BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/Paris BEGIN:STANDARD DTSTART:20141026T020000 RDATE:20150329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20151025T020000 RDATE:20160327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20161030T020000 RDATE:20170326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20171029T020000 RDATE:20180325T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20181028T020000 RDATE:20190331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20191027T020000 RDATE:20200329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20201025T020000 RDATE:20210328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20211031T020000 RDATE:20220327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20221030T020000 RDATE:20230326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20231029T020000 RDATE:20240331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20241027T020000 RDATE:20250330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20251026T020000 RDATE:20260329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20261025T020000 RDATE:20270328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20271031T020000 RDATE:20280326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:DAYLIGHT DTSTART:20140519T093000 RDATE:20141026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20150329T030000 RDATE:20151025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20160327T030000 RDATE:20161030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20170326T030000 RDATE:20171029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20180325T030000 RDATE:20181028T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20190331T030000 RDATE:20191027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20200329T030000 RDATE:20201025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20210328T030000 RDATE:20211031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20220327T030000 RDATE:20221030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20230326T030000 RDATE:20231029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20240331T030000 RDATE:20241027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20250330T030000 RDATE:20251026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20260329T030000 RDATE:20261025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20270328T030000 RDATE:20271031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:bf5cf99ea6b6a6d5d2e867e32b335e45 CATEGORIES:Colloques, Séminaire du CREM, CREM CREATED:20170925T132119 SUMMARY:Between Speech and Song : Liminal Utterances LOCATION:Bâtiment Grappin (B)\, salle des conférences DESCRIPTION:

23e colloque ICTM — organisé par le CREM

 

Liminal Utte rances CREM ICTM 2015Proposé sous l’égide de l’International Council for Traditional Musi c (ICTM) et organisé par le Centre de recherche en ethnomusicologie (CREM-L ESC/CNRS) à l’université Paris Ouest Nanterre la Défense, ce colloque perme ttra aux spécialistes des interactions vocales de débattre durant trois jou rs des questions et des pistes actuelles dans l’étude des énoncés liminaire s. L’objet appelant par nature le croisement de plusieurs disciplines, les chercheurs invités, au nombre de vingt, proviennent de l’anthropologie, de l’ethnolinguistique, de l’ethnomusicologie, et de l’acoustique. S’y ajouten t des ingénieurs en traitement des archives et en analyse informatique du s ignal, qui travaillent actuellement à de nouveaux outils d’indexation des f ormes vocales.

HPIM5699 BinBash Sketch1Comment caractériser la relation singulière que le langage entretient avec la voix ? Leur lien pouvait paraître évident avant le développement de l'écriture. Avec celle-ci cependant, une part sig nificative de la communication linguistique peut se dérouler en dehors de l a vocalité, et ce quelle que soit la langue considérée. De nombreux travaux en anthropologie et en linguistique ont par ailleurs montré que l’usage de voix dans le langage était perméable à d’autres manières d’utiliser l’appa reil phonatoire. Décrits comme « chants », « cris », «& nbsp;lamentations », « psalmodies », « rires », «& nbsp;onomatopées » ou « idéophones », ces usages de la voix ont en commun d’entrer dans une dynamique complexe avec le langage articulé . Objets d’étude pour une part croissante de la communauté scientifique, ce s énoncés liminaires interrogent également les ingénieurs et archivistes co nfrontés à la nécessité d’en catégoriser les documents sonores selon des cr itères stables et cohérents. En parallèle, l’étude pragmatique des interact ions vocales rencontre d’autres cas-limite sous les traits de la glossolali e, du ventriloquisme, des voix « habitées » des médiums et des ch amanes. Ces cas posent tous la question de la source d’animation du message , et de l’efficacité performative des énoncés en tant qu’actes vocaux.

Proposé sous l’égide de l’International Council for Traditional Music (ICTM) et organisé au Centre de recherche en ethnomus icologie (CREM-LESC/CNRS) à l’université Paris Ouest Nanterre la Défense, c e colloque permettra aux spécialistes des interactions vocales de débattre durant trois jours des questions et des pistes actuelles dans l’étude des é noncés liminaires. L’objet appelant par nature le croisement de plusieurs d isciplines, les chercheurs invités, au nombre de vingt, proviennent de l’an thropologie, de l’ethnolinguistique, de l’ethnomusicologie, et de l’acousti que. S’y ajoutent des ingénieurs en traitement des archives et en analyse i nformatique du signal, qui travaillent actuellement à de nouveaux outils d’ indexation des formes vocales.


h ttp://archives.crem-cnrs.fr/archives/items/CNRSMH_I_2010_004_001_81/player/ 346x130/

La relation entre langage et musique a f ait l’objet d’un long débat en ethnomusicologie. Le sujet a été soulevé dan s l'article de List sur la frontière entre parole et chant (1963), dans les travaux de George Herzog sur la relation entre musique et texte (1934, 194 2, 1950), et dans l'analyse du « discours musical » de John Black ing (1982). En une chaîne quasiment ininterrompue, différents travaux ont d epuis précisé les données ethnographiques sur différentes pratiques vocales aux frontières entre langage et musique (lamentations, récitations et psal modies, chants dont les paroles sont ou non compréhensibles pour les locute urs).

En ethnolinguistique, des auteurs tels Laura Gr aham (1984, 1987), Ellen Basso (1985), Charles Briggs (1993), Jean-Jacques Nattiez (1999), et Aaron Fox (1992, 2004) ont analysé des modes d’énonciati on où la forme vocale prend le pas sur le contenu sémantique (salutations r ituelles ou incantations thérapeutiques par exemple), ou bien des formes d’ interaction affectée par l’irruption d’énonciateurs non-humains (divinités, esprits, animaux) dans la voix des locuteurs. L’une des conclusions vers l esquelles ces travaux convergent est que la musicalité du discours est un a spect crucial, trop souvent négligé, ouvrant la voie à une description rigo ureuse des croyances religieuses.

