
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">to
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">research
variants</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">in</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
reference </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">catalogs
of</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">F</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">rench
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">and
Canadian</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
folk music </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">(</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">mainly
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">the
Coirault and the Laforte catalogs) </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">in
order to determine how the songs travel with the singers, </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">and
if new materials </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">were</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
added.</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">A
comparative study </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">of
the </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">Indiana,
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">and</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">Michigan
songs </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">with
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">variants</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
from Quebec and France could </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">produce
interesting data for the study of </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">acculturation
and cultural transfer. </span></span>
</p>
<p align="justify" lang="en-US" style="line-height: 150%; margin-bottom: 0cm;">
<br />
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><span lang="en-US"> </span><span lang="en-US">Obviously,
</span><span lang="en-US">as a second stage, </span><span lang="en-US">t</span><span lang="en-US">he
historical context of </span><span lang="en-US">the </span><span lang="en-US">Alan
</span><span lang="en-US">Lomax </span><span lang="en-US">recordings
of French-speaking musicians in Indiana and Michigan</span><span lang="en-US">
</span><span lang="en-US">needs to be examined properly, beginning
with the overall </span><span lang="en-US">expeditions</span><span lang="en-US">
</span><span lang="en-US">of which they are a part</span><b><span lang="en-US"><span style="font-weight: normal;">.</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">The
Ohio/Indiana and the Michigan expeditions</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
both cover a wide range of ethnically diverse musical cultures </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">in
regions</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">relatively
neglected by </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">previous</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
</span></span></b><b><span lang="en-US"><i><span style="font-weight: normal;">folk
music</span></i></span></b><b><span lang="en-US"><span style="font-weight: normal;">
collectors. </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">Apart
from Sidney Robertson’s </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">1937</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
field </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">recording</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">s</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
of French-Canadian fiddler Lei</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">z</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">ime
Brusoe in </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">Rhinelander,
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">Wisconsin,
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">Lomax
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">was</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
the first collector </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">to
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">document
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">on
disks</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
French-American </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">folk
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">music
from Northern United-States. </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">His
interest </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">in</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
so-called ethnic folk music – that is to say non-Anglo, Spanish,
African American or Native-American musics – </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">fits
into </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">New
Deal </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">era
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">folk
music collectors’ tendency to see folk music as a modern and
dynamic cultural </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">form
that thus </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">includ</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">es
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">music
of recent immigrants as opposed </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">to
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">previous</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
antiquarian and </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">more
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">anglo-centric
conceptions of folk music. </span></span></b>
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><b><span lang="en-US"><span style="font-weight: normal;">Alan
Lomax’s pioneering field recordings of Northern United-States’
ethnic folk music was instrumental in bringing to light these
neglected traditions. He encouraged and reviewed </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">Helen
Stratman Thomas </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">and
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">her
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">team’s</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">1940,
1941 and 1946 expeditions in Wisconsin on behalf of the Wisconsin
University </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">which
resulted in the recordings of French-Canadian and Walloon music
(among </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">many</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
other </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">ethnic
traditions</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">).
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">He
was also in touch with local researchers folklorist Joseph Médard
Carrière and music teacher Cecilia Ray Berry whose </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">published
book </span></span></b><b><span lang="en-US"><i><span style="font-weight: normal;">Folk
Songs of Old Vincennes</span></i></span></b><b><span lang="en-US"><span style="font-weight: normal;">
(1946) features songs by Josephine Caney<a class="sdfootnoteanc" href="#sdfootnote1sym" name="sdfootnote1anc"><sup>1</sup></a>.
</span></span></b>
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><b><span lang="en-US"><span style="font-weight: normal;"> </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">Lomax’s
work with French-language material</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">s</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
in Indiana</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">,
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">and
Michigan</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
should </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">also</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
be put in perspective with </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">his
</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">broader</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
interest for French-</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">language</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
materials from Louisiana, Canada, the Caribbeans, </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">and</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
France. </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">A
systematic examination of Lomax’s Papers will allow to find out if
later in his career he </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">still</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
mentioned the Indiana, </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">and
Michigan</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
French materials he gathered, and if he used them in comparison to
other French materials or not. One can for instance wonder why he
choose to record new French-language songs in Montreal, Canada, for
his January 1941 </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">CBS
radio broadcast</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">
dedicated to the “voyageurs songs” instead of using </span></span></b><b><span lang="en-US"><span style="font-weight: normal;">his
1938 field recordings</span></span></b><b><span lang="en-US"><span style="font-weight: normal;">,
even though he mentioned the Vincennes French colony in the show
transcript<a class="sdfootnoteanc" href="#sdfootnote2sym" name="sdfootnote2anc"><sup>2</sup></a>.</span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
Maybe Northern United-States French-American presence</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">is
</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">already
</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">overshadowed
by the weight of close neighbor Qu</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">e</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">bec
in the North and Louisiana in the South who both have strong cultural
footprints in the representation of French-America. </span></span></span></b>
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><br />
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"> </span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">Finally,
this project could extend into a comparative study between Lomax’s
and French researchers’s collecting methods. In fact in 1946,
shortly after Lomax’s foray in Indiana and Michigan, French
</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">folklorist</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
Ariane De Félice collected French-language folktales in Louisiana,
Michigan’s Upper Peninsula and New England on behalf of the Paris
Musée des Arts et Traditions Populaires. I would like to compare the
type of materials she gathered with Lomax’s collection, analyze
their respective methodologies, and look into the way they conceived
these materials in regards to their different epistemological
outlook. </span></span></span></b>
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">From
the 1950’s on, Lomax would frequently work with French researchers.
