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Les risques impalpables du monde musical : 2 / Eviter ou déraper entre logos et pathos ?

Abstract : Discourses about the nature or beneficial effects of music is rarely tested for its validity, nor is it analysed for its epistemological origin. This is often due to the fact that music discourse is considered subordinate to music listening and performance, and also that total authority is given to the world of music composers and players (who, in principle, are better trained to produce musical works and performances than rational discourse and knowledge). This leads to a game of hide-and-seek between theory and practice, marked by an escalation of extra-disciplinary information wherein just about anything can be said about music with little risk of being contradicted : acts and thoughts are rarely regulated jointly both by practice (execution of works, techniques, audiences, but also ways of thinking) and by a modern epistemology (having both artistic and intellectual relevance). Accordingly, music offers fertile ground as well of powerful and flexible metaphors for ideologies off all kinds (as long as it gets praised). Such ideologies may therefore constitute a risk - currently a high one - for those who take their discourse too literally as they fail to grasp its paradoxes, origins, and possible contexts of applicability. After having analysed risk-valuing ideologies (part 1), the author talks about those witch, in the name of creativity and sensitivity required of the individual, call up both the romantic artist's eye to break away from reality (by poetizing human suffering as a means of consolation) and the figure of the child as an ideal itself (as an outlet for the cultural crisis that marked the 20th century). Yet can the artist's vision be effectively separated from his or her works, or from the codes that convey that vision to us, acting as a safeguard for the artist's activity - all the wile being called upon to fulfil the cultural roles of ensuring cohesion in society and of civilizing his beings ? Similarly, what is the educational worth of a system which, on the basis of purely aesthetic preoccupation, would set an objective whose definition reuses the figures of the wild, the alienated, or the child ? The present analysis demonstrates that these fallacious ideals are often the fruit of poorly assimilated, legitimizing borrowings, or of interdisciplinary encounters that have failed (for a lack of method, desire, or a semantic system shared by the all-too-heterogeneous domains of discourses about art, and the human social sciences).
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Submitted on : Monday, February 8, 2016 - 11:13:24 PM
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  • HAL Id : hal-01271271, version 1


Laurent Guirard. Les risques impalpables du monde musical : 2 / Eviter ou déraper entre logos et pathos ?. Médecine des arts, 2007, 62, pp.34-43. ⟨hal-01271271⟩



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