Très peu d'études o nt cependant pris pour point de départ le lien étroit qui existe entre les dimensions sémantique et acoustique de la voix (voir Feld et Fox 1994). La fragmentation épistémologique du champ vocal entre linguistique, musicologi e et anthropologie reste un obstacle de taille. Pour tenter de relever le d éfi, ce colloque portera précisément sur les énoncés liminaires situés à la frontière entre la voix parlée et chantée. Seront privilégiés des matériau x comme les lamentations, le babillage, les comptines, la récitation corani que, les narrations mélodisées et les contes chantés, le scat, la glossolal ie, ainsi que l’usage et les variations de la voix dans la liturgie, le rec ours à l'iconicité du langage, ou encore à des jeux portant sur l'intonatio n dans les performances poétiques et les discours politiques. Au travers de ces études de cas, l’enjeu sera de croiser les analyses acoustique, sémant ique et pragmatique des énoncés vocaux. Aux frontières de l’anthropologie, de l’ethnomusicologie, de la linguistique et de l’ingénierie, le colloque s ’inscrit dans une perspective interdisciplinaire qui fera surgir de nouveau x objets.

 

23rd ICTM colloquium — organized by the CREM

The relation between speech and song is an old debate in ethnomusicology. The t opic was notably addressed List’s important article on the boundaries of sp eech and song (1963), in George Herzog's early explorations of the relation ship between music and text (1934, 1942, 1950), and in John Blacking's acco unt of musical "discourse" (1982). Linguistically informed works addressed the question as well, such as that by Laura Graham (1984, 1987), Charles Br iggs (1993), Jean-Jacques Nattiez (1999), and Aaron Fox (1992, 2004) .But five decades after List’s foundational article, the topic conti nues to inspire discussion. The reason may be, as Anthony Seeger suggested, that the separation of disciplines that study different aspects of “vocal and verbal art has had a disastrous effect on the development of our thinki ng about them” (1986: 59). The wish to reconsider this separation has been pointed out for decades. This is particularly the case for studies foc using on liminal utterances, such as glossolalias or scat. Described by pra ctitioners as an “event occurring in my throat” (Certeau 1996: 38), gl ossolalias are cases of vocal production without clear semantic meaning whi ch multiplies the possibilities of speech. The decomposition of syllables a nd the combination of elementary sounds in games of alliteration create “an indefinite space outside of the jurisdiction of a language" (Certeau 1996: 42). In his study on scat, Brent Hayes Edwards (2002) also argue s about an extended vocal space: a continuum between instrumental uses of t he voice and vocal uses of instruments. In jazz, both are supposed to narra te stories.

But still very few studies build their analysis on the intimate link between the semantics and acoustics of voice production. As pointed out by Steven Feld and Aaron Fox (1994), most studies in ethnom usicology have difficulties in simultaneously taking into account the words and sounds of vocal production, and combined analyses of the semantics and acoustics of vocal production are still very few and mostly unsatisfactory .

To try to take up this challenge, this colloquium w ill focus on liminal utterances, at the border between speech and song. We will consider utterances such as laments, nursery rhymes, Qur'anic chanting , recitative or the use of the monotone voice in liturgy, iconicity of lang uage, scat, glossolalias, melodized narrations, sung tales, vocal intonatio n in poetical performances and in political discourses, among others. Speci al attention will be given to a deeply combined analysis of the acoustics a nd semantics of these utterances.

Référ ences

BEAUDET Jean-Michel 1996 “Rire. Un exemple d'Amazonie”. L'Homme 36 (140): 81-99.
BLAC KING John 1982 “The Structure of Musical Discourse: The Problem of the Song Text”. Yearbook for Traditional Music 14: 15‑23.BRIGGS Charles L. 1993 “Personal Sentiments and Polyphonic Voices i n Warao Women’s Ritual Wailing: Music and Poetics in a Critical and Collect ive Discourse”. American Anthropologist 95(4): 929‑957.
CERTEAU (DE) Michel 1996 “Vocal Utopias: Glossolalias”.  Representations 56: 29‑47.
EDWARDS Brent Hayes 2002 “Louis Armstrong and the Syntax of Scat”. Critical Inquiry  28(3): 618‑649.
FELD Steven & FOX Aaron 1994 “Mus ic and Language”. Annual Review of Anthropology 23: 25―53.
FOX Aaron 1992 “The Jukebox of History: Narratives of Loss and Desire in the Discourse of Country Music”. Popular Music&n bsp;11(1): 53‑72.
2004 Real Country: Music and Lang uage in Working-Class Culture. Durham, N.C. : Duke University Pres s.
GRAHAM Laura 1984 “Semanticity and Melody: Parameters of Contrast in Shavante Vocal Expression”. Latin American Music Revie w 5(2): 161‑185.
1987 “Three Modes of Shavante Voc al Expression: Wailing, Collective Singing, and Political Oratory”, in Sher zer & Urban dir.: Native South American Discourse. Berlin, New-York: Mouton de Gruyter: 83‑118.
HERZOG George 1934 “Sp eech-Melody and Primitive Music”. The Musical Quarterly 20 (4): 452‑466.
1942 “The Text and Melody in Primitive Music” . Bulletin of the American Musicological Society 6: 10‑11.
1950 “Song”, in Leach dir.: Funk and Wagnalls Stan dart Dictionary of Folklore, Mythology and Legend. New-York: Funk and W agnalls 2: 1032‑1050.
LIST George 1963 “The Boundaries of Speech and Song”. Ethnomusicology 7(1): 1‑16.NATTIEZ Jean-Jacques 1999 Proust musicien. Paris : Christian Bourgeois éditeur.
SEEGER Anthony 1986 “Oratory Is Spoken, Myth Is Told, and Song Is Sung, But They Are All Music to My Ear s”, in Sherzer & Urban dir.: Native South American Discourse. Berlin: Mouton de Gruyter: 59‑82.

Programme 

 

Organizers

Coo rdination: Estelle AMY DE LA BRETÈQUE ( CREM-LESC/CNRS, France)

Scientific committee

Bernd BRABEC DE MORI (University of Music and Performing Arts, Austria)

Junzo KAWADA (Kanagawa University, Japan)

Anthony SEEGER (UCLA, USA)
Kati SZEGO (Memorial University of Newf oundland - Executive Board member of ICTM, Canada)

Stephen WILD (Australian National University - Vice Pre sident of ICTM, Australia)

Local organization committee

Jean-Michel BEA UDET (UPO - CREM-LESC/CNRS)

Sus anne FÜRNISS (MNHN/CNRS, president of the French Society for Ethnomusicology)

Andrea-Luz GUTIERREZ-CHOQUEV ILCA (EPHE/LAS - Collège de France)

Giordano MARMONE (UPO, CREM-LESC/CNRS)

Magali De RUYTER (UPO, CREM-LESC/CNRS)

Victor A. STOICHITA (Director of the Res earch Center for Ethnomusicology – CREM-LESC/CNRS)

Wi th additional help from: Loré Ajirent-Sagaspe, < strong>Éline Breton, Sisa Calapi, Preciosa Dombele, Laurence Lemaur (ethnomusicology student s at UPO) and Iris Lemaître (student in Libraria n Studies, UPO).

