{"id":5661,"date":"2025-07-15T03:11:41","date_gmt":"2025-07-15T01:11:41","guid":{"rendered":"https:\/\/pigyki.fr\/?p=5661"},"modified":"2025-07-16T16:44:13","modified_gmt":"2025-07-16T14:44:13","slug":"ecoute-musicale-n66-pierre-schaeffer","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/2025\/07\/15\/ecoute-musicale-n66-pierre-schaeffer\/","title":{"rendered":"\u00c9coute musicale n\u00b066  Pierre Schaeffer"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">Pierre Schaeffer (1910-1995) : <strong>le p\u00e8re de la musique concr\u00e8te<\/strong>.<\/h1>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-center\">\u201c\u00c9couter, c\u2019est pr\u00eater attention \u00e0 tout ce qui sonne.\u201d<br><strong>Pierre Schaeffer<\/strong><\/p>\n<\/blockquote>\n\n\n\n<p>Avec <strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Pierre_Schaeffer\">Pierre Schaeffer<\/a><\/em><\/strong>, le train qui passe, le froissement du papier, le bruit du vent deviennent une mati\u00e8re sonore, une invitation \u00e0 \u00e9couter autrement.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Avant toute chose, je dois lever une confusion \u00e0 laquelle j&rsquo;ai moi-m\u00eame succomb\u00e9 : la musique concr\u00e8te n&rsquo;est pas r\u00e9alis\u00e9e en direct avec des objets du quotidien, ou des outils, d\u00e9tourn\u00e9s de leur usage pour les agencer et r\u00e9aliser un discours musical.<br>Ces objets sont enregistr\u00e9s, puis travaill\u00e9s, diss\u00e9qu\u00e9s en laboratoire, pour constituer une banque \u00ab\u00a0d&rsquo;objets sonores\u00a0\u00bb utilis\u00e9s ensuite dans des compositions musicales. Ces premi\u00e8res recherches avaient pour origine des corps sonores \u00ab\u00a0concrets\u00a0\u00bb riches de vibrations d&rsquo;origine acoustique. Ce n&rsquo;est que quelques ann\u00e9es plus pard que se sont ajout\u00e9s des sons d&rsquo;origine \u00e9lectroacoustique.<\/p>\n\n\n\n<p>La meilleure introduction au travail de Schaeffer est peut-\u00eatre l&rsquo;extrait d&rsquo;un entretien \u00e0 propos de \u00ab\u00a0Variations sur une fl\u00fbte mexicaine\u00a0\u00bb :<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Explications-sur-flute-mexicaine-entretien.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Et maintenant, quelques aspects de ses r\u00e9alisations :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Introduction \u00e0 la musique concr\u00e8te : \u00c9tude de chemins de fer &#8211; L&rsquo;oiseau RAI &#8211; Variations sur une fl\u00fbte mexicaine. (1948-49)<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Introduction-Musique-Concrete-1.mp3\"><\/audio><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Orph\u00e9e, en collaboration avec Pierre Henry (1953)<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Pierre-Henry-Orphee-53-1953.mp3\"><\/audio><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>\u00c9tude aux objets (1959)<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etude-aux-objets-Part-1-5-1959.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Figure incontournable de la cr\u00e9ation musicale du XX\u00b0 si\u00e8cle, Pierre Schaeffer ne se consid\u00e9raait finalement pas comme compositeur, mais comme chercheur. Il renia assez rapidement l&rsquo;appellation de \u00ab\u00a0musique concr\u00e8te\u00a0\u00bb au profit de \u00ab\u00a0musique exp\u00e9rimentale\u00a0\u00bb. Il \u00e9tait tr\u00e8s conscient que ses recherches contribueraient \u00e0 l&rsquo;\u00e9mergence d&rsquo;un autre type de musique, parall\u00e8lement \u00e0 un autre regard port\u00e9 sur les sons et les bruits.<\/p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile is-image-fill-element\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"790\" height=\"469\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image.png\" alt=\"\" class=\"wp-image-5662 size-full\" style=\"object-position:56% 50%\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image.png 790w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image-300x178.png 300w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image-768x456.png 768w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image-281x167.png 281w\" sizes=\"auto, (max-width: 790px) 100vw, 790px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Pierre Schaeffer (1910-1995) est un ing\u00e9nieur, chercheur, th\u00e9oricien, compositeur et \u00e9crivain fran\u00e7ais. Il a \u00e9galement \u00e9t\u00e9 homme de radio, fondateur et directeur de nombreux services.