His association with the aforementioned MNATP, and the Musée de
l’Homme were he worked closely with Claudie Marcel Dubois and
Gilbert Rouget for several months must have had an impact on his
representation of international French-language music </span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">which
should be looked for in his correspondence with French colleagues. </span></span></span></b>
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">While
the MNATP was exclusively concerned with folklore from France, the
Musée de l’Homme was dedicated to the study of geographically
distant cultures (often in former French colonies). It would be
interesting to investigate the place of French-American musics within
this institutional divide, and how French researchers considered
them. </span></span></span></b><b><span style="color: black;"><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">A
study of the joint work of Lomax, Rouget, and Marcel Dubois regarding
French-language musics could greatly enrich our understandings of
folklore expertise exchanges between France and the United-States. </span></span></span></span></b>
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><br />
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><span lang="en-US"> </span><span lang="en-US">D</span><span lang="en-US">espite
a growing interest in the history and culture of French-</span><span lang="en-US">speaking</span><span lang="en-US">
</span><span lang="en-US">populations in Northern United-States,
</span><span lang="en-US">especially </span><span lang="en-US">on
behalf of </span><span lang="en-US">the American Folklife Center<a class="sdfootnoteanc" href="#sdfootnote3sym" name="sdfootnote3anc"><sup>3</sup></a></span><span lang="en-US">,
</span><span lang="en-US">Alan Lomax collecting</span><span lang="en-US">s</span><span lang="en-US">
in Indiana and Michigan remain </span><span lang="en-US">relatively</span><span lang="en-US">
unknown to specialists and general audience ali</span><span lang="en-US">k</span><span lang="en-US">e.
</span><span lang="en-US">While the</span><span lang="en-US">
Michigan materials<a class="sdfootnoteanc" href="#sdfootnote4sym" name="sdfootnote4anc"><sup>4</sup></a></span><span lang="en-US">
</span><span lang="en-US">are already available online, those from
Indiana have not been digitalized yet. An online presentation that
would show </span><span lang="en-US">digitalization of</span><span lang="en-US">
Lomax’s Indiana and Michigan French-American materials together
with background informations could help</span><span lang="en-US">
foster other research, and </span><span lang="en-US">populariz</span><span lang="en-US">e</span><span lang="en-US">
this fascinating field</span><span lang="en-US">. </span><span lang="en-US">This
work could be a preliminary stage for a publication </span><span lang="en-US">under
the auspices of the </span><span style="font-size: small;"><span lang="en-US">Association
for Cultural Equity/ACE</span></span><span lang="en-US"> and the
American Folklife Center.</span></p>
<p align="justify" lang="en-US" style="line-height: 150%; margin-bottom: 0cm;">
The work of Alan Lomax still lives among singers and musicians in
various countries and cultures. As an extension of this academic
research, I would also like to contribute to this legacy as a
musician by adapting and performing those songs for American as well
as French audiences.
</p>
<p align="justify" lang="en-US" style="line-height: 150%; margin-bottom: 0cm;">
<br />
</p>
<p align="justify" lang="en-US" style="line-height: 150%; margin-bottom: 0cm;">
<br />
</p>
<p align="justify" lang="en-US" style="line-height: 150%; margin-bottom: 0cm;">
<br />
</p>
<p align="justify" lang="en-US" style="line-height: 150%; margin-bottom: 0cm;">
<br />
</p>
<p align="justify" style="line-height: 150%; margin-bottom: 0cm;"><br />
</p>
<div id="sdfootnote1">
<p class="sdfootnote"><a class="sdfootnotesym" href="#sdfootnote1anc" name="sdfootnote1sym">1</a><b><span lang="en-US"><span style="font-weight: normal;">Alan
Lomax corresponded with Berry shortly after he came back from
Vincennes, asking her if she could help obtaining accurate
transcriptions of Caney’s songs</span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
(</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">Alan
Lomax to Cecilia Ray Berry, september 25, </span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">1939.
</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">AFC
1938/004</span></span></span></b><b><span lang="en-US"><span style="font-weight: normal;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">).
</span></span></span></b>
</p>
</div>
<div id="sdfootnote2">
<p class="sdfootnote"><a class="sdfootnotesym" href="#sdfootnote2anc" name="sdfootnote2sym">2</a>Lomax,
Alan. <cite>Alan Lomax Collection, Manuscripts, CBS, -1941, American
School of The Air, Wellsprings of Music</cite>. 1941.
Manuscript/Mixed Material.
<a href="https://www.loc.gov/item/afc2004004.ms040102/">https://www.loc.gov/item/afc2004004.ms040102/</a>.</p>
</div>
<div id="sdfootnote3">
<p class="sdfootnote"><a class="sdfootnotesym" href="#sdfootnote3anc" name="sdfootnote3sym">3</a><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">For
instance through the 1991</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
Maine </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">Acadian
Cultural Survey : </span></span><a href="https://www.loc.gov/folklife/guides/map.html">https://www.loc.gov/folklife/guides/map.html</a><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">,
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">and
the organization of concerts of</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
Daniel Boucher and Friends </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">in
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">2011
</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">and
of</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
Denis Stroughmatt French Creole of Mississippi </span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">in</span></span><span lang="en-US"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
2012.</span></span></p>
</div>
<div id="sdfootnote4">
<p class="sdfootnote"><a class="sdfootnotesym" href="#sdfootnote4anc" name="sdfootnote4sym">4</a><span lang="en-US">All
the Michigan 1938 Expedition are </span><span lang="en-US">accessible</span><span lang="en-US">
online :
</span><a href="https://www.loc.gov/folklife/lomax/michiganproject.html">https://www.loc.gov/folklife/lomax/michiganproject.html</a><span lang="en-US">
</span>
</p>
</div>
<p><style type="text/css">p.sdfootnote { margin-left: 0.6cm; text-indent: -0.6cm; margin-bottom: 0cm; font-size: 10pt; line-height: 100% }p { margin-bottom: 0.25cm; line-height: 120% }a:link { so-language: zxx }a.sdfootnoteanc { font-size: 57% }</style> <br /></p><p>
</p><br />Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-10912417139503312242021-05-13T20:18:00.001+02:002021-05-13T20:18:09.583+02:00Livre audio - lien vers les 44 permiers épisodes<p>Bonjour,</p><p>étant donné que j'ai changé de plateforme de partage, certains des liens vers les épisodes de mon livre audio sur les anciens posts de ce blog ne sont plus valides. Je poste donc ici le lien vers ma bibliothèque sur internetarchive.org où ils sont tous regroupés : https://archive.org/details/@camla </p><p>Merci pour votre écoute ! <br /></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-84207121253225019762021-04-15T19:28:00.006+02:002021-04-15T19:37:04.864+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 5 - Ségrégation sonore : les catégories musicales de l’industrie du phonographe (1890-1930)<p>
</p><ul style="text-align: left;"><li><h3 class="western">I. Des <i>Coin-operated phonographs</i> aux <i>Red
Seals Records</i> : campagne éducative et distinction sociale
dans le catalogue américain général. </h3></li></ul><h3 class="western"> <a href="https://archive.org/details/41.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-5-1">épisode 1</a></h3><h3 class="western">
</h3><ul style="text-align: left;"><li><h3 class="western">II. Le marché domestique des « <i>foreign
records</i> » : objectifs mercantiles, quête
d'authenticité et projet d'américanisation.
