DROM http://www.drom-kba.eu/ Promotion des cultures populaires de tradition orale et de la musique modale fr SPIP - www.spip.net DROM https://www.drom-kba.eu/local/cache-vignettes/L144xH87/siteon0-8443f.png?1729079969 http://www.drom-kba.eu/ 87 144 7th Modal Music Symposium: Musiques à bourdon(s) https://www.drom-kba.eu/7th-Modal-Music-Symposium-Musiques-a-bourdon-s.html https://www.drom-kba.eu/7th-Modal-Music-Symposium-Musiques-a-bourdon-s.html 2024-10-01T10:02:00Z text/html en Association Drom <p>Nomadic Seminar of the French Society of Ethnomusicology<br class='autobr' /> In partnership with the Conservatory of Brest Métropole, BWS, and FAMDT</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH100/arton874-4e723.jpg?1729080630' width='150' height='100' /> <div class='rss_texte'><p><strong>Open access upon registration</strong></p> <p><strong>To register, click here</strong> —> <a href="https://docs.google.com/forms/d/e/1FAIpQLSeWbCNNca8xIA8W9Ws5pCsV28iiauJJ1f6AG681AoSykzhcwQ/viewform?usp=sf_link" class='spip_out' rel='external'>Registration form</a></p> <p>What is meant by the term "music with drones"? In its most basic definition, "drones" refer to the production of a continuous sound on one or more pitches. It also refers to instruments whose construction relies heavily on this principle (bagpipes, hurdy-gurdies, string drums, etc.). They are found in many musical forms, from the oldest to more contemporary experiments. The quantitative and emotional significance of these forms thus deserves attention.</p> <p>Although not covering a homogeneous set of sound productions, the term "music with drones" has the advantage, at least methodologically, of questioning the multiple variations of this recurring musical principle in the field of modal music on a global scale. Despite its apparent stability and deceptive simplicity, the drone remains difficult to fully grasp. It is continuous yet always changing. It defines the musical space-time as much as it erases it. It acts both as a sound base and a melodic repellent. It is most of the time clearly played, but can also be implied. It lies at the heart of the thinking of modal and folk music of oral tradition without reflecting a univocal musical reality. How then to define the drone? In what way can this principle establish itself as a fundamental element in many musical forms? Finally, how to explain the ancient and regularly renewed interest in droning musical forms?</p> <p><strong>The symposium of the modal pole organized by Drom will therefore be an opportunity for a collective and multifaceted reflection, both historical, organological, musicological, and philosophical, on what "music with drones" represents today.</strong></p> <h3 class="h3 spip">— THURSDAY, NOVEMBER 30, 2023</h3> <p><strong>09:30</strong> Welcome</p> <p><strong>10:00</strong> Opening speech introduction: <strong>Florent Wattelier</strong> ethnomusicologist (Center for Ethnomusicology Research, Paris Nanterre University)</p> <p><strong>10:30 – 12:30</strong> : ROUNDTABLE<br class='autobr' /> <strong>Drones and continuous sound: manipulating space and time</strong></p> <p>In ancient music as in contemporary experiments, music with drones seems to maintain a complex and evolving relationship with time and space. As drones are generally associated with the principle of continuous sound, their effect on the decomposition and perception of time is undeniable. What about their relationship with space? What is hidden behind René Zosso's expression of the drone as "a space to inhabit"? In the musical experiments conducted by musicians from the field of oral transmission of Western European folk music, drone and continuous sound techniques are two driving elements: what does this tell us about their intentions to manipulate spatial and temporal references?</p> <p><strong>Speakers</strong>:<br class='autobr' /> <strong>Catherine Guesde</strong>, philosopher<br class='autobr' /> <strong>Alexis Degrenier</strong>, musician, researcher, percussionist, hurdy-gurdy, drone boxes<br class='autobr' /> <strong>Moderator</strong>: <strong>Loïc Ponceau,</strong> ethnomusicologist</p> <p><span class='spip_document_2078 spip_documents spip_documents_center'> <img src='https://www.drom-kba.eu/local/cache-vignettes/L250xH250/photo_1-7c0a1.png?1729078570' width='250' height='250' alt="" /></span></p> <p><strong>14:00 – 16:00 </strong> : ROUNDTABLE<br class='autobr' /> <strong>Organological variations: transformations of instruments with drones</strong></p> <p>In the field of Western European oral transmission folk music, the drone is a recurrent element. However, historical analysis shows that it has not always had the same place. If at one time, the drone had a "bad reputation" and tended to remain silent due to the negative connotations it conveyed, today it seems to enjoy reconsideration. From an organological point of view, how have drones on instruments evolved? What do these organological variations tell us about the place of the drone in these musical repertoires?</p> <p><strong>Speakers</strong>:<br class='autobr' /> <strong>Jean Blanchard</strong>, musician (Central France bagpipes)<br class='autobr' /> <strong>Joël Traunecker</strong>, luthier, hurdy-gurdy maker<br class='autobr' /> <strong>Moderator</strong>: <strong>Evelyne Girardon</strong>, musician (singing and hurdy-gurdy)</p> <p><span class='spip_document_2079 spip_documents spip_documents_center'> <img src='https://www.drom-kba.eu/local/cache-vignettes/L250xH250/398974064_838962594896204_2530190345335641703_n-f5f09.jpg?1729078570' width='250' height='250' alt="" /></span></p> <p><strong>16:30 – 17:00 : Musical interlude</strong><br class='autobr' /> Drones and "sound bubble," an illustration through piobaireachd play, by <strong>Gwenael Dage</strong><br class='autobr' /> <span class='spip_document_2033 spip_documents spip_documents_center'> <img src='https://www.drom-kba.eu/local/cache-vignettes/L200xH197/gwenbio_zoom2-2-17d5e.jpg?1729078570' width='200' height='197' alt="" /></span></p> <h3 class="h3 spip">— FRIDAY, DECEMBER 1, 2023</h3> <p><strong>09:30</strong> Welcome</p> <p><strong>10:00 – 12:00 </strong> : ROUNDTABLE</p> <p><strong>The drone as a gateway to modality</strong></p> <p>Modality refers to a structuring musical principle at the heart of many musical repertoires, from ancient Western ecclesiastical music to classical and folk music from around the world. Often, drones are found as a foundation. How is the drone conceived in these various musical forms? What link, if any, does it have with modal scales? What place does the drone occupy in maqam and related musical systems?</p> <p><strong>Speakers</strong>:<br class='autobr' /> <strong>Jeanne Miramon Prasanna</strong>, ethnomusicologist,<br class='autobr' /> <strong>Romain Baudoin</strong>, musician (hurdy-gurdy),<br class='autobr' /> <strong>Rusan Filiztek,</strong> musician (saz, oud)<br class='autobr' /> <strong>Moderator</strong>: Florent Wattelier</p> <p><strong>ARTISTS WITNESSES</strong><br class='autobr' /> Marthe Tourret & Elisa Trebouville from the duo Bourrasque of the La Crue collective</p> <p><strong>CONCLUSION</strong> <strong>12:00 – 12:30</strong><br class='autobr' /> <strong>François Picard</strong>, ethnomusicologist (IReMus Laboratory)</p> <p><span class='spip_document_2081 spip_documents spip_documents_center'> <img src='https://www.drom-kba.eu/local/cache-vignettes/L500xH254/design_sans_titre_16_-5d352.png?1729086799' width='500' height='254' alt="" /></span></p> <h3 class="h3 spip">MASTERCLASS</h3> <p><strong>The experience of the drone by Romain Baudoin</strong></p> <p><a href="https://www.drom-kba.eu/L-experience-du-bourdon-par-Romain-Baudoin.html">Pedagogical program</a></p> <p><span class='spip_document_2082 spip_documents spip_documents_center'> <a href="https://www.drom-kba.eu/L-experience-du-bourdon-par-Romain-Baudoin.html"><img src='https://www.drom-kba.eu/local/cache-vignettes/L500xH148/masterclasse-541ea.png?1729086800' width='500' height='148' alt="" /></a></span></p> <p><strong>Visual creation</strong>: Erwan Le Moigne</p></div> 6th SYMPOSIUM OF THE MODALITY CENTER: Tubes and standards 2021 https://www.drom-kba.eu/article675.html https://www.drom-kba.eu/article675.html 2022-10-15T20:19:39Z text/html en Association Drom <p><p>Hits and classics<br class='autobr' /> Betrayal or reflection of popular musics of oral tradition?</p></p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH140/arton675-66750.jpg?1729080630' width='150' height='140' /> <div class='rss_chapo'><p><p><i>A proposal by Drom and the FAMDT as part of the NoBorder festival in partnership with Le Quartz, Scène international and Bretagne (s) World Sounds.</i></p></p></div> <div class='rss_texte'><p><strong>FREE ENTRY <br class='autobr' /> ON REQUIRED REGISTRATION</strong></p> <p><i>Whenever we aim at introducing musics from a certain cultural area, we rely almost spontaneously on tunes we believe to be the most well-known, these « hits and classics » shared by a whole community. It is precisely this link that the symposium « Hits and classics, betrayal or reflection of popular musics of oral tradition » initiated by Drom, within the framework of the No Border festival, is willing to question. What are the issues bound to the constitution and the growing interest of this type of repertory, that we might qualify as “emblematic”, to artistic and/or educational ends?<br class='autobr' /> </i></p> <p><strong>10:10am. GENERAL INTRODUCTION</strong><br class='autobr' /> <strong>Emmanuel Parent,</strong> maître de conférences à l'université de Rennes 2</p> <p>A global introduction to these questions – nature of the “hit”, connection to the “traditional” musics – will be held by Emmanuel Parent from examples derived from his own practice as a researcher about black american musics.</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/_uE_wEdQnqg" title="Tubes et standard - INTRODUCTION | 6e COLLOQUE DU PÔLE DE LA MODALITÉ" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>10:30am. - 11:45am. PART I: Should we be off with those hits?</strong><br class='autobr' /> Moderator: <strong>Françoise Dastrevigne</strong>, chargée de mission au sein de la Délégation à la Musique du ministère de la Culture.</p> <p>The hit borrows to the most trendy musical conventions in order to go beyond the aesthetic and “communitarian” frontiers of it's usual listening area.<br class='autobr' /> Therefore, the hit allows for a culture with specific musical characteristics to be more accessible to a non-specialist public. Its structure inherently leads it to a variable distance from the culture it came from: the hit can offer a genuine caricature as much as he can offer a proper reflection of its original specificities.</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/met8qmP7g64" title="Tubes et standard - PARTIE I : Faut-il jeter les tubes ? | 6e COLLOQUE DU PÔLE DE LA MODALITÉ" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>Attendees:</strong><br class='autobr' /> <strong>Robert Le Gall</strong> : Musician and arranger.