<\/p>\n\n\n\n<p>Vous aurez acc\u00e8s \u00e0 d&rsquo;autres \u00e9l\u00e9ments sur les titres suivis de * dans la rubrique <br><strong><em><a href=\"#savoir+\">\u00ab\u00a0Pour en savoir plus &#8230;\u00a0\u00bb<\/a><\/em><\/strong><\/p>\n<\/div><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Qu&rsquo;est-ce que la musique concr\u00e8te ?<\/h2>\n\n\n\n<p>R\u00e9solument acoustique, la musique concr\u00e8te&nbsp;<strong>cherche son mat\u00e9riau dans les corps sonores, dont le son est capt\u00e9 par micro et g\u00e9n\u00e9ralement manipul\u00e9 apr\u00e8s enregistrement<\/strong>&nbsp;: soit m\u00e9caniquement (par montage ou variation de vitesse de lecture), soit \u00e9lectriquement (par filtrage du spectre des fr\u00e9quences et amplification).<\/p>\n\n\n\n<p><strong>La musique concr\u00e8te <em>n&rsquo;est pas<\/em> de la musique \u00e9lectronique puisque dans celle-ci, les sons sont produits artificiellement et n&rsquo;existent pas dans la nature<\/strong>. Cependant, un lien tr\u00e8s fort va se tisser entre ces deux courants au XX\u00b0 si\u00e8cle, des \u0153uvres musicales utilisant simultan\u00e9ment les techniques inh\u00e9rentes aux deux genres.&nbsp;C\u2019est la musique <strong><em>acousmatique<\/em><\/strong>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Pourquoi Pierre Schaeffer disait-il que la musique concr\u00e8te \u201cn\u2019\u00e9tait pas de la musique\u201d\u202f?<\/h3>\n\n\n\n<p>Pierre Schaeffer a invent\u00e9 la musique concr\u00e8te non comme un style, mais comme une <strong>exp\u00e9rimentation de l\u2019\u00e9coute<\/strong>. Il voulait interroger\u202f: <em><strong>\u00ab\u00a0Qu\u2019est-ce que la musique, si l\u2019on travaille non plus sur des notes \u00e9crites, mais sur des sons enregistr\u00e9s\u202f?<\/strong><\/em><strong>\u00ab\u00a0<\/strong><\/p>\n\n\n\n<p>Apr\u00e8s ses premi\u00e8res \u0153uvres, il a constat\u00e9\u202f:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Que beaucoup de pi\u00e8ces concr\u00e8tes restaient des <em>collages de sons<\/em> sans langage musical clair.<\/li>\n\n\n\n<li>Qu\u2019il manquait parfois une structure \u00e9motionnelle et po\u00e9tique reliant les sons.<\/li>\n\n\n\n<li>Que cette recherche \u00e9tait passionnante, mais ne produisait pas toujours ce qu\u2019il consid\u00e9rait comme \u201cmusique\u201d.<\/li>\n<\/ul>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-center\">\u201cCe que j\u2019ai fait n\u2019\u00e9tait pas de la musique,<br>c\u2019\u00e9tait une recherche qui posait la question de la musique.\u201d<br><strong>Pierre Schaeffer<\/strong><\/p>\n<\/blockquote>\n\n\n\n<p>Il a donc pr\u00e9f\u00e9r\u00e9 continuer \u00e0 <strong>penser et enseigner l\u2019\u00e9coute<\/strong>, laissant d\u2019autres compositeurs prolonger la musique concr\u00e8te dans des directions artistiques vari\u00e9es, au premier rang desquels un de ses premiers collaborateurs : <strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Pierre_Henry\" target=\"_blank\" rel=\"noreferrer noopener\">Pierre Henry<\/a><\/em><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Le catalogue des compositions de Pierre Schaeffer est assez r\u00e9duit, et avec le recul, ses \u0153uvres ne sont peut-\u00eatre pas vraiment destin\u00e9es \u00e0 \u00eatre \u00e9cout\u00e9es comme des \u0153uvres musicales.<br>Elles n&rsquo;en demeurent pas moins tr\u00e8s int\u00e9ressantes \u00e0 conna\u00eetre, c&rsquo;est pourquoi je vous les propose ici !<\/p>\n\n\n\n<p><strong><em><a href=\"#podcast\">Podcast *<\/a><\/em><\/strong><br><strong><em>Je vous recommande vivement la lecture des textes passionnants de ce podcast, accessibles en<a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Podcast-Pierre-Schaeffer-Textes-seuls.pdf\" target=\"_blank\" rel=\"noreferrer noopener\"> lien PDF.