</h3></li></ul><p><span> </span><span> </span><span> <b> </b></span><b><a href="https://archive.org/details/42.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-5-2">épisode 2</a>
</b></p><ul style="text-align: left;"><li><h3 class="western">III. Ségrégation sonore dans le marché des
musiques rurales.</h3></li></ul>
<p><style type="text/css">h3 { margin-left: 1cm; margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; color: #000000; page-break-before: always; page-break-after: auto }h3.western { font-family: "Liberation Serif", serif }h3.cjk { font-family: "Arial Unicode MS"; font-size: 10pt }h3.ctl { font-family: "Arial Unicode MS"; font-size: 12pt }p { margin-bottom: 0.25cm; line-height: 120% }a:link { so-language: zxx }</style></p><p> <span style="font-family: Liberation Serif, serif;"><b><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span> <span> </span></span><span> <a href="https://archive.org/details/43.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-5-3">épisode 3</a></span></span></b></span></p><p><span style="font-family: Liberation Serif, serif;"><b><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span><a href="https://archive.org/details/44.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-5-4"><span></span></a><span> </span><span> </span><span> <a href="https://archive.org/details/44.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-5-4">épisode 4</a></span><br /></span></span></b></span></p><ul style="text-align: left;"><li><h3 class="western"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">IV.
Comment une <i>Negro Music</i> peut-elle devenir de l'<i>American
</i><i>F</i><i>olk</i> <i>Music</i> ? Le cas des <i>Negro
Spirituals</i>.</span></span></h3></li></ul>
<h5 class="western"><style type="text/css">h3 { margin-left: 1cm; margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; color: #000000; page-break-before: always; page-break-after: auto }h3.western { font-family: "Liberation Serif", serif }h3.cjk { font-family: "Arial Unicode MS"; font-size: 10pt }h3.ctl { font-family: "Arial Unicode MS"; font-size: 12pt }p { margin-bottom: 0.25cm; line-height: 120% }a:link { so-language: zxx }</style></h5> <span> </span><span> <b> </b></span><b><span> </span>À venir </b><br /><h4 class="western"><style type="text/css">h4 { margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; line-height: 115%; text-decoration: underline; page-break-before: auto; page-break-after: auto }h4.western { font-family: "Liberation Serif", serif; font-size: 12pt; font-weight: normal }h4.cjk { font-family: "Arial Unicode MS"; font-size: 10pt; font-weight: normal }h4.ctl { font-family: "Arial Unicode MS"; font-size: 12pt; font-weight: normal }p { margin-bottom: 0.25cm; line-height: 120% }a:link { so-language: zxx }</style>Illustration ci-dessous : photographie de la vitrine d'une boutique de Dallas mettant en scène la rusticité du tube de Fiddlin John Carson "The Little Old Log Cabin in the Lane" (Talking Machine World, Juillet 1924).<br /><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"></span></span>
</h4><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzMUIeHQMcrwNaEbYJ76q8eSZ5QixK83UWkRMP0q3dtItt5C1oCPcG3kYCXpYMV8_Q0m-KrIXQkVvAeozBpax_qu5xFY78RcLZMqe1dCWTsejKHMn0az3ZmOtS6iMk4omtrmownn0Iu7nm/s527/vitrine-Carson.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="413" height="742" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzMUIeHQMcrwNaEbYJ76q8eSZ5QixK83UWkRMP0q3dtItt5C1oCPcG3kYCXpYMV8_Q0m-KrIXQkVvAeozBpax_qu5xFY78RcLZMqe1dCWTsejKHMn0az3ZmOtS6iMk4omtrmownn0Iu7nm/w575-h742/vitrine-Carson.png" width="575" /></a></div><br />
<h5 class="western"><style type="text/css">h4 { margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; line-height: 115%; text-decoration: underline; page-break-before: auto; page-break-after: auto }h4.western { font-family: "Liberation Serif", serif; font-size: 12pt; font-weight: normal }h4.cjk { font-family: "Arial Unicode MS"; font-size: 10pt; font-weight: normal }h4.ctl { font-family: "Arial Unicode MS"; font-size: 12pt; font-weight: normal }p { margin-bottom: 0.25cm; line-height: 120% }a:link { so-language: zxx }</style> <br /></h5>
<h5 class="western"><style type="text/css">h5 { direction: ltr; page-break-after: auto }h5.western { font-family: "Liberation Serif", serif; font-size: 12pt }h5.cjk { font-family: "Arial Unicode MS"; font-size: 12pt }h5.ctl { font-family: "Arial Unicode MS"; font-size: 12pt }p { margin-bottom: 0.25cm; line-height: 120% }a:link { so-language: zxx }</style></h5>
<h3 class="western"><style type="text/css">h5 { direction: ltr; page-break-after: auto }h5.western { font-family: "Liberation Serif", serif; font-size: 12pt }h5.cjk { font-family: "Arial Unicode MS"; font-size: 12pt }h5.ctl { font-family: "Arial Unicode MS"; font-size: 12pt }p { margin-bottom: 0.25cm; line-height: 120% }a:link { so-language: zxx }</style></h3>