<br class='autobr' /> <strong>Marie Sauvet Malicorne</strong> : Singer, and musician.<br class='autobr' /> <strong>Philippe Krumm</strong> : Journalist.<br class='autobr' /> <strong>Evelyne Girardon</strong> : Singer, musician and comedian. <br class='autobr' /> <strong>Sylvain Girault</strong> : An artist's testimony programmed at the NoBorder festival.</p> <p><strong>11:50am. - 1:00pm. PROJECTION : <i>Whose is this Song ?</strong></i><br class='autobr' /> Documentary film by Adela Peeva (Bulgaria), in original version with French subtitles (2003)</p> <p>Adela Peeva sets out to meet the inhabitants of Serbia, Bosnia, North Macedonia, Turkey, as well as those of her own country Bulgaria, in order to find out where does this famous song with numerous names comes from : Usküdara, Katibim, Ruse kose curo imaš, Terk in America, Anadolka, Mu në bashtën tënde, Ya Banat Iskandaria… Almost everyone claims this song to be from the tradition of their country. The discussions are heated, and sometimes even take a political turn.</p> <p><strong>2:30pm. - 3:45pm. PART II: From hits to classics</strong><br class='autobr' /> Moderator : <strong>Erik Marchand</strong>, singer and transmitter.</p> <p>This round table asks the question of a common, or even emblematic repertory, that would allow the learners and neophyte music lovers to touch upon the musical specificities of an aesthetic.<br class='autobr' /> Subsequently, what do these emblematic pieces possess? Are they the same ones as those that the more or less advised public, within a community (from a nation to a micro-region), appreciate? Are these classics made of major pieces, the emblematic repertory that one or another educator has identified? Or are they an echo of the trendy tunes of a certain time, in a certain community? <br class='autobr' /> Can the development of such a corpus let the artists share a common language (similar to jazz classics, wearing an improvisation and rhythmic style…), and ensure at the same time to diversify the examples in order to introduce to the learners the variety of expressions that characterise popular music.<br class='autobr' /> How did teachers, educators and persons in charge of documentation centers engage with this issue?</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/7Rgz32GwH60" title="Tubes et standard - PARTIE II : Du tube aux standards | 6e COLLOQUE DU PÔLE DE LA MODALITÉ" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>Attendees</strong>:<br class='autobr' /> <strong>Erik Marchand</strong> : Singer in Brittany.<br class='autobr' /> <strong>Youenn Lange</strong> :Singer in Brittany.<br class='autobr' /> <strong>Eric Desgrugillers</strong> : Multi-instrumentalist in Auvergne.<br class='autobr' /> <strong>Denis Laborde</strong> : Ethnologist and research director.</p> <p><strong>4:00pm. - 5:30pm. PART III: When the instrument starts to sing</strong><br class='autobr' /> Moderator: <strong>Philippe Janvier</strong>, bell ringer and teacher in traditional music.</p> <p>This round table will address the instrumental interpretation of sung sources (Tunes that are orally transmitted).<br class='autobr' /> In Brittany, as well as numerous other regions of the world, the sources, the classics identified, are, mostly, sung sources. Musicians, shall they wish to respect the characteristics of these sources, are therefore facing the organological constraints of their own instruments, as well as their analysis, aware or not, about what they make with these sources.<br class='autobr' /> How do the prosody, the modal scale, the variations in colour from verse to verse, all partake in the instrumental performance? Can we go up to the constitution of protocols guaranteeing this transmission which, in a way, provide the keys to listening?</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/0N86-d9enGk" title="Tubes et standard - PARTIE III : Quand l'instrument se met à chanter | 6e COLLOQUE DU PÔLE DU PÔLE.." frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>Attendees</strong>: <br class='autobr' /> <strong>Philippe Janvier</strong> : Bell ringer and teacher in Brittany<br class='autobr' /> <strong>Marthe Vassallo</strong> : Singer in Brittany<br class='autobr' /> <strong>Laurent Bigot</strong> : Bell ringer in Britanny<br class='autobr' /> <strong>Romain Baudoin</strong> : Hurdy-gurdy player in Béarn<br class='autobr' /> <strong>Henri Tournier</strong> : Flautist from India<br class='autobr' /> <strong>Jean-Michel Veillon</strong> : Flautist in Britanny<br class='autobr' /> <strong>Caroline Dufau</strong> : An artist's testimony programmed at the NoBorder festival.</p> <p><strong>SUMMING UP AND CONCLUSION</strong><br class='autobr' /> By <strong>Emmanuel Parent</strong> and <strong>Erik Marchand</strong>.</p> <p><strong>CONTACT AND INFORMATION</strong><br class='autobr' /> <a href="#" title="production..åt..drom-kba.eu, catherine.bihan-loison..åt..drom-kba.eu, zsofia.pesovar..åt..free.fr" onclick="location.href=lancerlien('production,6715b98077dc7,drom-kba.eu, catherine.bihan-loison,6715b98077dc7,drom-kba.eu, zsofia.pesovar,6715b98077dc7,free.fr',',6715b98077dc7,'); return false;" class='spip_mail'>research<span class='mcrypt'> </span>drom-kba.eu</a><br class='autobr' /> 09 65 16 71 21</p> <dl class='spip_document_1656 spip_documents spip_documents_center'> <dt><img src='https://www.drom-kba.eu/local/cache-vignettes/L500xH708/dr2021_affiche_colloque_a3_hd-9e5d6.jpg?1729389834' width='500' height='708' alt='' /></dt> <dt class='spip_doc_titre' style='width:350px;'><strong>Symposium poster 2021</strong></dt> </dl></div> Total screen & local music https://www.drom-kba.eu/Total-screen-local-music.html https://www.drom-kba.eu/Total-screen-local-music.html 2021-10-01T19:58:00Z text/html en Association Drom <p>In a digital world, what (r)evolutions in mediation, transmission and creation practices for oral tradition music?</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH150/arton749-31181.png?1729080630' width='150' height='150' /> <div class='rss_chapo'><p>In a digital world, what (r)evolutions in mediation, transmission and creation practices for oral tradition music?</p></div> <div class='rss_texte'><p>Drom has devoted three years of research to the design of an educational portal for modal music, a digital medium for knowledge and learning of this oral tradition music. Several other projects for websites or online services centered on traditional music have also been carried out by other players, or are in the process of being finalised.</p> <p>The 5th symposium of the Drom modality cluster will bring together researchers, musicians and music transmitters, but also specialists in new technologies and educational sciences, to explore the implications and perspectives of these initiatives and achievements, and more overall the relationship between oral and digital music.</p> <p><strong>PROGRAM</strong><br class='autobr' /> The first day, in plenary, will alternate scientific communications and professional round tables and will successively address the themes of transmission, creation, mediation and research in ethnomusicology. Issues specific to each of these fields will thus be addressed.<br class='autobr' /> However, the whole day will make it possible to question in a transversal way what is experienced more and more through the filter of information and communication technologies, in the universe of music qualified as traditional, from the world , local, modal, popular, vernacular, community,... What specificities of this music compared to digital? How to think about the apparent contradiction between promises of valorization and dangers of standardization? What place for digital music archives? ...</p> <p>An additional morning will allow participants to participate in workshops related to what will have been discussed during the day in plenary.</p> <p><strong>THURSDAY 12 DECEMBER 2019 Plenary day</strong><br class='autobr' /> 09:30 Welcome<br class='autobr' /> 10:00 a.m. - 10:30 a.m. Introduction, opening speech</p> <p><strong>10:30 a.m. - 11:20 a.m.<br class='autobr' /> What changes in dimension has digital brought about in the practices of musical creation from cultures with an oral tradition?</strong></p> <p>Artist testimonials:<br class='autobr' /> ►Erik Marchand, singer and artistic director, Drom.<br class='autobr' /> ►Camel Zekri, composer, improviser, guitarist and musicologist.<br class='autobr' /> ►Pauline Willerval, cellist, gadulka player, singer.<br class='autobr' /> Moderation: Sarah Karlikow artistic advisor, performing arts in Brittany.</p> <iframe width="540" height="315" src="https://www.youtube.com/embed/Nam76tPi7i0" title="Colloque NoBorder #9 2/6" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong> 11:30 a.m. - 12:20 p.m. Round table<br class='autobr' /> What place for digital technology in cultural mediation and remediation in favor of musical diversity? </strong><br class='autobr' /> With :<br class='autobr' /> ► Gwenaël Carvou (Brittany Culture Diversity)<br class='autobr' /> ► Anne Florence Borneuf (Philharmonie of Paris)<br class='autobr' /> ► Jérôme Floury (CanalBREIZH).<br class='autobr' /> Animation of the round table: Guillaume Veillet (journalist and researcher)</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/LZQ8qd6hGIc" title="Colloque NoBorder #9 3/6" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong> 2:00 p.m. - 3:20 p.m. Conferences:<br class='autobr' /> How are oral tradition music transmitted in the digital age? </strong></p> <p>► Janice Waldron, teacher-researcher at the University of Windsor (Canada) "Musical learning via the internet and local anchoring, the example of the online academy of Irish music"</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/sDQ_Mpaqq1E" title="Colloque NoBorder #9 4/6" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p>► Gérald Guillot, teacher-researcher in ethnomusicology and didactics of music. “Influence of digital technology in the training of ‘transmitters' of musical traditions”</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/qf2smmTYhUg" title="Colloque NoBorder #9 5/6" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>3:20-4:00 p.m. Presentation of the educational portal for modal music.</strong></p> <p>Speech by Erik Marchand and Ingrid Le Gargasson, anthropologist, responsible for programming and dissemination at the Maison des Cultures du Monde - CFPCI and members of the steering committee of the <a href="https://www.modalmusic.eu/fr" class='spip_out' rel='external'>modal music educational portal project</a></p> <p><strong>4:10-5:00 p.m. Oral and digital tradition music: get out, stay there, or immerse yourself in it?</strong><br class='autobr' /> In addition to the thematic approach that will have preceded, this time will question in a transversal way the perspectives of the actors of the music of oral tradition in relation to the digital.