<\/a><\/em><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"#\u00e9l\u00e9ments\"><em>\u00c9tudes de bruits (1948) *<\/em><\/a><\/h4>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1\">00:00<\/a> \u00c9tude aux chemins de fer &#8211; trains <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=173s\">02:53<\/a> \u00c9tude aux tourniquets &#8211; toy tops and percussion instruments <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=292s\">04:52<\/a> \u00c9tude violette &#8211; piano recorded for Schaeffer by Boulez <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=492s\">08:12<\/a> \u00c9tude noire &#8211; piano renregistr\u00e9 pour Schaeffer par Boulez <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=731s\">12:11<\/a> \u00c9tude path\u00e9tique &#8211; casseroles, p\u00e9niches, chant, discours, harmonica, piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etudes-de-bruits-1948.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Variations sur une fl\u00fbte mexicaine (1949)<\/em><\/h4>\n\n\n\n<p>Cette pi\u00e8ce me para\u00eet la plus claire pour comprendre le travail de Schaeffer : sur cet enregistrement, il n&rsquo;a rien utilis\u00e9 d&rsquo;autre que les 8 premi\u00e8res notes de la fl\u00fbte. Pass\u00e9es au crible de son laboratoire, il en a extrait entre autre les attaques, mati\u00e8re percussive,  a jou\u00e9 sur la vitesse, les superpositions, etc&#8230;<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Variations-sur-flute-mexicaine.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><em>L&rsquo;oiseau RAI<\/em> (1949)<\/h4>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Loiseau-R-A-I.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Suite pour 14 instruments (1949)<\/em><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>I. Pr\u00e9lude<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-I.-Prelude.mp3\"><\/audio><\/figure>\n\n\n\n<p>II. Courante-roucante<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-II.-Courante.mp3\"><\/audio><\/figure>\n\n\n\n<p>III. Rigodon<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-III.-Rigodon.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>IV. Vagotte-gavotte<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-IV.-Gavotte.mp3\"><\/audio><\/figure>\n\n\n\n<p>V. Sphoradie<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-V.-Sphoradie.mp3\"><\/audio><\/figure>\n\n\n\n<p>Suite des 5 Mouvements<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Orph\u00e9e 53 (1953)<\/em><\/h4>\n\n\n\n<p><em><strong>Orph\u00e9e 53<\/strong><\/em>, en collaboration avec <strong>Pierre Henry<\/strong>, \u00ab\u00a0Op\u00e9ra concret\u00a0\u00bb pour trois voix, clavecin, violon et bande, 1953.<br>I. Prologue II. Premier air d&rsquo;Orph\u00e9e [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=75s\">01:15<\/a>] III. Premier r\u00e9citativ d&rsquo;Orph\u00e9e [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=197s\">03:17<\/a>] IV. Les Monstres [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=397s\">06:37<\/a>] V. Parade d&rsquo;Eurydice [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=600s\">10:00<\/a>] VI. D\u00e9bat d&rsquo;Orph\u00e9e [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=804s\">13:24<\/a>] VII. Rupture finale [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=1119s\">18:39<\/a>]<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Pierre-Henry-Orphee-53-1953.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"https:\/\/www.youtube.com\/@TheWelleszTheatre\"><\/a><a href=\"#objets\"><em>Etude aux objets Part 1-5 (1959) *<\/em><\/a><\/h4>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2\">0:00<\/a> Objets expos\u00e9s <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=217s\">3:37<\/a> Objets \u00e9tendus <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=395s\">6:35<\/a> Objets multipli\u00e9s <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=580s\">9:40<\/a> Objets li\u00e9s <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=770s\">12:50<\/a> Objets rassembl\u00e9s<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etude-aux-objets-Part-1-5-1959.mp3\"><\/audio><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">L&rsquo;objet musical<\/h2>\n\n\n\n<p><strong>L&rsquo;exp\u00e9rience musicale<\/strong> a \u00e9t\u00e9 une s\u00e9rie de 6 \u00e9missions radiophoniques Voici une s\u00e9quence radiophonique \u00e0 la fois jubilatoire, par le dialogue de Schaeffer et son interlocutrice, et&#8230; indigeste, tant les explications sont complexes et nombreuses. Pour bien le comprendre, il me faudrait une dizaine d&rsquo;\u00e9coutes !