<p><style type="text/css">h3 { margin-left: 1cm; margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; color: #000000; page-break-before: always; page-break-after: auto }h3.western { font-family: "Liberation Serif", serif }h3.cjk { font-family: "Arial Unicode MS"; font-size: 10pt }h3.ctl { font-family: "Arial Unicode MS"; font-size: 12pt }p { margin-bottom: 0.25cm; line-height: 120% }a:link { so-language: zxx }</style></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-70082561677905851262021-03-04T18:45:00.003+01:002021-03-04T18:45:23.589+01:00Livre audio - Les inventeurs de l'american folk music - chapitre 4 - Collecteurs de la Frontière : Charles F. Lummis et John A. Lomax.<p> <b>Chapitre 4 : Collecteurs de la Frontière : Charles F. Lummis et John A. Lomax</b></p><p><u>I. La folk music américaine selon Lummis</u> </p><p>épisode 1: https://archive.org/details/35.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-4-1 <br /></p><p>épisode 2: https://archive.org/details/36.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-4-2<br /></p><p>épisode 3: https://archive.org/details/37.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-4-3<br /></p><p><u>II. La folk music américaine selon Lomax</u></p><p>épisode 4: https://archive.org/details/38.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-4-4</p><p>épisode 5: https://archive.org/details/39.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-4-5<br /></p><p>épisode 6: https://archive.org/details/40.-c.-moreddu-les-inventeurs-de-lamerican-folk-music-ch-4-6</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjysdUg9fhZb0GA7E0vBgPiDWszJfjVs9d-9nQbEAUCV0Ih-wusRO-gNrRE1LQmIlGFzVh-w2f2RnSRW6L0B1uPm6gJa1GsSPkKr-GhX70LIguuaxxLy1xa_LffyXIh6Hy_XlORJ-Zx9D49/s1031/F_Lummis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1031" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjysdUg9fhZb0GA7E0vBgPiDWszJfjVs9d-9nQbEAUCV0Ih-wusRO-gNrRE1LQmIlGFzVh-w2f2RnSRW6L0B1uPm6gJa1GsSPkKr-GhX70LIguuaxxLy1xa_LffyXIh6Hy_XlORJ-Zx9D49/s320/F_Lummis.jpg" /></a></div><br /><p><br /></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-29133103265938265472021-01-30T19:49:00.001+01:002021-01-30T19:49:33.290+01:00Livre audio - Les inventeurs de l'american folk music - chapitre 3 - Enseigner les chants et danses folk : remède contre l'industrialisation et outil d'américanisation (1900-1910)<p> chapitre 3 - Enseigner les chants et danses folk : remède contre l'industrialisation et outil d'américanisation (1900-1910)</p><p> I. La musique au service d'une éducation progressiste</p><p>II. Pourquoi le folk ?</p><p>III. Promouvoir le pluralisme culturel et américaniser les immigrants</p><p>Les quatre épisodes ici : </p><p>épisode 1 : https://archive.org/details/vn-811809<br /></p><p>épisode 2 : https://archive.org/details/vn-811810<br /></p><p>épisode 3 : https://archive.org/details/vn-811811<br /></p><p>épisode 4 : https://archive.org/details/vn-811813 <br /></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-85126861402442890982021-01-17T12:07:00.001+01:002021-01-17T12:07:42.663+01:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 11<p> </p><h3 class="western"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">4.
</span><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">Interventions culturelles et
collectes de </span><i><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">folk </span></i><i><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">songs</span></i><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;">
dans les</span><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"> montagnes
appalachiennes</span></h3><p>Les campagnes de collectes dans les Appalaches de Cecil Sharp et Maud Karpeles.</p><p> Épisode ici : https://archive.org/details/ch-2-11-filmssss</p><p>Lien pour le Kinora film de 1912 d'English folk dance avec Cecil Sharp et Maud Karpeles : https://youtu.be/bQEkXMCusuI<br /></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-82039443100049969922021-01-06T12:30:00.002+01:002021-01-06T12:30:07.074+01:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 10<p> </p><h3 class="western"><span style="background: #ffffff;">4.
</span><span style="background: #ffffff;">Interventions culturelles et
collectes de </span><i><span style="background: #ffffff;">folk </span></i><i><span style="background: #ffffff;">songs</span></i><span style="background: #ffffff;">
dans les</span><span style="background: #ffffff;"> montagnes
appalachiennes</span></h3><h3 class="western"><span style="background: #ffffff;"> <u><span style="font-weight: normal;">Les éducatrices, gardiennes des traditions.</span></u></span></h3><h3 class="western"><span style="background: #ffffff;"><span style="font-weight: normal;">épisode ici : https://archive.org/details/ch-2-10 </span><br /></span></h3>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-36316283990192224052020-12-11T11:53:00.001+01:002020-12-11T11:53:23.422+01:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 9<p>
</p><h3 class="western"><span style="background: #ffffff;">4.