Partner institutions< /strong>

The International Council fo r Traditional Music (ICTM) is a Non-Governmental Organisa tion in formal consultative relations with UNESCO. Its aims are to further the study, practice, documentation, preservation and dissemination of tradi tional music and dance of all countries. To these ends the Council organise s World Conferences, Symposia and Colloquia. The Council also promotes thes e goals by publishing the Yearbook for Traditional Music, distributing the online Bulletin of the ICTM, and maintaining a ri ch Online Membership Directory. By means of its wide international representation and the activities of its Study Groups, the International Council for Traditio nal Music acts as a bond among peoples of different cultures.
< br />The Research Center in Ethnomusicology (CREM) is heir to the former Ethnomusicology Department of th e Musée de l’Homme (1929-2008), and has been part of the Research Team in Ethnology and Comparative Sociology (LE SC – UMR 7186) since 2007. The CREM is dedicated to the study of musical pr actices and knowledge worldwide.
Based on ethnography and a systematic collection of musical data, its approach pertains to an anthrop ology of music conceived in its socio-cultural, aesthetic, formal, acoustic , kinesthetic and cognitive dimensions. The Center investigates new researc h topics such as the embodiment of musical and choreographic skills, the cu ltural and cognitive production of musical emotion, the interconnectedness of sensory modalities, the ecology of sonic environments, the construction and emergence of musical systems. Its researchers also create new modalities of musical representation, such as their “listening clues” (clés d’écoute) : these multimedia devic es guide the general public towards crucial aspects of specific musical exp ressions.
The CREM manages a large collection of sound archives inherited from the Musée de l’Homme a nd accumulated over more than a century. With more than 4,000 hours of unpu blished fieldwork recordings and about 4,000 hours of published documents, these archives of great patrimonial value are made available online through the collaborative platform Telemeta. The collections are const antly nourished through the researchers’ fieldwork. The recordings are used as materials for new research, as preparation for new fieldwork, and for t he training of graduate students.
CREM researchers, lecture rs and professors hold important responsibilities at the Anhropology departmen t of Paris Ouest Nanterre – La Défense University, as well as at t he Musicology Department of P aris 8 – St Denis University. Numerous graduate students from these univers ities are members of the CREM, which offers them a stimulating scientific a nd logistic environment.

The ANR project DIADEMS (Description, Indexation, et Accès aux Documents Ethnomusic ologiques et Sonores) is a partnership between several teams dealing with a coustics, ethnolinguistics and ethnomusicological documents, and informatic ians. The laboratory of Ethnology and Comparative Sociology (LESC) includin g the research center of ethnomusicology (CREM) and the center of teac hing and research in American Indian ethnology (EREA) as well as the labora tory of anthropology of National Museum of Natural History (MNHN) are deali ng with the need to index the audio archives they manage, while keeping tra ck of the contents, which is a long, fastidious and expensive task. Since 2 007, as no open-source application exists on the market to access the audio data recorded by researchers, the CREM-LESC, the LAM and the sound archive s of the MNHN began the conception of an innovate and collaborative tool th at answers the trade needs (linked to the documents temporal span), while b eing adapted to the researchers requirements.
With financia l support from the CNRS Très Grand Equipement (TGE), ADONIS and the Mnistry of culture, the Telemeta platform, developed by Parisson, is online since May 2011 (http://archives.crem-cnrs.fr). On this platform, basic sig nal analysis tools are already available, It is however mandatory to have a set of advanced and innovative tools for automatic or semi-automatique ind exing of this audio data, that includes sometimes long recordings, with qui te heterogeneous content and quality. The aim of the DIADEMS project is to supply some of these tools, to integrate them into Telemeta, while also sat isfying specific user needs related to ergonomy and accest rights managemen t.

L'école doctorale « Milieux, cultures et sociétés du passé et du présent » associe un ensemble de disciplines : Archéologie, Ethnologie- Pr éhistoire-Ethnomusicologie, Géographie, Aménagement-urbanisme, Histoire, Hi stoire de l'Art, Langues et Lettres anciennes. Elle regroupe 9 équipes de r echerche entre lesquelles se répartissent quelque 460 doctorants et 105 dir ecteurs de thèse.  Elle assure 3 missions au sein de l'Université : pé dagogique — organisation des enseignements doctoraux et suivi des doctorant s, soutien à la professionnalisation ; organisationnelle — budget, contrats doctoraux, a politique de financement des thèses mais aussi de veille au r espect de la charte des thèses de l'université ; animation de la recherche —  recherche de convergences entre les programmes des unités de recherche d e manière à définir de grandes orientations thématiques.

La Société française d’ethnomusicologie&n bsp;(SFE) est une société savante dont la mission est d'e ncourager, de soutenir et de promouvoir la réflexion sur les musiques du mo nde. La SFE, est aussi un réseau d’experts, actifs au sein d’institutions c omme l’Unesco, les musées, les festivals ou les médias (presse écrite, radi os, TV, internet), qui contribuent ainsi à la connaissance et à la diffusio n des expressions artistiques et culturelles de l’humanité. Elle est l’orga ne représentatif de l’ICTM en France.

Attending

Thank s to our partner institutions, attending the colloquium i s entirely free for everyone.

Audience members (apart from staff and invited speakers) are welcome to share the co llective meals, at their own expense.

Hotel

Invited participants are hosted at  Hôtel Qualys Nanterre, 2, avenue Benoît Frachon 92000 Nanterre, Tel. 01 46 95 08 08.
The hotel is within a few minutes walk from the RER A stop "Nanterre Ville". 
To plan your arrival, we suggest using the RATP route planner available here: http://www.ratp.fr/itineraires/en/ratp/recherche-avancee& nbsp;If you encounter any difficulties with the planner, please email us yo ur travel details and we’ll check the best route for you.

Participants staying at the hotel will be provided upon their arrival with RER tickets for the daily commuting between the hotel and the university (1 stop).

It is also possible to walk the distance, should you prefer to do so.
Easie st way to arrive, whether from Paris or from the hotel, is by  RER A, stop "Nanterre Université". It is also possible to walk fro m the Hotel to the University (straight walk, ca. 20 min ).
The colloquium takes place o n the campus of Nanterre University, buildi ng B, Salle des Conférences. Below is a map of the campus.