<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Lobjet-musical.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"#solf\u00e8ge\"><em>Solf\u00e8ge de l&rsquo;objet sonore (1967) *<\/em><\/a><\/h4>\n\n\n\n<p>Compl\u00e9ment audio du <strong>Trait\u00e9 des objets musicaux<\/strong>. <br>Prologue : les quatre \u00e9l\u00e9ments du solf\u00e8ge &#8211; Pierre Schaeffer, narrateur. <strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Solfege-de-lobjet-sonore-Prologue.mp3\" target=\"_blank\" rel=\"noreferrer noopener\">Podcast<br><\/a><\/em><\/strong>Vous trouverez le texte en <strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Solfege-de-lobjet-sonore-Prologue.pdf\">PDF <\/a><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Solfege-de-lobjet-sonore-Prologue.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">ici<\/a><\/em><\/strong> et dans \u00ab\u00a0<em><strong><a href=\"#savoir+\">Pour en savoir plus &#8230;<\/a><\/strong><\/em>\u00ab\u00a0<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Solfege-de-lobjet-sonore-0-Prologue-les-quatres-elements-du-solfege-IX.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Le coin des \u00e9coutes comparatives&#8230;<\/em><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Bidule en ut (1950)<\/em><\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Bidule-en-ut.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Bilude (1979)<\/em><\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Bilude-\u2014-Pierre-Schaeffer-Official-Music-Video.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>&nbsp;\u00ab\u00a0\u00c9tude aux chemins de fer\u00a0\u00bb<\/em><\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Version originale de 1948 par Pierre Schaeffer<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/pierre-schaeffer-etude-aux-chemins-de-fer-1.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Version revisit\u00e9e en 2011 par Pierre Borel, Saxophone &amp; Hannes Lingens, Snare Drum &amp; Objects<br><strong><em><a href=\"https:\/\/youtu.be\/AuALNiUspjs?si=tfZrXxEb6M12oWsf\" target=\"_blank\" rel=\"noreferrer noopener\">Vid\u00e9o de la performance.<\/a><\/em><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etude-aux-chemins-de-fer-1948-version-for-saxophone-and-snare-drum-2011.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" id=\"savoir+\"\/>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"\u00e9l\u00e9ments\"><em>Pour en savoir plus &#8230;<\/em><\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">\u00c9l\u00e9ments biographiques de Pierre Schaeffer autour de \u00ab\u00a0<strong><em>Cinq \u00c9tudes des bruits<\/em><\/strong>\u00a0\u00bb et \u00ab\u00a0<strong><em>\u00c9tude aux objets<\/em><\/strong>\u00ab\u00a0<\/h5>\n\n\n\n<p>Outre son travail novateur en tant que compositeur, Schaeffer \u00e9tait \u00e9galement un th\u00e9oricien de la musique et un homme de lettres accompli, comme en t\u00e9moignent ses nombreux \u00e9crits. N\u00e9 en 1910, Schaeffer s&rsquo;est d&rsquo;abord orient\u00e9 vers des \u00e9tudes techniques et scientifiques et a travaill\u00e9 comme ing\u00e9nieur en t\u00e9l\u00e9communications et technicien du son \u00e0 partir de 1934, avant m\u00eame d&rsquo;envisager une carri\u00e8re de compositeur. Son exp\u00e9rience professionnelle, combin\u00e9e \u00e0 des connaissances rudimentaires du violoncelle, lui a permis de r\u00e9aliser ses premi\u00e8res \u0153uvres de musique concr\u00e8te, dont \u00ab\u00a0<strong><em>Cinq \u00c9tudes des bruits<\/em><\/strong>\u00a0\u00bb en 1948, suivie de la direction du Groupe de recherches de musique concr\u00e8te (GRMC) de 1951 \u00e0 1953, qui prit plus tard le nom de Groupe de recherches musicales (GRM) et fusionna dans les ann\u00e9es 1970 avec l&rsquo;Institut national de l&rsquo;audiovisuel pour former l&rsquo;INA GRM.<\/p>\n\n\n\n<p>Il intensifia sa r\u00e9flexion th\u00e9orique, qu&rsquo;il avait d\u00e9j\u00e0 entam\u00e9e tr\u00e8s t\u00f4t, au d\u00e9triment de sa pratique musicale et notamment afin de d\u00e9terminer sa conception de la musique : Schaeffer \u00e9tait d&rsquo;avis que la musique occidentale se privait d&rsquo;une sph\u00e8re importante en se concentrant sur les instruments traditionnels et, par cons\u00e9quent, sur des hauteurs de sons fixes.