</span><span style="background: #ffffff;">Interventions culturelles et
collectes de </span><i><span style="background: #ffffff;">folk </span></i><i><span style="background: #ffffff;">songs</span></i><span style="background: #ffffff;">
dans les</span><span style="background: #ffffff;"> montagnes
appalachiennes</span></h3>
<p><style type="text/css">
h3 { margin-left: 1cm; margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; color: #000000; page-break-before: always; page-break-after: auto }
h3.western { font-family: "Liberation Serif", serif; font-style: normal }
h3.cjk { font-family: "Noto Sans CJK SC Regular"; font-size: 10pt }
h3.ctl { font-family: "FreeSans"; font-size: 12pt }
p { margin-bottom: 0.25cm; line-height: 120% }
a:link { so-language: zxx }</style>
</p><h4 class="western"><span style="font-family: Liberation Serif, serif;"><span style="background: #ffffff;">L</span></span><span style="font-family: Liberation Serif, serif;"><span style="background: #ffffff;">es
montagnards : ancêtres vivants des États-Unis modernes.</span></span></h4><p> </p><p>Cliquez sur l'image : <br /></p><p><style type="text/css">
h4 { margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; line-height: 115%; text-decoration: underline; page-break-before: auto; page-break-after: auto }
h4.western { font-family: "Liberation Serif", serif; font-style: normal; font-weight: normal }
h4.cjk { font-family: "Noto Sans CJK SC Regular"; font-size: 9pt; font-style: italic }
h4.ctl { font-family: "FreeSans"; font-size: 11pt; font-style: italic }
p { margin-bottom: 0.25cm; line-height: 120% }
a:link { so-language: zxx }</style><br /> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://archive.org/details/ch2-9" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="289" data-original-width="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHR9PoHH5ksn3cvzhNKQoTaWmMSNUXRwM1GEBVlYX-E85azSnRriI_pmLWzG_imUXTXj38GbcjgfqppFgvnC87KkQhIt74Y28YLGEumphyphenhyphen22bcVLxB73B843irB38wNQ_esWqFPwPOg8d6/s0/220px-Kentucky_Mountain_Songs_coberta.jpg" /></a></div><p></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-91659712032352953882020-12-03T13:08:00.002+01:002020-12-03T13:09:43.894+01:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 8<div><span style="font-family: Liberation Serif, serif;">3. Les folkloristes littéraires : des ballades anglaises au folk songs américaines.</span></div><div><span style="font-family: Liberation Serif, serif;">3.2. De la recherche des origines à la quête de l'américanité.</span></div><span style="font-family: Liberation Serif, serif;">=> Sur les folkloristes Philips Barry et Louise Pound.</span><p> Cliquez sur l'image :<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://archive.org/details/ch-2-8" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="220" data-original-width="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig8pm0IMhB08Ip1RlVgynBs0U3ae1IrJo4zYaOXX7pb42HjNpVATZfcKePeDMrPcwkik4X1up-ok4K-oahUALSpqvjkEV5Lohvi4TVdlahhaUwkei69jjTSlI7UN6o1XVyLq2ck9YJOe32/s0/Louise+Pound.jpg" /></a></div> Louise Pound (source :https://www.linguisticsociety.org/content/time-linguistics-history-louise-pound) <br /><p></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-43205271594372242072020-11-24T13:12:00.003+01:002020-11-24T13:12:59.819+01:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 7<p>
</p><h3 class="western">3. Les folkloristes littéraires : des
ballades anglaises au <i>folk songs</i> américaines.</h3><h3 class="western">
</h3><h4 class="western">a) Définir le folklore américain à partir de
modèles européens<span style="text-decoration: none;">.</span></h4>
<h3 class="western"><style type="text/css">
h4 { margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; line-height: 115%; text-decoration: underline; page-break-before: auto; page-break-after: auto }
h4.western { font-family: "Liberation Serif", serif; font-style: normal; font-weight: normal }
h4.cjk { font-family: "Noto Sans CJK SC Regular"; font-size: 9pt; font-style: italic }
h4.ctl { font-family: "FreeSans"; font-size: 11pt; font-style: italic }
p { margin-bottom: 0.25cm; line-height: 120% }
a:link { so-language: zxx }</style></h3><h3 class="western"><a href="https://archive.org/details/ch-2-7">c'est ici !</a><br /></h3>
<p><style type="text/css">
h3 { margin-left: 1cm; margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; color: #000000; page-break-before: always; page-break-after: auto }
h3.western { font-family: "Liberation Serif", serif; font-style: normal }
h3.cjk { font-family: "Noto Sans CJK SC Regular"; font-size: 10pt }
h3.ctl { font-family: "FreeSans"; font-size: 12pt }
p { margin-bottom: 0.25cm; line-height: 120% }
a:link { so-language: zxx }</style></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-3735947588976436422020-11-20T11:45:00.003+01:002020-11-20T11:45:22.124+01:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 6<p>
</p><h4 class="western"><b><span style="font-style: normal;">H</span><span style="font-style: normal;">oward
Odum : </span><span style="font-style: normal;">le </span><span style="font-style: normal;">sociologue
</span><span style="font-style: normal;">collecteur de "knife songs"</span></b></h4><h4 class="western"><span style="font-style: normal;">nouvelle épisode ici : https://archive.org/details/ch-2-6<br /></span></h4>
<p><style type="text/css">
h4 { margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; line-height: 115%; text-decoration: underline; page-break-before: auto; page-break-after: auto }
h4.western { font-family: "Liberation Serif", serif; font-style: normal; font-weight: normal }
h4.cjk { font-family: "Noto Sans CJK SC Regular"; font-size: 9pt; font-style: italic }
h4.ctl { font-family: "FreeSans"; font-size: 11pt; font-style: italic }
p { margin-bottom: 0.25cm; line-height: 120% }
a:link { so-language: zxx }</style></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-49372388827759737622020-11-06T14:41:00.003+01:002020-11-06T14:42:15.095+01:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 5<p> Étudier la psychologie des Noirs par leur musique épisode 2/3 </p><p>- La Hampton Folklore Society : première société folklorique dédiée au folklore afro-américain.</p><p>L'épisode ici : https://archive.org/details/ch-2-5 <br /></p><p></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://archive.org/details/ch-2-5" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAWYxy9qKXX_oeBQcbpkGb0CDZF0l6ouXG_rmDEybdQaI9j66SZXoFSDfX7D5iBHw6WhF3q7yMLZwKuly-wERwsVl9ZjluA9HYBnc5qwTCVGfWhRJUpdtetO5h6FH2XJNPMPb6InT-evui/s0/Bacon-2503.jpg" /></a></div>Alice Mabel Bacon (1858-1918) <br /><p></p><p>source illustration : https://www.wikitree.com/photo/jpg/Bacon-2503<br /></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-27099891861043533392020-10-30T19:04:00.001+01:002020-10-30T19:04:53.074+01:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 4<p> <span style="font-family: Liberation Serif, serif;"><span style="background: #ffffff;"><span style="color: black;"><span style="font-size: medium;"><b>2.