 

map qualys

 

map qualys fac

2014 plan du c ampusNanterre legende

 

Meals

Lunches will be served at the university’s restau rant on campus — the pink building on the map above, named Resto U.< br />
Invited speakers arriving on the 19th afternoon are invited for dinner at Hotel Qualys.

Dinners and vocal workshops on 20 th and 21st will take place at the "Fer me du Bonheur". This is just in front of the building marked "MAE" in green on the map (but it is not a component of the University, therefore it does n’t appear on the map).

Farewell dinner on 22nd will take place at F lam’s restaurant in Paris (Rue des Lombardshttp://crem-cnrs.fr/pl ugins/system/jcemediabox/img/zoom-link.gif); background-color: t ransparent; display: inherit; background-position: right center; background -repeat: no-repeat no-repeat;">).

The intention of this co lloquium on Liminal utterances is to discuss "hands on", with as many audio and video examples as possible. The Multimedia Presentations are an experi ment in that direction. Presenters were invited to combine audiovisual data and analysis in order to produce a (more-or-less) self-standing video file containing an argument or simply raising questions about the illustrated s ound practices. These files are available below. They will also be played d uring the conference, where each of them will be followed by extensive disc ussion sessions with their authors. Click on an image below to start a pres entation (should open an popup with a HTML5 video).

< h2>Liminal utterances: multimedia presentations

Between Speech and Song: Liminal utterances of sadness in Anat olia and the Caucasus

Amy de la Bretèque — view the presentationESTELLE AMY DE LA BRETEQUE (CREM-LESC/CNRS, France)

This presentation explores the practice of melodized speech in the Caucas us and Anatolia. Taking as a case study the Yezidi Kurds in Armenia, it exp lains why this practice, linked to the narration of sad events, stands at t he border between speech and song in the local typology of vocal production . On a wider area, the comparison of three case studies from fieldwork cond ucted in Azerbaijan, Turkey and Armenia shows how elderly women integrate m elodized speech in daily conversations. Beyond religious, national and ling uistic differences, the similarity of these practices suggests a shared soc ial-vocal nexus in Anatolia and the Caucasus.





The vocality of a religious poem among the Pomaks

Eftychia Drout sa — view the presentationEFTYCHIA DROUTSA (Iremus/University Paris 4 Sorbonne, F rance)

 

This work questio ns “vocality”, that is the sound production of speech and song among the Po maks through their religious poem called mevlud.

Dating from the 15th century, the mevlud i s a poem attributed to the poet Suleyman Çelebi, in which he relates the bi rth, the life and the death of the Prophète Mohamed. It is written in osman li (Othoman, ancient Turkish in arabic characters) in the poetic form of ma snavi, structured in a series of versified distiches where each verse adher es on a metric regularity of eleven syllables. We find this poem among Poma ks, a mountain population, muslim and trilingual, who speaktheir own Slavic dialect - Pomak -, Greek and Turkish. They live in the north of Greece in the area of Thrace and are recognized officially as “a religious minority” by the Greek Government. Pomaks learn to read the mevlud, on which they ada pt a repetitive motif borrowed, modified and customized according to indivi dual preferences and abilities. However, most of them do not understand the literal meaning of the poetic text. It is in this particular context, wher e the words are detached from their litteral meaning and become a medium fo r statement, that we will approach the duality of speech and song through a sound editing, where the words are sung, whispered, muttered, recited or s imply said.





Development of turn taking in vocal interaction between mothers and infants aged betwe en 2 and 4 months

RUBI A INFANTI & EBRU YILMAZ (Laboratoire Ethologie, Cognition, Development -EA 3456-, University Paris-West, France)

Infants are known to engage in conversation-like exchanges from the en d of the second month after birth. These ‘protoconversations’ involve both turn-taking and overlapping vocalization. Previous research has shown that the timing of adult-infant turn-taking sequences is close to that of adult verbal conversation. The gap between turns in protoconversational exchange seldom exceeds 500ms. It has also been shown that young infants adjust the quality of their vocalization in response to the quality and timing of adul t vocalization. Furthermore, turn-taking exchanges often involve mutual imi tation of sounds, pitches and melodic contour. We present new evidence of t he timing and temporal organization of turn-taking interaction between moth ers and 2 to 4-month-olds recorded in naturalistic contexts based on a corp us of recordings from 50 French dyads. All of them were recorded in natural istic contexts, in their home, when infants were in a quiet alert state. Th e entire sample comprised a total of 2943 vocalizations of which 748 (25.4% ) were produced by the infants, 1851 (62.9%) were produced by the mothers, and 344 were overlapping vocalizations (11.7%). In all, 489 turns taking se quences were identified. The quality and duration of infant vocalizations d iffered according to whether or not they were produced within a turn-taking sequence. Finally, length and number of turns were highly correlated betwe en mothers and infants vocalizations.

[Coming soon…]





Sung assemblies or declaimed songs? The samburu soloi sts (Kenya) on the border between political discussion and musical activity

Giordano Marmone — View the presentationGIORDANO MARMONE (CREM-LESC/Universit y Paris West)

Among the Samburu of Ke nya the leaders and the spokesmen of the warriors' age-grade, the so-called larikok, play a fundamental role in both political and musical domains. Th e oratorical skills of which they must be provided to protect the interests of the warriors during the assemblies, core of the Samburu political syste m, also allow them to stand out as main soloists during the singing and dan cing





 

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Ferdinand Brunot and the Archives de la Parole

François Picard — view the presentationFRANÇOIS PICARD (Iremus, Univers ity Paris 4 Sorbonne, France)

The Arc hives de la Parole or Spoken Archives have been founded by the French histo rian of French language and grammarian Ferdinand Brunot at Sorbonne univers ity in 1911. Using a Pathéphone phonograph, he recorded spoken or singing v oices, he classified in main sections: I for “interprètes”, O for “orateurs ”, L for «langues”, D for “dialectes”. Taking it as a solid corpus, we anal yse it using digital tools according to the relation between pitch, intensi ty and timbre, and find it possible through strong descriptors to recover l ocal, culturally meaningful, categories. The question of whether this new c ategorisation could be universal will be asked.sessions. This double form o f authority is based on what, among the Samburu, is considered as one of th e essential features of male leadership: the ability of “dominating the wor ds” in all their forms, both sung and spoken. At the same time, this connec tion between political debate and soloist singing is not focused exclusivel y on the double social role of the larikok. The vocal technique that charac terizes a big part of the Samburu's musical repertoire, in fact, is definab le as a form of speech shaped around the rhythm of the dance. It confers to the melodic contour of the soloist's part the prosodic characteristics of the spoken language, making Samburu choral songs a sort of oratorical confr ontation between soloists, very close, structurally and verbally, to the as semblies' debate scheme. The process of decision-making and the composition of the songs' lyrics lead, in both cases, to the creation of accounts whic h aim to expose opinions and stories based on real events. But if during th e assemblies the speakers' purpose is to use their own charisma for the pol itical administration of the community as representatives of an age-grade's or an age-set's interests, during the singing and dancing sessions the sol oists have the responsibility to stand for their age-group and share with t he listeners the narrative of its collective memory, contributing to assert its presence within the society.