<br>Sa remise en question des instruments traditionnels et l&rsquo;exp\u00e9rience auditive associ\u00e9e \u00e0 Var\u00e8se, Cage et Messiaen fournissent des informations sur son \u00e9volution professionnelle vers la composition et le travail sur les sons qui en r\u00e9sulte dans la musique concr\u00e8te.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"objets\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Qualifi\u00e9e par M\u00f6ller d&rsquo;\u00ab \u0153uvre majeure de Schaeffer \u00bb, \u00ab\u00a0l&rsquo;<strong><em>\u00c9tude aux objets<\/em><\/strong>\u00a0\u00bb peut \u00eatre interpr\u00e9t\u00e9e comme \u00ab le r\u00e9sultat d&rsquo;une recherche sur les possibilit\u00e9s de domestication \u00bb et constitue la derni\u00e8re grande composition de Schaeffer, qui n&rsquo;accordait pas beaucoup d&rsquo;importance \u00e0 sa propre pratique compositionnelle et remettait sans cesse en question ses capacit\u00e9s de musicien. Elle repr\u00e9sente une succession de plusieurs petites \u00e9tudes, \u00e0 l&rsquo;issue desquelles Schaeffer abandonna compl\u00e8tement la composition pendant une longue p\u00e9riode. L&rsquo;\u0153uvre d\u00e9fend l&rsquo;id\u00e9e qu&rsquo;elle doit repr\u00e9senter la conclusion de la vision musicale du compositeur et aboutit ainsi \u00ab \u00e0 une r\u00e9volution compl\u00e8te du m\u00e9tier de compositeur \u00bb. Pour y parvenir, seuls des sons originaux, collect\u00e9s pendant des ann\u00e9es, ont \u00e9t\u00e9 utilis\u00e9s. Ceux-ci ont uniquement \u00e9t\u00e9 \u00e9dit\u00e9s, mix\u00e9s et, tout au plus, transpos\u00e9s. Schaeffer consid\u00e8re sa composition comme un \u00ab paysage \u00bb dont \u00ab les objets musicaux [\u2026] ont \u00e9t\u00e9 d\u00e9ploy\u00e9s pour former le mat\u00e9riau sonore de base qui ne sera jamais trahi \u00bb.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"solf\u00e8ge\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Le solf\u00e8ge de l&rsquo;objet sonore<\/h4>\n\n\n\n<p>Pour les n\u00e9cessit\u00e9s des traductions, j&rsquo;ai transcrit le texte dit par Pierre Schaeffer dans l&rsquo;enregistrement de ce Prologue.<br>Les minutages correspondent aux exemples sonores. <strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Solfege-de-lobjet-sonore-Prologue.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Cliquez sur ce lien<\/a><\/em><\/strong>.<\/p>\n\n\n\n<p>Et voici un film dans lequel la compositrice <strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Beatriz_Ferreyra\" target=\"_blank\" rel=\"noreferrer noopener\">Beatriz Ferreyra<\/a><\/em><\/strong> pr\u00e9sente <strong>le solf\u00e8ge des objets sonores<\/strong> de Pierre Schaeffer auquel elle a activement collabor\u00e9 avec <em><strong><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Guy_Reibel\" target=\"_blank\" rel=\"noreferrer noopener\">Guy Reibel<\/a><\/strong><\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"[P\u00e9dago] PIERRE SCHAEFFER : &#039;LE SOLF\u00c8GE DE L&#039;OBJET SONORE&#039;\" width=\"760\" height=\"570\" src=\"https:\/\/www.youtube.com\/embed\/pwDnpiecev8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"podcast\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Podcast sur Pierre Schaeffer<\/h2>\n\n\n\n<p><a href=\"https:\/\/embed.radiofrance.fr\/francemusique\/diffusion\/2745b095-f0a9-42da-9938-434b02f4ff6d\">https:\/\/embed.radiofrance.fr\/francemusique\/diffusion\/2745b095-f0a9-42da-9938-434b02f4ff6d<\/a><\/p>\n\n\n\n<p><strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Podcast-Pierre-Schaeffer-Textes-seuls.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Texte int\u00e9gral du Podcast.<\/a><\/em><\/strong> <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Avec Pierre Schaeffer (1910-1995), p\u00e8re de la musique concr\u00e8te, le train qui passe, le froissement du papier, le bruit du vent deviennent une mati\u00e8re sonore, une invitation \u00e0 \u00e9couter autrement.<\/p>\n","protected":false},"author":1,"featured_media":5663,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"yes","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[99,17],"tags":[],"class_list":["post-5661","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr","category-ecoutes-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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