</b></span></span><span style="color: black;"><span style="font-size: medium;"><b>É</b></span></span><span style="color: black;"><span style="font-size: medium;"><b>tudier
la psychologie des Noirs par leur musique</b></span></span><span style="color: black;"><span style="font-size: medium;"><b> </b></span></span></span></span></p>
<h4 class="western">Un intérêt scientifique qui tarde à émerger. </h4><h4 class="western">https://archive.org/details/ch-2-4 <br /></h4>
<p><style type="text/css">
h4 { margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; line-height: 115%; text-decoration: underline; page-break-before: auto; page-break-after: auto }
h4.western { font-family: "Liberation Serif", serif; font-style: normal; font-weight: normal }
h4.cjk { font-family: "Noto Sans CJK SC Regular"; font-size: 9pt; font-style: italic }
h4.ctl { font-family: "FreeSans"; font-size: 11pt; font-style: italic }
h3 { margin-left: 1cm; margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; color: #000000; page-break-before: always; page-break-after: auto }
h3.western { font-family: "Liberation Serif", serif; font-style: normal }
h3.cjk { font-family: "Noto Sans CJK SC Regular"; font-size: 10pt }
h3.ctl { font-family: "FreeSans"; font-size: 12pt }
p { margin-bottom: 0.25cm; line-height: 120% }
a:link { so-language: zxx }</style></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-18745526416804753262020-10-14T13:02:00.000+02:002020-10-14T13:02:02.621+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 3<p> </p><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>1.
</b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>Les
</b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>anthropologues
et la musique des </b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>premiers
Américains</b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>.</b></span></span></span></span></span></h3><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-weight: normal;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;">Conclusion : les musiques des Omahas sont-elles de la folk music américaines ?</span></span></span></span></span></span></h3><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-weight: normal;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;">épisode ici : https://archive.org/details/ch-2-3 <br /></span></span></span></span></span></span></h3><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;">pour écouter les pistes diffusées en fin d'épisode : </span></span></span></span></span></h3><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-weight: normal;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;">Arthur Farwell, Impressions of the Wa-Wan Ceremony: Song of Peace, Op. 21:<br /></span></span></span></span></span></span></h3><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"> https://www.youtube.com/watch?v=9MoVHrbMXdU</span></span></span></span></span></h3><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">Song of Approach from the Wa'wan :</span> <b> <br /></b></span></span></span></span></span></h3><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>https://www.loc.gov/item/omhbib000493/</b></span></span></span></span></span></h3><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b><br /></b></span></span></span></span></span></h3><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b><br /></b></span></span></span></span></span></h3>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-30853383620086799482020-10-08T20:42:00.001+02:002020-10-08T20:42:55.819+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 2<p> </p><p align="justify" style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0.5cm; text-indent: 1cm;">
<span style="color: black;"><span style="font-family: Liberation Serif, serif;">À travers
l’étude d’une sélection de campagnes de collecte se déroulant
entre les années 1880 et 1910, je vous propose de rendre compte de
la grande diversité des méthodes et objectifs des chercheurs qui
fondent la <i>folk music</i> comme un objet de recherche
scientifique, tout en réfléchissant aux dimensions politiques des
choix des répertoires jugés dignes d’être, ou non, préservés
et étudiés. Dans quelle mesure ces choix reflètent-ils une
conception particulière de l’américanité et une volonté, comme
pour les compositeurs, de mettre au jour une <i>folk music</i>
intrinsèquement américaine ? </span></span>
</p>
<p align="justify" style="break-before: auto; font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0.5cm; page-break-before: auto; text-indent: 1cm;">
<br />
</p><h3 class="western" style="break-before: page; page-break-before: always;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>1.
</b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>Les
</b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>anthropologues
et la musique des </b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>premiers
Américains</b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>.</b></span></span></span></span></span></h3><div class="western" style="break-before: page; page-break-before: always; text-align: left;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;">=> La théorie du "sens harmonique latent". </span></span></span></span></span></div><div class="western" style="break-before: page; page-break-before: always; text-align: left;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b><br /></b></span></span></span></span></span></div><div class="western" style="break-before: page; page-break-before: always; text-align: left;"><span style="font-family: Liberation Serif, serif;"><span style="background: rgb(255, 255, 255) none repeat scroll 0% 0%;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>pour écouter, c'est par ici : https://archive.org/details/20.c.moreddu-les_inventeurs_de_lamerican_folk_music_ch2-2 <br /></b></span></span></span></span></span></div>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-29304231131940337992020-09-26T12:41:00.002+02:002020-09-26T12:41:37.235+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 2 - Fonder la folk music comme objet scientifique (années 1880- années 1910) - Partie 1<p>
</p><p align="justify" style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0.5cm; text-indent: 1cm;">
<span style="color: black;"><span style="font-family: Liberation Serif, serif;">À travers
l’étude d’une sélection de campagnes de collecte se déroulant
entre les années 1880 et 1910, je vous propose de rendre compte de
la grande diversité des méthodes et objectifs des chercheurs qui
fondent la <i>folk music</i> comme un objet de recherche
scientifique, tout en réfléchissant aux dimensions politiques des
choix des répertoires jugés dignes d’être, ou non, préservés
et étudiés. Dans quelle mesure ces choix reflètent-ils une
conception particulière de l’américanité et une volonté, comme
pour les compositeurs, de mettre au jour une <i>folk music</i>
intrinsèquement américaine ? </span></span>
</p>
<p align="justify" style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0.5cm; page-break-before: auto; text-indent: 1cm;">
<br />
</p><h3 class="western" style="page-break-before: always;"><span style="font-family: Liberation Serif, serif;"><span style="background: #ffffff;"><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>1.