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23e colloque ICTM — organisé par le CREM

 

Liminal Utte rances CREM ICTM 2015Proposé sous l’égide de l’International Co uncil for Traditional Music (ICTM) et organisé par le Centre de recherche e n ethnomusicologie (CREM-LESC/CNRS) à l’université Paris Ouest Nanterre la Défense, ce colloque permettra aux spécialistes des interactions vocales de débattre durant trois jours des questions et des pistes actuelles dans l’é tude des énoncés liminaires. L’objet appelant par nature le croisement de p lusieurs disciplines, les chercheurs invités, au nombre de vingt, provienne nt de l’anthropologie, de l’ethnolinguistique, de l’ethnomusicologie, et de l’acoustique. S’y ajoutent des ingénieurs en traitement des archives et en analyse informatique du signal, qui travaillent actuellement à de nouveaux outils d’indexation des formes vocales.

HPIM5699 BinBash Sketch1Comment caractériser la relation singulière que le langage entretient ave c la voix ? Leur lien pouvait paraître évident avant le développement de l'écriture. Avec celle-ci cependant, une part significative de la commun ication linguistique peut se dérouler en dehors de la vocalité, et ce quell e que soit la langue considérée. De nombreux travaux en anthropologie et en linguistique ont par ailleurs montré que l’usage de voix dans le langage é tait perméable à d’autres manières d’utiliser l’appareil phonatoire. Décrit s comme « chants », « cris », « lamentations  », « psalmodies », « rires », « onomatopées » ou « idéophones », ces usages de la voix ont en commun d’entrer dans une dynamique complexe avec le langage articulé. Objets d’étude pour u ne part croissante de la communauté scientifique, ces énoncés liminaires in terrogent également les ingénieurs et archivistes confrontés à la nécessité d’en catégoriser les documents sonores selon des critères stables et cohér ents. En parallèle, l’étude pragmatique des interactions vocales rencontre d’autres cas-limite sous les traits de la glossolalie, du ventriloquisme, d es voix « habitées » des médiums et des chamanes. Ces cas posent tous la question de la source d’animation du message, et de l’efficacité pe rformative des énoncés en tant qu’actes vocaux.

Proposé sous l’égide de l’International Council for Traditional Music ( ICTM) et organisé au Centre de recherche en ethnomusicologie (CREM-LESC/CNR S) à l’université Paris Ouest Nanterre la Défense, ce colloque permettra au x spécialistes des interactions vocales de débattre durant trois jours des questions et des pistes actuelles dans l’étude des énoncés liminaires. L’ob jet appelant par nature le croisement de plusieurs disciplines, les cherche urs invités, au nombre de vingt, proviennent de l’anthropologie, de l’ethno linguistique, de l’ethnomusicologie, et de l’acoustique. S’y ajoutent des i ngénieurs en traitement des archives et en analyse informatique du signal, qui travaillent actuellement à de nouveaux outils d’indexation des formes v ocales.


http://archives.crem-cnr s.fr/archives/items/CNRSMH_I_2010_004_001_81/player/346x130/

La relation entre langage et musique a fait l’objet d’un long d ébat en ethnomusicologie. Le sujet a été soulevé dans l'article de List sur la frontière entre parole et chant (1963), dans les travaux de George Herz og sur la relation entre musique et texte (1934, 1942, 1950), et dans l'ana lyse du « discours musical » de John Blacking (1982). En une chaî ne quasiment ininterrompue, différents travaux ont depuis précisé les donné es ethnographiques sur différentes pratiques vocales aux frontières entre l angage et musique (lamentations, récitations et psalmodies, chants dont les paroles sont ou non compréhensibles pour les locuteurs).

En ethnolinguistique, des auteurs tels Laura Graham (1984, 1987), Elle n Basso (1985), Charles Briggs (1993), Jean-Jacques Nattiez (1999), et Aaro n Fox (1992, 2004) ont analysé des modes d’énonciation où la forme vocale p rend le pas sur le contenu sémantique (salutations rituelles ou incantation s thérapeutiques par exemple), ou bien des formes d’interaction affectée pa r l’irruption d’énonciateurs non-humains (divinités, esprits, animaux) dans la voix des locuteurs. L’une des conclusions vers lesquelles ces travaux c onvergent est que la musicalité du discours est un aspect crucial, trop sou vent négligé, ouvrant la voie à une description rigoureuse des croyances re ligieuses.

Très peu d'études ont cependant pris pour point de départ le lien étroit qui existe entre les dimensions sémantique e t acoustique de la voix (voir Feld et Fox 1994). La fragmentation épistémol ogique du champ vocal entre linguistique, musicologie et anthropologie rest e un obstacle de taille. Pour tenter de relever le défi, ce colloque porter a précisément sur les énoncés liminaires situés à la frontière entre la voi x parlée et chantée. Seront privilégiés des matériaux comme les lamentation s, le babillage, les comptines, la récitation coranique, les narrations mél odisées et les contes chantés, le scat, la glossolalie, ainsi que l’usage e t les variations de la voix dans la liturgie, le recours à l'iconicité du l angage, ou encore à des jeux portant sur l'intonation dans les performances poétiques et les discours politiques. Au travers de ces études de cas, l’e njeu sera de croiser les analyses acoustique, sémantique et pragmatique des énoncés vocaux. Aux frontières de l’anthropologie, de l’ethnomusicologie, de la linguistique et de l’ingénierie, le colloque s’inscrit dans une persp ective interdisciplinaire qui fera surgir de nouveaux objets.