</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/-M4JtqC9I2U" title="Colloque NoBorder #9 6/6" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p>Round table bringing together the speakers of the day.<br class='autobr' /> Moderation: Guillaume Veillet (journalist and researcher)</p> <p><strong>FRIDAY DECEMBER 13</strong><br class='autobr' /> 10am-1pm: collaborative workshops<br class='autobr' /> Workshop #1 - transmission: People working in the teaching of traditional music, or involved in this teaching.<br class='autobr' /> Speakers: Hoëla Barbedette, Janice Waldron, Kari Veblen.<br class='autobr' /> In partnership with the Upper Bridge</p> <p>Workshop #2 - mediation: People active in the promotion of traditional music archives. Speakers: Hoëla Barbedette, Gaëtan Crespel, Alban Cogrel.<br class='autobr' /> In partnership with Dastum and FAMDT</p></div> Pentatonic Music, from reality to myth https://www.drom-kba.eu/Symposium-2017-Pentatonic-Music-from-reality-to-myth.html https://www.drom-kba.eu/Symposium-2017-Pentatonic-Music-from-reality-to-myth.html 2018-01-15T11:36:24Z text/html en Association Drom <p>Drom organizes the 2017 NoBorder#7 Symposium on the theme of Pentatonism, its original and universal fantasy, its relation to modality, Celtic music and Breton music. <br class='autobr' /> In parallel with the symposium, Drom organizes with its partners an internship on world music "From the village to the planet" for media practitioners, journalists and radio hosts, live performance professionals. Thursday 7th December <br class='autobr' /> 09h30 : Welcome | Greeting 10h00 : Symposium opening speech <br class='autobr' /> 10h30-12h30 : The (...)</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L108xH150/arton458-d7628.png?1729080630' width='108' height='150' /> <div class='rss_texte'><p>Drom organizes the 2017 NoBorder#7 Symposium on the theme of Pentatonism, its original and universal fantasy, its relation to modality, Celtic music and Breton music.</p> <p>In parallel with the symposium, Drom organizes with its partners an internship on world music "From the village to the planet" for media practitioners, journalists and radio hosts, live performance professionals.</p> <hr class="spip" /> <p><strong>Thursday 7th December<br class='autobr' /> </strong></p> <p><strong>09h30</strong> : Welcome | Greeting<br class='autobr' /> <strong>10h00 </strong> : Symposium opening speech</p> <p><strong>10h30-12h30</strong> : The relationship between Pentatonism and modality<br class='autobr' /> Moderation by <i>François Picard</i>, professor of analytical ethnomusicology at Paris Sorbonne University and researcher at the IREMUS Institute for Research in Musicology.</p> <ul class="spip"><li> Modality and pentatonism: two musical universes not to be confused: <i>François Picard</i></li></ul><ul class="spip"><li> Analyze and understand the pentatonic modes of Epire: <i>Laurent Clouet</i>, musician / witness: <i>Hélène Delaporte</i>, doctoral student in ethnomusicology</li></ul> <p><strong>13h30-15h00</strong> : Screening of the movie Chant of a lost country<br class='autobr' /> Bernard Lortat-Jacob & Hélène Delaporte, 2007, 1h04. On the Tcham community, followed by exchanges with Hélène Delaporte.</p> <p><strong>15h-17h30</strong> : Pentatonisms of Africa and other great musical currents<br class='autobr' /> Moderation by Soro Solo, radio host at France Inter, "L'Afrique en solo"</p> <ul class="spip"><li> Introduction by <i>Soro Solo</i></li></ul><ul class="spip"><li> Pentatonic crossroads (North Africa, Sahel and Middle East):<i> Fawaz Baker and Mehdi Haddab</i>, musicians</li></ul><ul class="spip"><li> Pentatonism in African-American music: the example of blues at Archie Shepp, by <i>Emmanuel Parent</i>, Lecturer in music and musicology at Rennes 2.</li></ul><ul class="spip"><li> The pentatonic modes of secular music of the Amhara of Ethiopia. Analysis of a musicological doxa: <i>Stéphanie Weisser</i>, Lecturer in ethnomusicology at the Université Libre de Bruxelles / witness: <i>Etenesh Wassié</i>, singer programmed for the NoBorder Festival#7.</li></ul> <p><strong>17:30</strong> : Aperitif in partnership with BWS</p> <hr class="spip" /> <p><strong>Friday, December 8 <br class='autobr' /> </strong></p> <p><strong>10h30-12h30</strong> : Pentatonism: an identity marker?<br class='autobr' /> The color given by the use of pentatonic scales can direct the listener's ear to a space, a real and / or mythical culture.<br class='autobr' /> Moderation by <i>Erik Marchand</i>, singer and artistic director of Drom.</p> <ul class="spip"><li> Hungary and Pentanonism: old and new style : <i>Zsofia Pesovar</i>, ethnomusicologist</li></ul><ul class="spip"><li> Pentatonism as an indispensable musical system in Afro-Cuban rituals : <i>Ana Koprivica</i>, ethnomusicologist and doctor in history of music and musicology</li></ul><ul class="spip"><li> Pentatonism and Pentaphonism in Brittany : <i>René Abjean</i>, University Professor, composer, conductor and conductor / witness : <i>Anna Wendy-Stevenson</i>, singer and musician proposed by the Conservatoire de Brest.</li></ul> <p><strong>12h30-13h</strong> : Presentation of the pedagogical portal of modal music of Drom</p> <p><strong>14h30-15h30</strong> : Conference "Blues and Pentatonism" by Pauline Cornic, doctoral student in musicology.</p> <p><strong>15h30-17h30</strong> : Screening of the movie "Blues between Teeth"<br class='autobr' /> Robert Manthoulis, 1973, 1:28.<br class='autobr' /> in the presence of Pauline Cornic, and exchanges</p> <p><i>In partnership with the University of Western Brittany, UFR Humanities and Letters, Laboratory HCTI, Master Project Management or cultural institutions, management of performing arts<br class='autobr' /> </i></p></div> The transmission and teaching of oral tradition music https://www.drom-kba.eu/Symposium-2015-The-transmission-and-teaching-of-oral-tradition-music.html https://www.drom-kba.eu/Symposium-2015-The-transmission-and-teaching-of-oral-tradition-music.html 2018-01-12T11:37:00Z text/html en Association Drom <p>TRANSMIT, TEACH, LEARN, REPRODUCE, IMITATE, FLY: WHAT CHOICES AND WHY?</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L103xH150/arton456-2317e.jpg?1729080630' width='103' height='150' /> <div class='rss_texte'><p><strong>Part 1 :</strong> Feedback from experiences: What questions, what answers, what certainties, what wanderings ?<br class='autobr' /> <strong>Part 2 :</strong> Wondering about the forms of transmission<br class='autobr' /> <strong>Part 3 :</strong> What policies for the transmission of oral tradition music</p> <hr class="spip" /> <p><strong>Part 1 :</strong> Feedback from experiences: What questions, what answers, what certainties, what wanderings ?</p> <p><i>Presentation and opening speech<br class='autobr' /> </i></p> <p>Many actors of oral tradition music develop methods, places, habits of transmission. <br class='autobr' /> Depending on the social and political realities they choose to create their transmission tools, to integrate their work within institutions or to continue to be part of a local or family process.<br class='autobr' /> Sometimes they also like to cross all these forms.</p> <p>Does the teaching of these masters serve to give their pupils an understanding ? <br class='autobr' /> To create disciples who will become their associates and competitors in local festivals or on the stages of the world ?<br class='autobr' /> To train other teachers who will maintain a "classical" tradition ?<br class='autobr' /> Do students, disciples or trainees wish to hear truths experiencing their knowledge with a teacher ?<br class='autobr' /> Integrate effectively a profitable musical practice ?</p> <p>With<br class='autobr' /> ► <strong>Erik Marchand</strong>, singer and pedagogical director of the Drom association<br class='autobr' /> ► <strong>Hoëla Barbedette</strong>, musician-teacher at the Poher music school<br class='autobr' /> ► <strong>Fransy Gonzalez-Calvo</strong>, msicale trainer and leader of the group of singers Pandereteiras Xiradela (Galicia)<br class='autobr' /> ► <strong>Dizu Plaatjies</strong>, lecturer at the University of Cape Town, musician (South Africa)<br class='autobr' /> ► <strong>Yvon Rouget</strong>, musician, conservatory teacher and coordinator of SKV, school of traditional music<br class='autobr' /> ► <strong>Marc Clérivet</strong>, teacher and coordinator of the traditional music department accompanied by Gael Chauvin, Talabarder singer student at the Pont Supérieur Bretagne Pays de Loire</p> <hr class="spip" /> <p><strong>Wondering about the forms of transmission<br class='autobr' /> </strong></p> <p>Each of these experiences reflects specific realities of transmission related to the social and cultural environment.</p> <p>The invited researchers whose transmission is the object of central research, will confront these testimonies, their differences of pedagogical approach and the possibility for each one to enrich oneself of the others.</p> <p><strong>With :</strong><br class='autobr' /> ► <strong>Maurice Courchay</strong>, director of the dance department Pont supérieur Bretagne Pays <strong>de Loire (moderator)<br class='autobr' /> ► <strong> Lucy Duran</strong>, Director, Lecturer in African Music, SOAS University of London<br class='autobr' /> ► <strong>Ingrid Le Gargasson</strong>, ethnologist affiliated to the Center for Studies of India and South Asia, co-founder of the Kalasetu association - dissemination of Indian artistic knowledge in France<br class='autobr' /> ► <strong>Gérard Sansevy</strong>, professor of education sciences at ESPE in Brittany, researcher at the Research Center on Education, Apprenticeships and Didactics.</p> <hr class="spip" /> <p><strong>3rd Part</strong><br class='autobr' /> <strong>What policies for the transmission of oral tradition music ?</p> <p>At the scale of territories and states, taking into account the forms of transmission of music of oral tradition can be very different.</p> <p>Do politicians, institutions, give prescriptions ? Do they create observatories ? Do they take into account the specificities of popular cultures (sometimes or often minority) endangered by globalization ?</p> <p>At different territorial levels we will examine these choices or non-political choices and their impact on the development of music, cultures and societies concerned.</p> <p><i>In partnership with Bretagne Culture Diversité</i><br class='autobr' /> <strong>With</strong></p> <p>►<strong> Laurent Aubert</strong>, musician and ethnomusicologist, director of the ethnomusicology workshops of Geneva (moderator)<br class='autobr' /> ► <strong>Pierre bois</strong>, doctor in ethnomusicology, artistic advisor and label director at the Maison des Cultures du Monde, former member of the Consultative Body of the Convention for the Safeguarding of the Intangible Cultural Heritage (UNESCO)<br class='autobr' /> ► <strong>Jean-Michel Le Boulanger</strong>, vice-president of culture and cultural practices, Brittany Region<br class='autobr' /> ► <strong>Henri Tournier</strong>, flutist, music specialist from North India, professor at Rotterdam-Codarts Conservatory<br class='autobr' /> ► <strong>Christian Hottin</strong>, Curator of Heritage, Assistant to the Department of Research and Scientific Policy, General Directorate of Heritage.