</b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>Les
</b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>anthropologues
et la musique des </b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>premiers
Américains</b></span></span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-style: normal;"><b>.</b></span></span></span></span></span></h3><p>Cliquez ici : https://archive.org/details/ch-2-1 <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNgT0S_8ZDqtK-z48vFa3U1fqgpqGYHqFLBESzStX1f7_rzlboDvorOqxEojnsZBmBoPH9sDkWwbRf5JpOnVZkzobKZX2ZZ_XjDmFrrhMjVB3nOAY2YmSQHn2IKF4LwdlqSuOnH4QbVzCS/s1857/Alice-Fletcher.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1239" data-original-width="1857" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNgT0S_8ZDqtK-z48vFa3U1fqgpqGYHqFLBESzStX1f7_rzlboDvorOqxEojnsZBmBoPH9sDkWwbRf5JpOnVZkzobKZX2ZZ_XjDmFrrhMjVB3nOAY2YmSQHn2IKF4LwdlqSuOnH4QbVzCS/s320/Alice-Fletcher.jpg" width="320" /></a></div>Alice Fletcher et le chef des Nez Percés.<br /><p><br /></p><p align="justify" style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0.5cm; page-break-before: auto; text-indent: 1cm;"><style type="text/css">
h3 { margin-left: 1cm; margin-top: 0.5cm; margin-bottom: 0.5cm; direction: ltr; color: #000000; page-break-before: always; page-break-after: auto }
h3.western { font-family: "Liberation Serif", serif; font-style: normal }
h3.cjk { font-family: "Noto Sans CJK SC Regular"; font-size: 10pt }
h3.ctl { font-family: "FreeSans"; font-size: 12pt }
p { margin-bottom: 0.25cm; line-height: 120% }
a:link { so-language: zxx }</style>
</p>
<p><style type="text/css">
p { margin-bottom: 0.25cm; line-height: 120% }
a:link { so-language: zxx }</style></p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-71804891858515306732020-09-05T12:02:00.002+02:002020-09-05T12:02:37.750+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 9<p> IV. « Les Indiens… dansent avec des pieds hassidiques1» : Ernest Bloch et sa rhapsodie America.<br />IV.2. La réception critique d'America.<br />Synthèse du 1er chapitre.</p><p>Par ici : <br /></p><p>https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-9mp3<br /> </p>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-77010803940540394632020-07-30T13:44:00.002+02:002020-07-30T13:44:43.087+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 8IV. « Les Indiens… dansent avec des pieds hassidiques1» : Ernest Bloch et sa rhapsodie America.<br />IV.1. America : Une rhapsodie « simple et populaire » à portée universelle.<br />
<br />
Cliquer sur l'image :<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-8mp3"><img alt="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-8mp3" border="0" data-original-height="409" data-original-width="512" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1VydhRpCtPXDIRcbh9c5pckzWedC3eUFrbK6M3J5JoypkWXq72u8VUkOc2nPHZSHNUiQg-_zL3ZvQ5-9V4ErMbs0DCzg-8Kv822S9lQt8vEidRSlmNgjAVFjW3YL10mnbXLft4AHbTXl/s320/bloch.jpg" width="320" /></a></div>
<br />Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-92171706223578818382020-07-23T11:40:00.000+02:002020-07-23T11:40:30.528+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 7Livre audio - Les inventeurs de l'american folk music - chapitre 1 :
"L'esprit de la nation" : la folk music dans les symphonies - Partie 7<br />
<br />
III. John Powell (1882-1963) : racisme, nationalisme et folk music. <br />
2ème partie<br />
<br />
Cliquer sur l'image :<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-7mp3"><img alt="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-7mp3" border="0" data-original-height="1024" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQAZ_WUKw8sqIAcqfub_7PP-QMPtTGcBNZxxdwrKLveliP4nIBvnoOG6JOcwvIVSBoHyOuK8mSZx0iOKZdLLihsW3-Ra8cAHAcXEvMyDBrQLly4defqub-a8QNuGqDr62znBHJngYMzMo0/s320/John_Powell_at_piano_in_1916.jpg" width="218" /></a></div>
Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-9733773217400340052020-07-10T12:06:00.002+02:002020-07-10T12:06:26.684+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 6Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 6<br />
<br />
III. John Powell (1882-1963) : racisme, nationalisme et folk music. <br />
1ère partie<br />
<br />
Cliquer sur l'image :<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-6mp3"><img alt="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-6mp3" border="0" data-original-height="1500" data-original-width="1165" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieF-MrWLYwxsybVgbZOblbgI9oyE72OXQJRvUdAVWSgvYteX4ou6VXIXcgrgwpZCXlB3_aB9J0GVSFAg-0BJ3LYpB9hE4XAU3vccv5FZjjTOlcLkB_NBlXvoJucZiFlci__cGpyhtLyk6P/s320/johnpowell.png" width="248" /></a></div>
Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-2745801688166198512020-06-29T13:11:00.003+02:002020-06-29T13:12:02.601+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 5II. Deux compositeurs "indianistes" (années 1880-1920)<br />
L'approche du compositeurs Arthur Farwell (1872-1952)<br />
Extrait Musical : American Indian Melodies, op 11 - Arthur Farwell, 1901.<br />