 

23rd ICTM colloquium — organized by the CREM

The relation between speech and song is an old debate in ethnomusicology. The topic was notably addres sed List’s important article on the boundaries of speech and song (1963), i n George Herzog's early explorations of the relationship between music and text (1934, 1942, 1950), and in John Blacking's account of musical "discour se" (1982). Linguistically informed works addressed the question as well, s uch as that by Laura Graham (1984, 1987), Charles Briggs (1993), Jean-Jacqu es Nattiez (1999), and Aaron Fox (1992, 2004).But five decade s after List’s foundational article, the topic continues to inspire discuss ion. The reason may be, as Anthony Seeger suggested, that the separation of disciplines that study different aspects of “vocal and verbal art has had a disastrous effect on the development of our thinking about them” (1986:&n bsp;59). The wish to reconsider this separation has been pointed out for de cades. This is particularly the case for studies focusing on liminal uttera nces, such as glossolalias or scat. Described by practitioners as an “event occurring in my throat” (Certeau 1996: 38), glossolalias are cases of vocal production without clear semantic meaning which multiplies the possi bilities of speech. The decomposition of syllables and the combination of e lementary sounds in games of alliteration create “an indefinite space outside of the jurisdiction of a language" (Certeau 1996: 42). In his study on scat, Brent Hayes Edwards (2002) also argues about an extended voc al space: a continuum between instrumental uses of the voice and vocal uses of instruments. In jazz, both are supposed to narrate stories.

But still very few studies build their analysis on the intimate link betw een the semantics and acoustics of voice production. As pointed out by Stev en Feld and Aaron Fox (1994), most studies in ethnomusicology have difficul ties in simultaneously taking into account the words and sounds of vocal pr oduction, and combined analyses of the semantics and acoustics of vocal pro duction are still very few and mostly unsatisfactory.

To try to take up this challenge, this colloquium will focus on liminal ut terances, at the border between speech and song. We will consider utterance s such as laments, nursery rhymes, Qur'anic chanting, recitative or the use of the monotone voice in liturgy, iconicity of language, scat, glossolalia s, melodized narrations, sung tales, vocal intonation in poetical performan ces and in political discourses, among others. Special attention will be gi ven to a deeply combined analysis of the acoustics and semantics of these u tterances.

Références

BEAUDET Jean-Michel 1996 “Rire. Un exemple d'Amazonie”. L' Homme 36 (140): 81-99.
BLACKING John 1982 “The Str ucture of Musical Discourse: The Problem of the Song Text”. Yearboo k for Traditional Music 14: 15‑23.
BRIGGS Charles L. 1993 “Personal Sentiments and Polyphonic Voices in Warao Women’s Ritual Wailing: Music and Poetics in a Critical and Collective Discourse”. American Anthropologist 95(4): 929‑957.
CERTEAU ( DE) Michel 1996 “Vocal Utopias: Glossolalias”. Representations& nbsp;56: 29‑47.
EDWARDS Brent Hayes 2002 “Louis Armstrong a nd the Syntax of Scat”. Critical Inquiry 28(3): 618‑649.
FELD Steven & FOX Aaron 1994 “Music and Language”.  Annual Review of Anthropology 23: 25―53.
FOX Aa ron 1992 “The Jukebox of History: Narratives of Loss and Desire in the Disc ourse of Country Music”. Popular Music 11(1): 53‑72.
2004 Real Country: Music and Language in Working-Class C ulture. Durham, N.C. : Duke University Press.
GRAH AM Laura 1984 “Semanticity and Melody: Parameters of Contrast in Shavante V ocal Expression”. Latin American Music Review 5(2): 161‑18 5.
1987 “Three Modes of Shavante Vocal Expression: Wailing, Collective Singing, and Political Oratory”, in Sherzer & Urban dir.:&n bsp;Native South American Discourse. Berlin, New-York: Mouton de Gru yter: 83‑118.
HERZOG George 1934 “Speech-Melody and Primiti ve Music”. The Musical Quarterly 20(4): 452‑466.
1942 “The Text and Melody in Primitive Music”. Bulletin of t he American Musicological Society 6: 10‑11.
1950 “ Song”, in Leach dir.: Funk and Wagnalls Standart Dictionary of Folk lore, Mythology and Legend. New-York: Funk and Wagnalls 2: 1032‑10 50.
LIST George 1963 “The Boundaries of Speech and Song”.&n bsp;Ethnomusicology 7(1): 1‑16.
NATTIEZ Jean-Ja cques 1999 Proust musicien. Paris : Christian Bourgeois éd iteur.
SEEGER Anthony 1986 “Oratory Is Spoken, Myth Is Told , and Song Is Sung, But They Are All Music to My Ears”, in Sherzer & Ur ban dir.: Native South American Discourse. Berlin: Mouton de Gr uyter: 59‑82.

Programme < /a>

 

Organizers

Coordination: Estelle AMY DE LA BRETÈQUE&nbs p;(CREM-LESC/CNRS, France)

Scientific committee

Bernd BRABEC DE MORI (University of Music and Performing Arts, Austria)

Junzo KAWADA (Kanagawa University, Japan)

Anthony SEEGER (UCLA, USA)

Kati SZEGO (Memorial University of N ewfoundland - Executive Board member of ICTM, Canada)

Stephen WILD (Australian National University - Vice President of ICTM, Australia)

Local organization committee

Jean-Michel BEAUDET (UPO - CREM-LESC/CNRS)

Susanne FÜRNISS (MNHN/CNRS, president of the French Society f or Ethnomusicology)

Andrea-Luz GUTIERREZ-CHOQ UEVILCA (EPHE/LAS - Collège de France)

Giordano MARMONE (UPO, CREM-LESC/CNRS)
Magali De RUYTER (UPO, CREM-LESC/CNRS)

Victor A. STOICHITA (Director of the Research Center for Ethnomusicology – CREM-LESC/CNRS)

With additional help from: Loré Ajirent-Sagaspe,&nbs p;Éline Breton, Sisa Calapi, Preciosa Dombele , Laurence Lemaur (ethnomusicology stud ents at UPO) and Iris Lemaître (student in Libra rian Studies, UPO).

Partner institutio ns

The International Council for Traditional Music (ICTM) is a Non-Governmental Organ isation in formal consultative relations with UNESCO. Its aims are to furth er the study, practice, documentation, preservation and dissemination of tr aditional music and dance of all countries. To these ends the Council organ ises World Conferences, Symposia and Colloquia. The Council also promotes t hese goals by publishing the  Yearbook for Traditional Music, distributing the online < a href="http://www.ictmusic.org/publications/bulletin-ictm" style="border: none; color: #0f3179;">Bulletin of the ICTM, and maintaining a rich Online Membership Directory. By means of its wide international representation  and the activities of its Study Groups, the International Council for Tradi tional Music acts as a bond among peoples of different cultures.