</p> <p><i>This symposium was organized in partnership with Le Quartz, the Brittany (s) World Sounds collective, the City of Brest, The General Council of Finistere, The Brittany Region, the DRAC Bretagne, the FAMDT, Brittany culture diversity, the Pont-Supérieur Bretagne- Pays de Loire, the Conservatory of Music and Dance of Brest, the LABERS and the Master 2 Management of the performing arts / University of Western Brittany, UFR Lettres, Languages ​​and Human Sciences.<br class='autobr' /> </i></p></div> The transmission and teaching of oral tradition music https://www.drom-kba.eu/Symposium-The-transmission-and-teaching-of-oral-tradition-music.html https://www.drom-kba.eu/Symposium-The-transmission-and-teaching-of-oral-tradition-music.html 2018-01-11T11:36:00Z text/html en Association Drom <p>Symposium "The transmission and teaching in folk music of oral tradition"</p> <p>From 10 December 2015 10:00 to 11 December 2015 16:00</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L102xH150/arton451-309bc.jpg?1729080630' width='102' height='150' /> <div class='rss_texte'><iframe width="540" height="304" src="https://www.youtube.com/embed/LvAiabTnpCI?list=PLAcKfADuVyolmR1rNBVjSb1Wm3jsb_VFe" title="EMAXHOSENI - THE DIZU PLAATJIES IBUYAMBO ENSEMBLE" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>In video, musical extracts of some of the speakers.</strong></p> <p><strong>THE TRANSMISSION AND TEACHING OF ORAL TRADITION MUSIC Transmitting, teaching, learning, reproducing, imitating, stealing: what choices and why?</strong></p> <p>This event will take place on the 10th and 11th of December 2015 at the Quartz, National Scene of Brest, as part of the Noborder#5 festival.</p> <p>This meeting will feature speeches by researchers, musicians and pedagogues around the following round tables :</p> <p><strong>First day :</strong> Transmit, what? How? Whose ? Why ?</p> <p><strong>-</strong> Feedback from experiences : What questions, what answers, what certainties, What wanderings?<br class='autobr' /> <strong>-</strong> Screening of the film "Growing into music" by Lucy Durán, in partnership with the FAMDT<br class='autobr' /> <strong>-</strong> To wonder about the forms of transmission</p> <p>Teaser of Lucy Durán's work in Mali</p> <p><strong>Second day :</strong> How to help energize, to develop the transmission of music of oral tradition? How is a researcher also a musician and teacher of an atypical practice in France?</p> <p><strong>-</strong> What policies for the transmission of oral tradition music? in partnership with Bretagne Culture Diversité<br class='autobr' /> <strong>-</strong> Lecture by Johanni Curtet. Search, play and transmit. Back on an atypical diphonic course. In partnership with the University of Western Brittany, UFR Lettres, Languages ​​and Human Sciences and the LABERS.</p></div> Improvisation in traditional music: NoBorder#4 festival symposium summarized ! https://www.drom-kba.eu/Improvisation-in-traditional-music-NoBorder-4-festival-confrence-to-re-listen.html https://www.drom-kba.eu/Improvisation-in-traditional-music-NoBorder-4-festival-confrence-to-re-listen.html 2018-01-10T11:14:59Z text/html en Association Drom <p>You could not attend the 2014 NOBORDER Festival symposium ?<br class='autobr' /> The summarises of the three round tables are available.</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L100xH150/arton449-986f8.jpg?1729080630' width='100' height='150' /> <div class='rss_texte'><p><strong>Round table 1: </strong></p> <p><strong>Improvisation in modal music: which spaces of freedom ?</strong><br class='autobr' /> In learned modal music, improvisation often appears as the ultimate stage confirming for the pupil the perfect knowledge of the system. However, many popular cultures and artists bypass these rules often very prescriptive: free improvisation in popular music of Western Europe, intuitive use of systems related to makam in Eastern Europe, adaptation of free forms related to certain practices traditional instrumental in current popular music ...</p> <p>With Érik Marchand, Shadi Fathi, Laurent Clouet and Bojan Zulfikarpasic.</p> <p><strong>The position of the traditional musician in free improvisation :</strong><br class='autobr' /> Camel Zekri is a "traditional" musician in the Diwan of Biskra, but he has also joined several improvised music groups that practice free improvisation. He creates encounters between musicians of these two musical practices as Director of the Water Festival.<br class='autobr' /> Erwan Keravec testifies to his way of living his practice of free improvisation while his instrument, the bagpipe, connects it from the beginning to the repertoire of traditional music.</p> <p>With Anne Montaron, Erwan Keravec, Camel Zekri and Bachir Temtaoui of Diwan of Biskra.</p> <p><strong>Improvisation and politics: Is improvisation subversive ?</strong><br class='autobr' /> Acoustic spaces, precise cultural spaces, improvisation is a social bond of unparalleled strength where anything is possible. This may be where his subversion is.</p> <p>With Philippe Arrii-Blachette, François Rossé, Hélène Labarrière, and Romain Baudoin</p></div> Music (Modal, tonal, oriental, western, scholarly, popular) : between rejection and seduction https://www.drom-kba.eu/Music-Modal-tonal-oriental-western-scholarly-popular-between-rejection-and.html https://www.drom-kba.eu/Music-Modal-tonal-oriental-western-scholarly-popular-between-rejection-and.html 2013-12-31T09:48:00Z text/html fr Association Drom <p>Following the 2011 symposium "La Modalité : a bridge between East and West", Drom and its partners are preparing a second meeting on December 13 on the theme "Music (Modal, tonal, Eastern, Western, scholarly, popular) : between rejection and seduction".</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH85/arton751-deb54.jpg?1729080630' width='150' height='85' /> <div class='rss_chapo'><p>Following the 2011 symposium "La Modalité : a bridge between East and West", Drom and its partners are preparing a second meeting on December 13 on the theme "Music (Modal, tonal, Eastern, Western, scholarly, popular) : between rejection and seduction".</p></div> <div class='rss_texte'><p>This event will take place at the Quartz, Scène Nationale de Brest, as part of the Noborder03 festival.</p> <p>This meeting will offer talks from researchers, musicians, pedagogues from different worlds around the following round tables : <br /><img src='https://www.drom-kba.eu/local/cache-vignettes/L8xH11/puce-32883.gif?1729078168' width='8' height='11' class='puce' alt="-" /> Tonality and modality in East and West <br /><img src='https://www.drom-kba.eu/local/cache-vignettes/L8xH11/puce-32883.gif?1729078168' width='8' height='11' class='puce' alt="-" /> Oral and written traditions : complementarity, interest and usefulness in transmission and creation <br /><img src='https://www.drom-kba.eu/local/cache-vignettes/L8xH11/puce-32883.gif?1729078168' width='8' height='11' class='puce' alt="-" /> The local specificities of popular music : wealth of cultural diversity or “national” identity marker ?</p> <p>Information and registration : tangi.leboulanger<span class='mcrypt'> </span>drom-kba.eu<br class='autobr' /> Find here the program of this conference :</p> <dl class='spip_document_662 spip_documents spip_documents_left' style='float:left;'> <dt><a href='https://www.drom-kba.eu/IMG/pdf/programme_colloque-3.pdf' title='PDF - 1.4 Mo' type="application/pdf"><img src='https://www.drom-kba.eu/local/cache-vignettes/L52xH52/pdf-39070.png?1729078168' width='52' height='52' alt='' /></a></dt> <dt class='spip_doc_titre' style='width:120px;'><strong>Programme Colloque 2013</strong></dt> </dl> <p>At the same time as the symposium will take place, at Quartz and Vauban, the <a href="http://www.festivalnoborder.com/" class='spip_out' rel='external'>NoBorder03 festival</a>.</p></div> International conference: modality, a bridge between East and West https://www.drom-kba.eu/International-conference-modality.html https://www.drom-kba.eu/International-conference-modality.html 2012-06-26T19:35:55Z text/html en Rwan <p>On 17 and 18 November 2011, a conference gathering musicians, composers, instrument makers and craftsmen, and musicologists was held at Le Quartz, Brest's Cultural Centre, to discuss modality in contemporary creation and the common points it implies between East and West.</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> <img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH100/arton173-54562.jpg?1729080630' width='150' height='100' /> <div class='rss_chapo'><p>On 17 and 18 November 2011, a conference gathering musicians, composers, instrument makers and craftsmen, and musicologists was held at Le Quartz, Brest's Cultural Centre, to discuss modality in contemporary creation and the common points it implies between East and West.</p></div> <div class='rss_texte'><p>To formalize the creation of the modal music network, Drom organized an international conference for the first time on 17 and 18 November 2011 at Le Quartz in Brest with the theme “Modality, a bridge between East and West”. It is envisaged that those involved in the modality centre will meet, beyond informal exchanges, for biennial conferences where they will discuss modality and its presence in the contemporary musical creation.</p> <p><strong>The focus of the Modal Music Network's first conference was modality as a bridge between East and West:</strong><br class='manualbr' />For decades, most researchers, musicians and intellectuals saw modality solely as a feature of non-European music. Yet, in many Western cultures, modal understanding and the use of non-equal tempered scales represent the basis of traditional musical construction.<br class='manualbr' />Those who embrace this reality will undoubtedly discover new riches in music, an innovative means of musical composition as well as a musical syntax common to both East and West.</p> <p>The conference summary will soon be available online.</p></div>