Cliquez sur l'image ! <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-5mp3"><img alt="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-5mp3" border="0" data-original-height="244" data-original-width="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC9EuUx_xL_QOTTFSj7iW5j7GAtFz2pS4rh1nLzK6O6ftXXT8U0mEjc_JMb0N-kn74X1WbuGHHrHvGysJ24wXD32fj-kwSVpIyC73CHs3rCBLGivEBCKEkhTwkHL5b2hc2HuFJW39cFX5T/s1600/farwell.jpeg" /></a></div>
<br />Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-68538708374808078622020-06-23T14:25:00.000+02:002020-06-29T13:18:42.693+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 4Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 4<br />
<br />
II. Deux compositeurs indianistes (années 1880-1920)<br />
<br />
Les théories du compositeur new-yorkais Edward MacDowell sur le caractère national (ou non) de la folk music.<br />
<br />
Extrait musical : https://www.youtube.com/watch?v=vxJwLcfhK-c<br />
<h1 class="title style-scope ytd-video-primary-info-renderer">
<span style="font-size: small;"><span style="font-weight: normal;">MacDowell: "Indian" Suite (Howard Barlow, 1939)</span></span></h1>
Cliquez ici :<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-4mp3"><img alt="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-4mp3" border="0" data-original-height="800" data-original-width="1000" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5gia8pPDuqodOikC4Mf6IuvD820AUlR8roTaE8xIvbteEms8gnBjs6FvqBp7KDeGekYFPh-HnBjjvODsg7nmiMDf9QStrd2qcmMuQHD-0s-B8Tq1GBpjaPxFxXpZIhpm7wlizH0ONz9Q0/s320/EdwardMacDowell.jpg" width="320" /></a></div>
<br />Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-30492150543213230462020-06-19T21:21:00.001+02:002020-06-19T21:25:14.866+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 3Chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 3<br />
<br />
- La compositrice Amy Beach dans le débat Dvorák<br />
<br />
Cliquez sur l'image :<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-3mp3?in=user-321351695/sets/les-inventeurs-de-lamerican"><img alt="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-3mp3?in=user-321351695/sets/les-inventeurs-de-lamerican" border="0" data-original-height="1137" data-original-width="864" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI1eEGca-R1T7NIIDPqbY_IgZ3we7vQ2BYCn9h5xpjiHsz-DD-HSsboQK_uaaxZEjbU7dSd0pSFZ5MmwtLnGLlBAnUFMjFyPbhorDr4mLRIvjRFn3nG5G_GpAAX4Y7rx1qFjhZ64kOfNbe/s320/Amy_Beach_01.jpg" width="243" /></a></div>
<span style="font-size: x-small;"> Illustration : Amy Beach (<span class="mw-mmv-source-author"><span class="mw-mmv-author">George Grantham Bain Collection (Library of Congress)</span></span></span><br />
<br />
<span style="font-size: x-small;"><span class="mw-mmv-source-author"><span class="mw-mmv-author"><span style="font-size: small;">Une version de 2010 de sa Gaelic Symphony (1894-1896) : https://www.youtube.com/watch?v=nnYtZD3sldw&t=320s </span></span></span></span>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-74863446446618396912020-06-11T15:26:00.001+02:002020-06-11T15:26:16.984+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 2Chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 2<br />
<br />
- Les sources de Dvorák pour les "chants de plantation"<br />
- son élève Harry Burleigh<br />
- les opposants à l'appel de Dvorák - l'école bostonienne.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-2mp3"><img alt="https://soundcloud.com/user-321351695/les_inventeurs_de_lamerican_folk_music_chapitre1-2mp3" border="0" data-original-height="1298" data-original-width="950" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOByrH4v2phyphenhyphenrK7_DunDunDyTv7dasPjh7ZWisyRA9-QjeK4YRIUmCyQtF_EKz-T5jQIQzmaNk7I7mALJK4xtr2l7JqW0G3srUz-MTlEK0ngWV37yawtHt38E5BXJm3JN8qW3BsN_sGrwd/s320/burleigh.jpg" width="234" /></a></div>
<br />
<span style="font-size: x-small;">illustration : "Harry T. Burleigh in his St. George's choir robe, 1894—page 215. Photograph courtesy of the Burleigh family." piquée ici : https://www.press.uillinois.edu/books/snyder/harry_t_burleigh/chapter13.html</span>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0tag:blogger.com,1999:blog-5816589185850454245.post-62841274753035514832020-06-07T22:08:00.004+02:002020-06-07T22:08:46.347+02:00Livre audio - Les inventeurs de l'american folk music - chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 1chapitre 1 : "L'esprit de la nation" : la folk music dans les symphonies - Partie 1<br />
<br />
Chapitre sur les compositeurs et les musiques folk. <br />- introduction<br />- l'arrivée de Dvorák aux États-Unis et son appel à utiliser des "chants des plantations".<br />
<br />
<br />
Cliquer sur l'image : <br /><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://soundcloud.com/user-321351695/cmoreddu-les_inventeurs_de_lamerican_folk_music_chapitre1-1"><img alt="https://soundcloud.com/user-321351695/cmoreddu-les_inventeurs_de_lamerican_folk_music_chapitre1-1" border="0" data-original-height="428" data-original-width="370" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR6jzOuQxjDeGPTtvFCuQUTyW5tEpCMRDmhklWsV_vp5WqSm04lGyLZWyh9Ps-k9GVdltMhQ6dj6pn4aaMZnhtzuJMrU4SF08oV00tFo0SMGWZVhiEAxC4brr_jpK1UxXMNPWtw8IO6gpv/s320/Jan_Langhans_Antonin_Dvorak_1904_%2528cropped%2529.jpg" width="276" /></a></div>
<br />
<span style="font-size: x-small;"> Illustration : Dvořák, 1904.</span>Camille Moredduhttp://www.blogger.com/profile/13127989691392189918noreply@blogger.com0