The Research Center in Ethnomusicology (CREM) is heir to the former Ethnomusicology Department of the Musée de l’Homme (1929-2008), and has been part of the Research Team in Ethnology and Comparative Sociology  (LESC – UMR 7186) since 2007. The CREM is dedicated to the study of musical practices and knowledge worldwide.
Based on ethnography an d a systematic collection of musical data, its approach pertains to an anth ropology of music conceived in its socio-cultural, aesthetic, formal, acous tic, kinesthetic and cognitive dimensions. The Center investigates new rese arch topics such as the embodiment of musical and choreographic skills, the cultural and cognitive production of musical emotion, the interconnectedne ss of sensory modalities, the ecology of sonic environments, the constructi on and emergence of musical systems. Its researchers also create new modalities of musical representation, s uch as their “listening clues” (clés d’écoute) : these multimedia de vices guide the general public towards crucial aspects of specific musical expressions.
The CREM manages a lar ge collection of sound archives inherited from the Musée de l’Homm e and accumulated over more than a century. With more than 4,000 hours of u npublished fieldwork recordings and about 4,000 hours of published document s, these archives of great patrimonial value are made available online thro ugh the collaborative platform Telemeta. The collections are co nstantly nourished through the researchers’ fieldwork. The recordings are u sed as materials for new research, as preparation for new fieldwork, and fo r the training of graduate students.
CREM researchers, lect urers and professors hold important responsibilities at the Anhropology depart ment of Paris Ouest Nanterre – La Défense University, as well as a t the Musicology Department o f Paris 8 – St Denis University. Numerous graduate students from these univ ersities are members of the CREM, which offers them a stimulating scientifi c and logistic environment.

The ANR project DIADEMS  (Description, Indexation, et Accès aux Documents Ethnomu sicologiques et Sonores) is a partnership between several teams dealing wit h acoustics, ethnolinguistics and ethnomusicological documents, and informa ticians. The laboratory of Ethnology and Comparative Sociology (LESC) inclu ding the research center of ethnomusicology (CREM) and the center of t eaching and research in American Indian ethnology (EREA) as well as the lab oratory of anthropology of National Museum of Natural History (MNHN) are de aling with the need to index the audio archives they manage, while keeping track of the contents, which is a long, fastidious and expensive task. Sinc e 2007, as no open-source application exists on the market to access the au dio data recorded by researchers, the CREM-LESC, the LAM and the sound arch ives of the MNHN began the conception of an innovate and collaborative tool that answers the trade needs (linked to the documents temporal span), whil e being adapted to the researchers requirements.
With finan cial support from the CNRS Très Grand Equipement (TGE), ADONIS and the Mnis try of culture, the Telemeta platform, developed by Parisson, is online sin ce May 2011 (http://archives.crem-cnrs.fr). On this platform, basic signal analysis tools are already available, It is however mandatory to hav e a set of advanced and innovative tools for automatic or semi-automatique indexing of this audio data, that includes sometimes long recordings, with quite heterogeneous content and quality. The aim of the DIADEMS project is to supply some of these tools, to integrate them into Telemeta, while also satisfying specific user needs related to ergonomy and accest rights manage ment.

L'éc ole doctorale « Milieux, cultures et sociétés du passé et du présent »< /strong> associe un ensemble de disciplines : Archéologie, Ethnologie- Préhistoire-Ethnomusicologie, Géographie, Aménagement-urbanisme, Histoire, Histoire de l'Art, Langues et Lettres anciennes. Elle regroupe 9 équipes d e recherche entre lesquelles se répartissent quelque 460 doctorants et 105 directeurs de thèse.  Elle assure 3 missions au sein de l'Université : pédagogique — organisation des enseignements doctoraux et suivi des doctor ants, soutien à la professionnalisation ; organisationnelle — budget, contr ats doctoraux, a politique de financement des thèses mais aussi de veille a u respect de la charte des thèses de l'université ; animation de la recherc he —  recherche de convergences entre les programmes des unités de recherch e de manière à définir de grandes orientations thématiques.

La Société française d’ethnomusicologi e (SFE) est une société savante dont la mission est d'encourager, de soutenir et de promouvoir la réflexion sur les musiques du monde. La SFE, est aussi un réseau d’experts, actifs au sein d’institution s comme l’Unesco, les musées, les festivals ou les médias (presse écrite, r adios, TV, internet), qui contribuent ainsi à la connaissance et à la diffu sion des expressions artistiques et culturelles de l’humanité. Elle est l’o rgane représentatif de l’ICTM en France.

Attending

Th anks to our partner institutions, attending the colloquiu m is entirely free for everyone.

Audien ce members (apart from staff and invited speakers) are welcome to share the collective meals, at their own expense.

Hotel

Invited participants are hosted at&nb sp;Hôtel Qualys Nanterre, 2, avenue Benoît Frachon 92000 Nanterre, T el. 01 46 95 08 08.
The hotel is within a few minutes walk from the RER A stop "Nanterre Ville". 
To plan your arrival, we suggest using the RATP route planner available here: http://www.ratp.fr/itineraires/en/ratp/recherche-avancee If you encounter any difficulties with the planner, please email us your travel details and we’ll check the best route for you.
Participa nts staying at the hotel will be provided upon their arrival with RER ticke ts for the daily commuting between the hotel and the university (1 stop).

It is also possible to walk the distance, should you prefer to do so.
Ea siest way to arrive, whether from Paris or from the hotel, is by RER A, stop "Nanterre Université". It is also possible to walk from the Hotel to the University (straight walk, ca. 20 min).
The colloquium takes plac e on the campus of Nanterre University, bui lding B, Salle des Conférences. Below is a map of the campus.

 

map qualys

 

map qualys fac< br />

2014 pla n du campusNanterre legende

 

Meals

Lunches will be served at the university’s restaurant on campus — the pink building on the map above, named Resto U.

Invited speakers arriving o n the 19th afternoon are invited for dinner at Hotel Qualys.
Dinners and vocal workshops on 2 0th and 21st will take place at th e "Ferme du Bonheur". This is just in front of the building marked "MAE" in green on the map (but it is not a component of the University, therefore i t doesn’t appear on the map).