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<description><p>Nomadic Seminar of the French Society of Ethnomusicology<br class='autobr' /> In partnership with the Conservatory of Brest Métropole, BWS, and FAMDT</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH100/arton874-4e723.jpg?1729080630' width='150' height='100' /> <div class='rss_texte'><p><strong>Open access upon registration</strong></p> <p><strong>To register, click here</strong> —> <a href="https://docs.google.com/forms/d/e/1FAIpQLSeWbCNNca8xIA8W9Ws5pCsV28iiauJJ1f6AG681AoSykzhcwQ/viewform?usp=sf_link" class='spip_out' rel='external'>Registration form</a></p> <p>What is meant by the term "music with drones"? In its most basic definition, "drones" refer to the production of a continuous sound on one or more pitches. It also refers to instruments whose construction relies heavily on this principle (bagpipes, hurdy-gurdies, string drums, etc.). They are found in many musical forms, from the oldest to more contemporary experiments. The quantitative and emotional significance of these forms thus deserves attention.</p> <p>Although not covering a homogeneous set of sound productions, the term "music with drones" has the advantage, at least methodologically, of questioning the multiple variations of this recurring musical principle in the field of modal music on a global scale. Despite its apparent stability and deceptive simplicity, the drone remains difficult to fully grasp. It is continuous yet always changing. It defines the musical space-time as much as it erases it. It acts both as a sound base and a melodic repellent. It is most of the time clearly played, but can also be implied. It lies at the heart of the thinking of modal and folk music of oral tradition without reflecting a univocal musical reality. How then to define the drone? In what way can this principle establish itself as a fundamental element in many musical forms? Finally, how to explain the ancient and regularly renewed interest in droning musical forms?</p> <p><strong>The symposium of the modal pole organized by Drom will therefore be an opportunity for a collective and multifaceted reflection, both historical, organological, musicological, and philosophical, on what "music with drones" represents today.</strong></p> <h3 class="h3 spip">— THURSDAY, NOVEMBER 30, 2023</h3> <p><strong>09:30</strong> Welcome</p> <p><strong>10:00</strong> Opening speech introduction: <strong>Florent Wattelier</strong> ethnomusicologist (Center for Ethnomusicology Research, Paris Nanterre University)</p> <p><strong>10:30 – 12:30</strong> : ROUNDTABLE<br class='autobr' /> <strong>Drones and continuous sound: manipulating space and time</strong></p> <p>In ancient music as in contemporary experiments, music with drones seems to maintain a complex and evolving relationship with time and space. As drones are generally associated with the principle of continuous sound, their effect on the decomposition and perception of time is undeniable. What about their relationship with space? What is hidden behind René Zosso's expression of the drone as "a space to inhabit"? In the musical experiments conducted by musicians from the field of oral transmission of Western European folk music, drone and continuous sound techniques are two driving elements: what does this tell us about their intentions to manipulate spatial and temporal references?</p> <p><strong>Speakers</strong>:<br class='autobr' /> <strong>Catherine Guesde</strong>, philosopher<br class='autobr' /> <strong>Alexis Degrenier</strong>, musician, researcher, percussionist, hurdy-gurdy, drone boxes<br class='autobr' /> <strong>Moderator</strong>: <strong>Loïc Ponceau,</strong> ethnomusicologist</p> <p><span class='spip_document_2078 spip_documents spip_documents_center'> <img src='https://www.drom-kba.eu/local/cache-vignettes/L250xH250/photo_1-7c0a1.png?1729078570' width='250' height='250' alt="" /></span></p> <p><strong>14:00 – 16:00 </strong> : ROUNDTABLE<br class='autobr' /> <strong>Organological variations: transformations of instruments with drones</strong></p> <p>In the field of Western European oral transmission folk music, the drone is a recurrent element. However, historical analysis shows that it has not always had the same place. If at one time, the drone had a "bad reputation" and tended to remain silent due to the negative connotations it conveyed, today it seems to enjoy reconsideration. From an organological point of view, how have drones on instruments evolved? What do these organological variations tell us about the place of the drone in these musical repertoires?</p> <p><strong>Speakers</strong>:<br class='autobr' /> <strong>Jean Blanchard</strong>, musician (Central France bagpipes)<br class='autobr' /> <strong>Joël Traunecker</strong>, luthier, hurdy-gurdy maker<br class='autobr' /> <strong>Moderator</strong>: <strong>Evelyne Girardon</strong>, musician (singing and hurdy-gurdy)</p> <p><span class='spip_document_2079 spip_documents spip_documents_center'> <img src='https://www.drom-kba.eu/local/cache-vignettes/L250xH250/398974064_838962594896204_2530190345335641703_n-f5f09.jpg?1729078570' width='250' height='250' alt="" /></span></p> <p><strong>16:30 – 17:00 : Musical interlude</strong><br class='autobr' /> Drones and "sound bubble," an illustration through piobaireachd play, by <strong>Gwenael Dage</strong><br class='autobr' /> <span class='spip_document_2033 spip_documents spip_documents_center'> <img src='https://www.drom-kba.eu/local/cache-vignettes/L200xH197/gwenbio_zoom2-2-17d5e.jpg?1729078570' width='200' height='197' alt="" /></span></p> <h3 class="h3 spip">— FRIDAY, DECEMBER 1, 2023</h3> <p><strong>09:30</strong> Welcome</p> <p><strong>10:00 – 12:00 </strong> : ROUNDTABLE</p> <p><strong>The drone as a gateway to modality</strong></p> <p>Modality refers to a structuring musical principle at the heart of many musical repertoires, from ancient Western ecclesiastical music to classical and folk music from around the world. Often, drones are found as a foundation. How is the drone conceived in these various musical forms? What link, if any, does it have with modal scales? What place does the drone occupy in maqam and related musical systems?</p> <p><strong>Speakers</strong>:<br class='autobr' /> <strong>Jeanne Miramon Prasanna</strong>, ethnomusicologist,<br class='autobr' /> <strong>Romain Baudoin</strong>, musician (hurdy-gurdy),<br class='autobr' /> <strong>Rusan Filiztek,</strong> musician (saz, oud)<br class='autobr' /> <strong>Moderator</strong>: Florent Wattelier</p> <p><strong>ARTISTS WITNESSES</strong><br class='autobr' /> Marthe Tourret & Elisa Trebouville from the duo Bourrasque of the La Crue collective</p> <p><strong>CONCLUSION</strong> <strong>12:00 – 12:30</strong><br class='autobr' /> <strong>François Picard</strong>, ethnomusicologist (IReMus Laboratory)</p> <p><span class='spip_document_2081 spip_documents spip_documents_center'> <img src='https://www.drom-kba.eu/local/cache-vignettes/L500xH254/design_sans_titre_16_-5d352.png?1729086799' width='500' height='254' alt="" /></span></p> <h3 class="h3 spip">MASTERCLASS</h3> <p><strong>The experience of the drone by Romain Baudoin</strong></p> <p><a href="https://www.drom-kba.eu/L-experience-du-bourdon-par-Romain-Baudoin.html">Pedagogical program</a></p> <p><span class='spip_document_2082 spip_documents spip_documents_center'> <a href="https://www.drom-kba.eu/L-experience-du-bourdon-par-Romain-Baudoin.html"><img src='https://www.drom-kba.eu/local/cache-vignettes/L500xH148/masterclasse-541ea.png?1729086800' width='500' height='148' alt="" /></a></span></p> <p><strong>Visual creation</strong>: Erwan Le Moigne</p></div> </content:encoded>
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<title>6th SYMPOSIUM OF THE MODALITY CENTER: Tubes and standards 2021</title>
<link>https://www.drom-kba.eu/article675.html</link>
<guid isPermaLink="true">https://www.drom-kba.eu/article675.html</guid>
<dc:date>2022-10-15T20:19:39Z</dc:date>
<dc:format>text/html</dc:format>
<dc:language>en</dc:language>
<dc:creator>Association Drom</dc:creator>
<description><p><p>Hits and classics<br class='autobr' /> Betrayal or reflection of popular musics of oral tradition?</p></p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH140/arton675-66750.jpg?1729080630' width='150' height='140' /> <div class='rss_chapo'><p><p><i>A proposal by Drom and the FAMDT as part of the NoBorder festival in partnership with Le Quartz, Scène international and Bretagne (s) World Sounds.</i></p></p></div> <div class='rss_texte'><p><strong>FREE ENTRY <br class='autobr' /> ON REQUIRED REGISTRATION</strong></p> <p><i>Whenever we aim at introducing musics from a certain cultural area, we rely almost spontaneously on tunes we believe to be the most well-known, these « hits and classics » shared by a whole community. It is precisely this link that the symposium « Hits and classics, betrayal or reflection of popular musics of oral tradition » initiated by Drom, within the framework of the No Border festival, is willing to question. What are the issues bound to the constitution and the growing interest of this type of repertory, that we might qualify as “emblematic”, to artistic and/or educational ends?<br class='autobr' /> </i></p> <p><strong>10:10am. GENERAL INTRODUCTION</strong><br class='autobr' /> <strong>Emmanuel Parent,</strong> maître de conférences à l'université de Rennes 2</p> <p>A global introduction to these questions – nature of the “hit”, connection to the “traditional” musics – will be held by Emmanuel Parent from examples derived from his own practice as a researcher about black american musics.</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/_uE_wEdQnqg" title="Tubes et standard - INTRODUCTION | 6e COLLOQUE DU PÔLE DE LA MODALITÉ" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>10:30am. - 11:45am. PART I: Should we be off with those hits?</strong><br class='autobr' /> Moderator: <strong>Françoise Dastrevigne</strong>, chargée de mission au sein de la Délégation à la Musique du ministère de la Culture.</p> <p>The hit borrows to the most trendy musical conventions in order to go beyond the aesthetic and “communitarian” frontiers of it's usual listening area.<br class='autobr' /> Therefore, the hit allows for a culture with specific musical characteristics to be more accessible to a non-specialist public. Its structure inherently leads it to a variable distance from the culture it came from: the hit can offer a genuine caricature as much as he can offer a proper reflection of its original specificities.</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/met8qmP7g64" title="Tubes et standard - PARTIE I : Faut-il jeter les tubes ? | 6e COLLOQUE DU PÔLE DE LA MODALITÉ" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>Attendees:</strong><br class='autobr' /> <strong>Robert Le Gall</strong> : Musician and arranger.<br class='autobr' /> <strong>Marie Sauvet Malicorne</strong> : Singer, and musician.<br class='autobr' /> <strong>Philippe Krumm</strong> : Journalist.<br class='autobr' /> <strong>Evelyne Girardon</strong> : Singer, musician and comedian. <br class='autobr' /> <strong>Sylvain Girault</strong> : An artist's testimony programmed at the NoBorder festival.</p> <p><strong>11:50am. - 1:00pm. PROJECTION : <i>Whose is this Song ?</strong></i><br class='autobr' /> Documentary film by Adela Peeva (Bulgaria), in original version with French subtitles (2003)</p> <p>Adela Peeva sets out to meet the inhabitants of Serbia, Bosnia, North Macedonia, Turkey, as well as those of her own country Bulgaria, in order to find out where does this famous song with numerous names comes from : Usküdara, Katibim, Ruse kose curo imaš, Terk in America, Anadolka, Mu në bashtën tënde, Ya Banat Iskandaria… Almost everyone claims this song to be from the tradition of their country. The discussions are heated, and sometimes even take a political turn.