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Musique et Institutions au « village »

Jacques Cheyronnaud
Ethnologie française
nouvelle serie, T. 14, No. 3, Ethnomusicologie: Recherches récentes (juillet-septembre 1984), pp. 265-280
Stable URL: http://www.jstor.org/stable/40988826
Page Count: 16
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Musique et Institutions au « village »
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Abstract

L'État (à travers l'École primaire), l'Église (ici: catholique), les municipalités programment et procurent aux « populations villageoises » des expériences musicales. Ces institutions se sont dotées, à cette fin, d'appareils musicaux : des répertoires, des infrastructures, telles que fanfares ou harmonies (municipales, paroissiales), chorales (d'église, d'école, paroissiale), lutrin. Des individus, généralement recrutés au sein de l'engroupe, accomplissent ainsi un « service musical public » aux dimensions du village et deviennent des prestataires musicaux de service. Les modèles dominants et urbains sont intégrés au vécu musical local au prix d'adaptations et de compromis. On tente ici de formuler quelques hypothèses de travail concernant le repérage, l'analyse des opérations de bricolage des infrastructures chorales, fanfares, lutrin lorsqu'elles sont implantées localement (de 1870 à 1940) et leur définition comme structures de médiation culturelle. The. State (by means of the primary school), the Church (catholic in this case) and municipalities put on programmes which procure musical experiences for "village populations". To this end, the institutions cited are equipped with musical apparatus: repertories and infrastructures such as brass bands or orchestras (municipal or parish ones), chorals (church, school or parish ones) and choirs. Individuals, generally recruited from within the institutional groups mentioned, accomplish thereby a "musical public service" at the level of the village. They become dispensers of musical benefits. Not without adaptations and compromise, dominant and urban models are integrated in this way into local musical life. This article attempts to formulate a few working hypotheses, firstly for the identification and analysis of how the infrastructures — chorals, bands and choirs — were improvised, at a local level, between 1870 and 1940, and, secondly, for their definition as structures of cultural mediation.

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