</p> <p><strong>2:30pm. - 3:45pm. PART II: From hits to classics</strong><br class='autobr' /> Moderator : <strong>Erik Marchand</strong>, singer and transmitter.</p> <p>This round table asks the question of a common, or even emblematic repertory, that would allow the learners and neophyte music lovers to touch upon the musical specificities of an aesthetic.<br class='autobr' /> Subsequently, what do these emblematic pieces possess? Are they the same ones as those that the more or less advised public, within a community (from a nation to a micro-region), appreciate? Are these classics made of major pieces, the emblematic repertory that one or another educator has identified? Or are they an echo of the trendy tunes of a certain time, in a certain community? <br class='autobr' /> Can the development of such a corpus let the artists share a common language (similar to jazz classics, wearing an improvisation and rhythmic style…), and ensure at the same time to diversify the examples in order to introduce to the learners the variety of expressions that characterise popular music.<br class='autobr' /> How did teachers, educators and persons in charge of documentation centers engage with this issue?</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/7Rgz32GwH60" title="Tubes et standard - PARTIE II : Du tube aux standards | 6e COLLOQUE DU PÔLE DE LA MODALITÉ" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>Attendees</strong>:<br class='autobr' /> <strong>Erik Marchand</strong> : Singer in Brittany.<br class='autobr' /> <strong>Youenn Lange</strong> :Singer in Brittany.<br class='autobr' /> <strong>Eric Desgrugillers</strong> : Multi-instrumentalist in Auvergne.<br class='autobr' /> <strong>Denis Laborde</strong> : Ethnologist and research director.</p> <p><strong>4:00pm. - 5:30pm. PART III: When the instrument starts to sing</strong><br class='autobr' /> Moderator: <strong>Philippe Janvier</strong>, bell ringer and teacher in traditional music.</p> <p>This round table will address the instrumental interpretation of sung sources (Tunes that are orally transmitted).<br class='autobr' /> In Brittany, as well as numerous other regions of the world, the sources, the classics identified, are, mostly, sung sources. Musicians, shall they wish to respect the characteristics of these sources, are therefore facing the organological constraints of their own instruments, as well as their analysis, aware or not, about what they make with these sources.<br class='autobr' /> How do the prosody, the modal scale, the variations in colour from verse to verse, all partake in the instrumental performance? Can we go up to the constitution of protocols guaranteeing this transmission which, in a way, provide the keys to listening?</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/0N86-d9enGk" title="Tubes et standard - PARTIE III : Quand l'instrument se met à chanter | 6e COLLOQUE DU PÔLE DU PÔLE.." frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>Attendees</strong>: <br class='autobr' /> <strong>Philippe Janvier</strong> : Bell ringer and teacher in Brittany<br class='autobr' /> <strong>Marthe Vassallo</strong> : Singer in Brittany<br class='autobr' /> <strong>Laurent Bigot</strong> : Bell ringer in Britanny<br class='autobr' /> <strong>Romain Baudoin</strong> : Hurdy-gurdy player in Béarn<br class='autobr' /> <strong>Henri Tournier</strong> : Flautist from India<br class='autobr' /> <strong>Jean-Michel Veillon</strong> : Flautist in Britanny<br class='autobr' /> <strong>Caroline Dufau</strong> : An artist's testimony programmed at the NoBorder festival.</p> <p><strong>SUMMING UP AND CONCLUSION</strong><br class='autobr' /> By <strong>Emmanuel Parent</strong> and <strong>Erik Marchand</strong>.</p> <p><strong>CONTACT AND INFORMATION</strong><br class='autobr' /> <a href="#" title="production..åt..drom-kba.eu, catherine.bihan-loison..åt..drom-kba.eu, zsofia.pesovar..åt..free.fr" onclick="location.href=lancerlien('production,6715b98077dc7,drom-kba.eu, catherine.bihan-loison,6715b98077dc7,drom-kba.eu, zsofia.pesovar,6715b98077dc7,free.fr',',6715b98077dc7,'); return false;" class='spip_mail'>research<span class='mcrypt'> </span>drom-kba.eu</a><br class='autobr' /> 09 65 16 71 21</p> <dl class='spip_document_1656 spip_documents spip_documents_center'> <dt><img src='https://www.drom-kba.eu/local/cache-vignettes/L500xH708/dr2021_affiche_colloque_a3_hd-9e5d6.jpg?1729389834' width='500' height='708' alt='' /></dt> <dt class='spip_doc_titre' style='width:350px;'><strong>Symposium poster 2021</strong></dt> </dl></div> </content:encoded>
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<title>Total screen & local music</title>
<link>https://www.drom-kba.eu/Total-screen-local-music.html</link>
<guid isPermaLink="true">https://www.drom-kba.eu/Total-screen-local-music.html</guid>
<dc:date>2021-10-01T19:58:00Z</dc:date>
<dc:format>text/html</dc:format>
<dc:language>en</dc:language>
<dc:creator>Association Drom</dc:creator>
<description><p>In a digital world, what (r)evolutions in mediation, transmission and creation practices for oral tradition music?</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH150/arton749-31181.png?1729080630' width='150' height='150' /> <div class='rss_chapo'><p>In a digital world, what (r)evolutions in mediation, transmission and creation practices for oral tradition music?</p></div> <div class='rss_texte'><p>Drom has devoted three years of research to the design of an educational portal for modal music, a digital medium for knowledge and learning of this oral tradition music. Several other projects for websites or online services centered on traditional music have also been carried out by other players, or are in the process of being finalised.</p> <p>The 5th symposium of the Drom modality cluster will bring together researchers, musicians and music transmitters, but also specialists in new technologies and educational sciences, to explore the implications and perspectives of these initiatives and achievements, and more overall the relationship between oral and digital music.</p> <p><strong>PROGRAM</strong><br class='autobr' /> The first day, in plenary, will alternate scientific communications and professional round tables and will successively address the themes of transmission, creation, mediation and research in ethnomusicology. Issues specific to each of these fields will thus be addressed.<br class='autobr' /> However, the whole day will make it possible to question in a transversal way what is experienced more and more through the filter of information and communication technologies, in the universe of music qualified as traditional, from the world , local, modal, popular, vernacular, community,... What specificities of this music compared to digital? How to think about the apparent contradiction between promises of valorization and dangers of standardization? What place for digital music archives? ...</p> <p>An additional morning will allow participants to participate in workshops related to what will have been discussed during the day in plenary.</p> <p><strong>THURSDAY 12 DECEMBER 2019 Plenary day</strong><br class='autobr' /> 09:30 Welcome<br class='autobr' /> 10:00 a.m. - 10:30 a.m. Introduction, opening speech</p> <p><strong>10:30 a.m. - 11:20 a.m.<br class='autobr' /> What changes in dimension has digital brought about in the practices of musical creation from cultures with an oral tradition?</strong></p> <p>Artist testimonials:<br class='autobr' /> ►Erik Marchand, singer and artistic director, Drom.<br class='autobr' /> ►Camel Zekri, composer, improviser, guitarist and musicologist.<br class='autobr' /> ►Pauline Willerval, cellist, gadulka player, singer.<br class='autobr' /> Moderation: Sarah Karlikow artistic advisor, performing arts in Brittany.</p> <iframe width="540" height="315" src="https://www.youtube.com/embed/Nam76tPi7i0" title="Colloque NoBorder #9 2/6" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong> 11:30 a.m. - 12:20 p.m. Round table<br class='autobr' /> What place for digital technology in cultural mediation and remediation in favor of musical diversity? </strong><br class='autobr' /> With :<br class='autobr' /> ► Gwenaël Carvou (Brittany Culture Diversity)<br class='autobr' /> ► Anne Florence Borneuf (Philharmonie of Paris)<br class='autobr' /> ► Jérôme Floury (CanalBREIZH).<br class='autobr' /> Animation of the round table: Guillaume Veillet (journalist and researcher)</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/LZQ8qd6hGIc" title="Colloque NoBorder #9 3/6" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong> 2:00 p.m. - 3:20 p.m. Conferences:<br class='autobr' /> How are oral tradition music transmitted in the digital age? </strong></p> <p>► Janice Waldron, teacher-researcher at the University of Windsor (Canada) "Musical learning via the internet and local anchoring, the example of the online academy of Irish music"</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/sDQ_Mpaqq1E" title="Colloque NoBorder #9 4/6" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p>► Gérald Guillot, teacher-researcher in ethnomusicology and didactics of music. “Influence of digital technology in the training of ‘transmitters' of musical traditions”</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/qf2smmTYhUg" title="Colloque NoBorder #9 5/6" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>3:20-4:00 p.m. Presentation of the educational portal for modal music.</strong></p> <p>Speech by Erik Marchand and Ingrid Le Gargasson, anthropologist, responsible for programming and dissemination at the Maison des Cultures du Monde - CFPCI and members of the steering committee of the <a href="https://www.modalmusic.eu/fr" class='spip_out' rel='external'>modal music educational portal project</a></p> <p><strong>4:10-5:00 p.m. Oral and digital tradition music: get out, stay there, or immerse yourself in it?</strong><br class='autobr' /> In addition to the thematic approach that will have preceded, this time will question in a transversal way the perspectives of the actors of the music of oral tradition in relation to the digital.</p> <iframe width="540" height="304" src="https://www.youtube.com/embed/-M4JtqC9I2U" title="Colloque NoBorder #9 6/6" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p>Round table bringing together the speakers of the day.<br class='autobr' /> Moderation: Guillaume Veillet (journalist and researcher)</p> <p><strong>FRIDAY DECEMBER 13</strong><br class='autobr' /> 10am-1pm: collaborative workshops<br class='autobr' /> Workshop #1 - transmission: People working in the teaching of traditional music, or involved in this teaching.<br class='autobr' /> Speakers: Hoëla Barbedette, Janice Waldron, Kari Veblen.<br class='autobr' /> In partnership with the Upper Bridge</p> <p>Workshop #2 - mediation: People active in the promotion of traditional music archives. Speakers: Hoëla Barbedette, Gaëtan Crespel, Alban Cogrel.<br class='autobr' /> In partnership with Dastum and FAMDT</p></div> </content:encoded>
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<title>Pentatonic Music, from reality to myth</title>
<link>https://www.drom-kba.eu/Symposium-2017-Pentatonic-Music-from-reality-to-myth.html</link>
<guid isPermaLink="true">https://www.drom-kba.eu/Symposium-2017-Pentatonic-Music-from-reality-to-myth.html</guid>
<dc:date>2018-01-15T11:36:24Z</dc:date>
<dc:format>text/html</dc:format>
<dc:language>en</dc:language>
<dc:creator>Association Drom</dc:creator>
<description> <p>Drom organizes the 2017 NoBorder#7 Symposium on the theme of Pentatonism, its original and universal fantasy, its relation to modality, Celtic music and Breton music. <br class='autobr' /> In parallel with the symposium, Drom organizes with its partners an internship on world music "From the village to the planet" for media practitioners, journalists and radio hosts, live performance professionals. Thursday 7th December <br class='autobr' /> 09h30 : Welcome | Greeting 10h00 : Symposium opening speech <br class='autobr' /> 10h30-12h30 : The (...)</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L108xH150/arton458-d7628.png?1729080630' width='108' height='150' /> <div class='rss_texte'><p>Drom organizes the 2017 NoBorder#7 Symposium on the theme of Pentatonism, its original and universal fantasy, its relation to modality, Celtic music and Breton music.</p> <p>In parallel with the symposium, Drom organizes with its partners an internship on world music "From the village to the planet" for media practitioners, journalists and radio hosts, live performance professionals.</p> <hr class="spip" /> <p><strong>Thursday 7th December<br class='autobr' /> </strong></p> <p><strong>09h30</strong> : Welcome | Greeting<br class='autobr' /> <strong>10h00 </strong> : Symposium opening speech</p> <p><strong>10h30-12h30</strong> : The relationship between Pentatonism and modality<br class='autobr' /> Moderation by <i>François Picard</i>, professor of analytical ethnomusicology at Paris Sorbonne University and researcher at the IREMUS Institute for Research in Musicology.</p> <ul class="spip"><li> Modality and pentatonism: two musical universes not to be confused: <i>François Picard</i></li></ul><ul class="spip"><li> Analyze and understand the pentatonic modes of Epire: <i>Laurent Clouet</i>, musician / witness: <i>Hélène Delaporte</i>, doctoral student in ethnomusicology</li></ul> <p><strong>13h30-15h00</strong> : Screening of the movie Chant of a lost country<br class='autobr' /> Bernard Lortat-Jacob & Hélène Delaporte, 2007, 1h04. On the Tcham community, followed by exchanges with Hélène Delaporte.</p> <p><strong>15h-17h30</strong> : Pentatonisms of Africa and other great musical currents<br class='autobr' /> Moderation by Soro Solo, radio host at France Inter, "L'Afrique en solo"</p> <ul class="spip"><li> Introduction by <i>Soro Solo</i></li></ul><ul class="spip"><li> Pentatonic crossroads (North Africa, Sahel and Middle East):<i> Fawaz Baker and Mehdi Haddab</i>, musicians</li></ul><ul class="spip"><li> Pentatonism in African-American music: the example of blues at Archie Shepp, by <i>Emmanuel Parent</i>, Lecturer in music and musicology at Rennes 2.</li></ul><ul class="spip"><li> The pentatonic modes of secular music of the Amhara of Ethiopia. Analysis of a musicological doxa: <i>Stéphanie Weisser</i>, Lecturer in ethnomusicology at the Université Libre de Bruxelles / witness: <i>Etenesh Wassié</i>, singer programmed for the NoBorder Festival#7.</li></ul> <p><strong>17:30</strong> : Aperitif in partnership with BWS</p> <hr class="spip" /> <p><strong>Friday, December 8 <br class='autobr' /> </strong></p> <p><strong>10h30-12h30</strong> : Pentatonism: an identity marker?<br class='autobr' /> The color given by the use of pentatonic scales can direct the listener's ear to a space, a real and / or mythical culture.<br class='autobr' /> Moderation by <i>Erik Marchand</i>, singer and artistic director of Drom.</p> <ul class="spip"><li> Hungary and Pentanonism: old and new style : <i>Zsofia Pesovar</i>, ethnomusicologist</li></ul><ul class="spip"><li> Pentatonism as an indispensable musical system in Afro-Cuban rituals : <i>Ana Koprivica</i>, ethnomusicologist and doctor in history of music and musicology</li></ul><ul class="spip"><li> Pentatonism and Pentaphonism in Brittany : <i>René Abjean</i>, University Professor, composer, conductor and conductor / witness : <i>Anna Wendy-Stevenson</i>, singer and musician proposed by the Conservatoire de Brest.</li></ul> <p><strong>12h30-13h</strong> : Presentation of the pedagogical portal of modal music of Drom</p> <p><strong>14h30-15h30</strong> : Conference "Blues and Pentatonism" by Pauline Cornic, doctoral student in musicology.</p> <p><strong>15h30-17h30</strong> : Screening of the movie "Blues between Teeth"<br class='autobr' /> Robert Manthoulis, 1973, 1:28.<br class='autobr' /> in the presence of Pauline Cornic, and exchanges</p> <p><i>In partnership with the University of Western Brittany, UFR Humanities and Letters, Laboratory HCTI, Master Project Management or cultural institutions, management of performing arts<br class='autobr' /> </i></p></div> </content:encoded>
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<title>The transmission and teaching of oral tradition music</title>
<link>https://www.drom-kba.eu/Symposium-2015-The-transmission-and-teaching-of-oral-tradition-music.html</link>
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<dc:date>2018-01-12T11:37:00Z</dc:date>
<dc:format>text/html</dc:format>
<dc:language>en</dc:language>
<dc:creator>Association Drom</dc:creator>
<description><p>TRANSMIT, TEACH, LEARN, REPRODUCE, IMITATE, FLY: WHAT CHOICES AND WHY?</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L103xH150/arton456-2317e.jpg?1729080630' width='103' height='150' /> <div class='rss_texte'><p><strong>Part 1 :</strong> Feedback from experiences: What questions, what answers, what certainties, what wanderings ?<br class='autobr' /> <strong>Part 2 :</strong> Wondering about the forms of transmission<br class='autobr' /> <strong>Part 3 :</strong> What policies for the transmission of oral tradition music</p> <hr class="spip" /> <p><strong>Part 1 :</strong> Feedback from experiences: What questions, what answers, what certainties, what wanderings ?</p> <p><i>Presentation and opening speech<br class='autobr' /> </i></p> <p>Many actors of oral tradition music develop methods, places, habits of transmission. <br class='autobr' /> Depending on the social and political realities they choose to create their transmission tools, to integrate their work within institutions or to continue to be part of a local or family process.<br class='autobr' /> Sometimes they also like to cross all these forms.</p> <p>Does the teaching of these masters serve to give their pupils an understanding ? <br class='autobr' /> To create disciples who will become their associates and competitors in local festivals or on the stages of the world ?<br class='autobr' /> To train other teachers who will maintain a "classical" tradition ?<br class='autobr' /> Do students, disciples or trainees wish to hear truths experiencing their knowledge with a teacher ?<br class='autobr' /> Integrate effectively a profitable musical practice ?</p> <p>With<br class='autobr' /> ► <strong>Erik Marchand</strong>, singer and pedagogical director of the Drom association<br class='autobr' /> ► <strong>Hoëla Barbedette</strong>, musician-teacher at the Poher music school<br class='autobr' /> ► <strong>Fransy Gonzalez-Calvo</strong>, msicale trainer and leader of the group of singers Pandereteiras Xiradela (Galicia)<br class='autobr' /> ► <strong>Dizu Plaatjies</strong>, lecturer at the University of Cape Town, musician (South Africa)<br class='autobr' /> ► <strong>Yvon Rouget</strong>, musician, conservatory teacher and coordinator of SKV, school of traditional music<br class='autobr' /> ► <strong>Marc Clérivet</strong>, teacher and coordinator of the traditional music department accompanied by Gael Chauvin, Talabarder singer student at the Pont Supérieur Bretagne Pays de Loire</p> <hr class="spip" /> <p><strong>Wondering about the forms of transmission<br class='autobr' /> </strong></p> <p>Each of these experiences reflects specific realities of transmission related to the social and cultural environment.</p> <p>The invited researchers whose transmission is the object of central research, will confront these testimonies, their differences of pedagogical approach and the possibility for each one to enrich oneself of the others.</p> <p><strong>With :</strong><br class='autobr' /> ► <strong>Maurice Courchay</strong>, director of the dance department Pont supérieur Bretagne Pays <strong>de Loire (moderator)<br class='autobr' /> ► <strong> Lucy Duran</strong>, Director, Lecturer in African Music, SOAS University of London<br class='autobr' /> ► <strong>Ingrid Le Gargasson</strong>, ethnologist affiliated to the Center for Studies of India and South Asia, co-founder of the Kalasetu association - dissemination of Indian artistic knowledge in France<br class='autobr' /> ► <strong>Gérard Sansevy</strong>, professor of education sciences at ESPE in Brittany, researcher at the Research Center on Education, Apprenticeships and Didactics.</p> <hr class="spip" /> <p><strong>3rd Part</strong><br class='autobr' /> <strong>What policies for the transmission of oral tradition music ?</p> <p>At the scale of territories and states, taking into account the forms of transmission of music of oral tradition can be very different.</p> <p>Do politicians, institutions, give prescriptions ? Do they create observatories ? Do they take into account the specificities of popular cultures (sometimes or often minority) endangered by globalization ?</p> <p>At different territorial levels we will examine these choices or non-political choices and their impact on the development of music, cultures and societies concerned.</p> <p><i>In partnership with Bretagne Culture Diversité</i><br class='autobr' /> <strong>With</strong></p> <p>►<strong> Laurent Aubert</strong>, musician and ethnomusicologist, director of the ethnomusicology workshops of Geneva (moderator)<br class='autobr' /> ► <strong>Pierre bois</strong>, doctor in ethnomusicology, artistic advisor and label director at the Maison des Cultures du Monde, former member of the Consultative Body of the Convention for the Safeguarding of the Intangible Cultural Heritage (UNESCO)<br class='autobr' /> ► <strong>Jean-Michel Le Boulanger</strong>, vice-president of culture and cultural practices, Brittany Region<br class='autobr' /> ► <strong>Henri Tournier</strong>, flutist, music specialist from North India, professor at Rotterdam-Codarts Conservatory<br class='autobr' /> ► <strong>Christian Hottin</strong>, Curator of Heritage, Assistant to the Department of Research and Scientific Policy, General Directorate of Heritage.</p> <p><i>This symposium was organized in partnership with Le Quartz, the Brittany (s) World Sounds collective, the City of Brest, The General Council of Finistere, The Brittany Region, the DRAC Bretagne, the FAMDT, Brittany culture diversity, the Pont-Supérieur Bretagne- Pays de Loire, the Conservatory of Music and Dance of Brest, the LABERS and the Master 2 Management of the performing arts / University of Western Brittany, UFR Lettres, Languages ​​and Human Sciences.<br class='autobr' /> </i></p></div> </content:encoded>
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<title>The transmission and teaching of oral tradition music</title>
<link>https://www.drom-kba.eu/Symposium-The-transmission-and-teaching-of-oral-tradition-music.html</link>
<guid isPermaLink="true">https://www.drom-kba.eu/Symposium-The-transmission-and-teaching-of-oral-tradition-music.html</guid>
<dc:date>2018-01-11T11:36:00Z</dc:date>
<dc:format>text/html</dc:format>
<dc:language>en</dc:language>
<dc:creator>Association Drom</dc:creator>
<description><p>Symposium "The transmission and teaching in folk music of oral tradition"</p> <p>From 10 December 2015 10:00 to 11 December 2015 16:00</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L102xH150/arton451-309bc.jpg?1729080630' width='102' height='150' /> <div class='rss_texte'><iframe width="540" height="304" src="https://www.youtube.com/embed/LvAiabTnpCI?list=PLAcKfADuVyolmR1rNBVjSb1Wm3jsb_VFe" title="EMAXHOSENI - THE DIZU PLAATJIES IBUYAMBO ENSEMBLE" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><strong>In video, musical extracts of some of the speakers.</strong></p> <p><strong>THE TRANSMISSION AND TEACHING OF ORAL TRADITION MUSIC Transmitting, teaching, learning, reproducing, imitating, stealing: what choices and why?</strong></p> <p>This event will take place on the 10th and 11th of December 2015 at the Quartz, National Scene of Brest, as part of the Noborder#5 festival.</p> <p>This meeting will feature speeches by researchers, musicians and pedagogues around the following round tables :</p> <p><strong>First day :</strong> Transmit, what? How? Whose ? Why ?</p> <p><strong>-</strong> Feedback from experiences : What questions, what answers, what certainties, What wanderings?<br class='autobr' /> <strong>-</strong> Screening of the film "Growing into music" by Lucy Durán, in partnership with the FAMDT<br class='autobr' /> <strong>-</strong> To wonder about the forms of transmission</p> <p>Teaser of Lucy Durán's work in Mali</p> <p><strong>Second day :</strong> How to help energize, to develop the transmission of music of oral tradition? How is a researcher also a musician and teacher of an atypical practice in France?</p> <p><strong>-</strong> What policies for the transmission of oral tradition music? in partnership with Bretagne Culture Diversité<br class='autobr' /> <strong>-</strong> Lecture by Johanni Curtet. Search, play and transmit. Back on an atypical diphonic course. In partnership with the University of Western Brittany, UFR Lettres, Languages ​​and Human Sciences and the LABERS.</p></div> </content:encoded>
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<title> Improvisation in traditional music: NoBorder#4 festival symposium summarized !</title>
<link>https://www.drom-kba.eu/Improvisation-in-traditional-music-NoBorder-4-festival-confrence-to-re-listen.html</link>
<guid isPermaLink="true">https://www.drom-kba.eu/Improvisation-in-traditional-music-NoBorder-4-festival-confrence-to-re-listen.html</guid>
<dc:date>2018-01-10T11:14:59Z</dc:date>
<dc:format>text/html</dc:format>
<dc:language>en</dc:language>
<dc:creator>Association Drom</dc:creator>
<description><p>You could not attend the 2014 NOBORDER Festival symposium ?<br class='autobr' /> The summarises of the three round tables are available.</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L100xH150/arton449-986f8.jpg?1729080630' width='100' height='150' /> <div class='rss_texte'><p><strong>Round table 1: </strong></p> <p><strong>Improvisation in modal music: which spaces of freedom ?</strong><br class='autobr' /> In learned modal music, improvisation often appears as the ultimate stage confirming for the pupil the perfect knowledge of the system. However, many popular cultures and artists bypass these rules often very prescriptive: free improvisation in popular music of Western Europe, intuitive use of systems related to makam in Eastern Europe, adaptation of free forms related to certain practices traditional instrumental in current popular music ...</p> <p>With Érik Marchand, Shadi Fathi, Laurent Clouet and Bojan Zulfikarpasic.</p> <p><strong>The position of the traditional musician in free improvisation :</strong><br class='autobr' /> Camel Zekri is a "traditional" musician in the Diwan of Biskra, but he has also joined several improvised music groups that practice free improvisation. He creates encounters between musicians of these two musical practices as Director of the Water Festival.<br class='autobr' /> Erwan Keravec testifies to his way of living his practice of free improvisation while his instrument, the bagpipe, connects it from the beginning to the repertoire of traditional music.</p> <p>With Anne Montaron, Erwan Keravec, Camel Zekri and Bachir Temtaoui of Diwan of Biskra.</p> <p><strong>Improvisation and politics: Is improvisation subversive ?</strong><br class='autobr' /> Acoustic spaces, precise cultural spaces, improvisation is a social bond of unparalleled strength where anything is possible. This may be where his subversion is.</p> <p>With Philippe Arrii-Blachette, François Rossé, Hélène Labarrière, and Romain Baudoin</p></div> </content:encoded>
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<title>Music (Modal, tonal, oriental, western, scholarly, popular) : between rejection and seduction</title>
<link>https://www.drom-kba.eu/Music-Modal-tonal-oriental-western-scholarly-popular-between-rejection-and.html</link>
<guid isPermaLink="true">https://www.drom-kba.eu/Music-Modal-tonal-oriental-western-scholarly-popular-between-rejection-and.html</guid>
<dc:date>2013-12-31T09:48:00Z</dc:date>
<dc:format>text/html</dc:format>
<dc:language>fr</dc:language>
<dc:creator>Association Drom</dc:creator>
<description><p>Following the 2011 symposium "La Modalité : a bridge between East and West", Drom and its partners are preparing a second meeting on December 13 on the theme "Music (Modal, tonal, Eastern, Western, scholarly, popular) : between rejection and seduction".</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH85/arton751-deb54.jpg?1729080630' width='150' height='85' /> <div class='rss_chapo'><p>Following the 2011 symposium "La Modalité : a bridge between East and West", Drom and its partners are preparing a second meeting on December 13 on the theme "Music (Modal, tonal, Eastern, Western, scholarly, popular) : between rejection and seduction".</p></div> <div class='rss_texte'><p>This event will take place at the Quartz, Scène Nationale de Brest, as part of the Noborder03 festival.</p> <p>This meeting will offer talks from researchers, musicians, pedagogues from different worlds around the following round tables : <br /><img src='https://www.drom-kba.eu/local/cache-vignettes/L8xH11/puce-32883.gif?1729078168' width='8' height='11' class='puce' alt="-" /> Tonality and modality in East and West <br /><img src='https://www.drom-kba.eu/local/cache-vignettes/L8xH11/puce-32883.gif?1729078168' width='8' height='11' class='puce' alt="-" /> Oral and written traditions : complementarity, interest and usefulness in transmission and creation <br /><img src='https://www.drom-kba.eu/local/cache-vignettes/L8xH11/puce-32883.gif?1729078168' width='8' height='11' class='puce' alt="-" /> The local specificities of popular music : wealth of cultural diversity or “national” identity marker ?</p> <p>Information and registration : tangi.leboulanger<span class='mcrypt'> </span>drom-kba.eu<br class='autobr' /> Find here the program of this conference :</p> <dl class='spip_document_662 spip_documents spip_documents_left' style='float:left;'> <dt><a href='https://www.drom-kba.eu/IMG/pdf/programme_colloque-3.pdf' title='PDF - 1.4 Mo' type="application/pdf"><img src='https://www.drom-kba.eu/local/cache-vignettes/L52xH52/pdf-39070.png?1729078168' width='52' height='52' alt='' /></a></dt> <dt class='spip_doc_titre' style='width:120px;'><strong>Programme Colloque 2013</strong></dt> </dl> <p>At the same time as the symposium will take place, at Quartz and Vauban, the <a href="http://www.festivalnoborder.com/" class='spip_out' rel='external'>NoBorder03 festival</a>.</p></div> </content:encoded>
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<title>International conference: modality, a bridge between East and West</title>
<link>https://www.drom-kba.eu/International-conference-modality.html</link>
<guid isPermaLink="true">https://www.drom-kba.eu/International-conference-modality.html</guid>
<dc:date>2012-06-26T19:35:55Z</dc:date>
<dc:format>text/html</dc:format>
<dc:language>en</dc:language>
<dc:creator>Rwan</dc:creator>
<description><p>On 17 and 18 November 2011, a conference gathering musicians, composers, instrument makers and craftsmen, and musicologists was held at Le Quartz, Brest's Cultural Centre, to discuss modality in contemporary creation and the common points it implies between East and West.</p> - <a href="https://www.drom-kba.eu/-International-modal-music-symposiums-.html" rel="directory">International modal music symposiums</a> </description>
<content:encoded><img class='spip_logo spip_logo_right spip_logos' alt="" style='float:right' src='https://www.drom-kba.eu/local/cache-vignettes/L150xH100/arton173-54562.jpg?1729080630' width='150' height='100' /> <div class='rss_chapo'><p>On 17 and 18 November 2011, a conference gathering musicians, composers, instrument makers and craftsmen, and musicologists was held at Le Quartz, Brest's Cultural Centre, to discuss modality in contemporary creation and the common points it implies between East and West.</p></div> <div class='rss_texte'><p>To formalize the creation of the modal music network, Drom organized an international conference for the first time on 17 and 18 November 2011 at Le Quartz in Brest with the theme “Modality, a bridge between East and West”. It is envisaged that those involved in the modality centre will meet, beyond informal exchanges, for biennial conferences where they will discuss modality and its presence in the contemporary musical creation.</p> <p><strong>The focus of the Modal Music Network's first conference was modality as a bridge between East and West:</strong><br class='manualbr' />For decades, most researchers, musicians and intellectuals saw modality solely as a feature of non-European music. Yet, in many Western cultures, modal understanding and the use of non-equal tempered scales represent the basis of traditional musical construction.<br class='manualbr' />Those who embrace this reality will undoubtedly discover new riches in music, an innovative means of musical composition as well as a musical syntax common to both East and West.</p> <p>The conference summary will soon be available online.</p></div> </content:encoded>
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