Farewell dinner on 22nd will take plac e at Flam’s restaurant in Paris (Rue des Lombardshttp://crem-cnrs .fr/plugins/system/jcemediabox/img/zoom-link.gif); background-co lor: transparent; display: inherit; background-position: right center; back ground-repeat: no-repeat no-repeat;">).

The intention of t his colloquium on Liminal utterances is to discuss "hands on", with as many audio and video examples as possible. The Multimedia Presentations are an experiment in that direction. Presenters were invited to combine audiovisua l data and analysis in order to produce a (more-or-less) self-standing vide o file containing an argument or simply raising questions about the illustr ated sound practices. These files are available below. They will also be pl ayed during the conference, where each of them will be followed by extensiv e discussion sessions with their authors. Click on an image below to start a presentation (should open an popup with a HTML5 video).

Liminal utterances: multimedia presentations

Between Speech and Song: Liminal utterances of sadness i n Anatolia and the Caucasus

ESTELLE AMY DE LA BRETEQUE (CREM-LESC/CNRS, F rance)

This presentation explores the practice of melodized speech in the Caucasus and Anatolia. Taking as a case study the Yezidi Kurds in Armenia, it explains why this practice, linked to the narration of sad events, stand s at the border between speech and song in the local typology of vocal prod uction. On a wider area, the comparison of three case studies from fieldwor k conducted in Azerbaijan, Turkey and Armenia shows how elderly women integ rate melodized speech in daily conversations. Beyond religious, national an d linguistic differences, the similarity of these practices suggests a shar ed social-vocal nexus in Anatolia and the Caucasus.





The vocality of a religious poem among the Pom aks

Eftychia Droutsa — view the presentationEFTYCHIA DROUTSA (Iremus/University Paris 4 Sorbo nne, France)

 

This work q uestions “vocality”, that is the sound production of speech and song among the Pomaks through their religious poem called mevlud.

Dating from the 15th century, the mevlud< /em> is a poem attributed to the poet Suleyman Çelebi, in which he relates the birth, the life and the death of the Prophète Mohamed. It is written in osmanli (Othoman, ancient Turkish in arabic characters) in the poetic form of masnavi, structured in a series of versified distiches where each verse adheres on a metric regularity of eleven syllables. We find this poem amon g Pomaks, a mountain population, muslim and trilingual, who speaktheir own Slavic dialect - Pomak -, Greek and Turkish. They live in the north of Gree ce in the area of Thrace and are recognized officially as “a religious mino rity” by the Greek Government. Pomaks learn to read the mevlud, on which th ey adapt a repetitive motif borrowed, modified and customized according to individual preferences and abilities. However, most of them do not understa nd the literal meaning of the poetic text. It is in this particular context , where the words are detached from their litteral meaning and become a med ium for statement, that we will approach the duality of speech and song thr ough a sound editing, where the words are sung, whispered, muttered, recite d or simply said.





Devel opment of turn taking in vocal interaction between mothers and infants aged between 2 and 4 months

Click to play the presentationRUBIA INFANTI & EBRU YILMAZ (Laboratoire Ethologie, Cognition, Develo pment -EA 3456-, University Paris-West, France)

Infants are known to engage in conversation-like exchanges from the end of the second month after birth. These ‘protoconversations’ involve both turn-taking and overlapping vocalization. Previous research has shown that the timing of adult-infant turn-taking sequences is close to that of adult verbal conversation. The gap between turns in protoconversational exc hange seldom exceeds 500ms. It has also been shown that young infants adjus t the quality of their vocalization in response to the quality and timing o f adult vocalization. Furthermore, turn-taking exchanges often involve mutu al imitation of sounds, pitches and melodic contour. We present new evidenc e of the timing and temporal organization of turn-taking interaction betwee n mothers and 2 to 4-month-olds recorded in naturalistic contexts based on a corpus of recordings from 50 French dyads. All of them were recorded in n aturalistic contexts, in their home, when infants were in a quiet alert sta te. The entire sample comprised a total of 2943 vocalizations of which 748 (25.4%) were produced by the infants, 1851 (62.9%) were produced by the mot hers, and 344 were overlapping vocalizations (11.7%). In all, 489 turns tak ing sequences were identified. The quality and duration of infant vocalizat ions differed according to whether or not they were produced within a turn- taking sequence. Finally, length and number of turns were highly correlated between mothers and infants vocalizations.

[Coming soon…]





Sung assemblies or declaimed songs? The samburu soloists (Kenya) on the border between political discussion and musical ac tivity

Giordano Marmone — View the present ationGIORDANO MARMONE (CREM-LESC/Uni versity Paris West)

Among the Samburu of Kenya the leaders and the spokesmen of the warriors' age-grade, the so- called larikok, play a fundamental role in both political and musical domai ns. The oratorical skills of which they must be provided to protect the int erests of the warriors during the assemblies, core of the Samburu political system, also allow them to stand out as main soloists during the singing a nd dancing





 

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Ferdinand Brunot and the Archives de la Parole

François Picard — view the presentationFRANÇOIS PICARD (Iremus, U niversity Paris 4 Sorbonne, France)

T he Archives de la Parole or Spoken Archives have been founded by the French historian of French language and grammarian Ferdinand Brunot at Sorbonne u niversity in 1911. Using a Pathéphone phonograph, he recorded spoken or sin ging voices, he classified in main sections: I for “interprètes”, O for “or ateurs”, L for «langues”, D for “dialectes”. Taking it as a solid corpus, w e analyse it using digital tools according to the relation between pitch, i ntensity and timbre, and find it possible through strong descriptors to rec over local, culturally meaningful, categories. The question of whether this new categorisation could be universal will be asked.sessions. This double form of authority is based on what, among the Samburu, is considered as one of the essential features of male leadership: the ability of “dominating t he words” in all their forms, both sung and spoken. At the same time, this connection between political debate and soloist singing is not focused excl usively on the double social role of the larikok. The vocal technique that characterizes a big part of the Samburu's musical repertoire, in fact, is d efinable as a form of speech shaped around the rhythm of the dance. It conf ers to the melodic contour of the soloist's part the prosodic characteristi cs of the spoken language, making Samburu choral songs a sort of oratorical confrontation between soloists, very close, structurally and verbally, to the assemblies' debate scheme. The process of decision-making and the compo sition of the songs' lyrics lead, in both cases, to the creation of account s which aim to expose opinions and stories based on real events. But if dur ing the assemblies the speakers' purpose is to use their own charisma for t he political administration of the community as representatives of an age-g rade's or an age-set's interests, during the singing and dancing sessions t he soloists have the responsibility to stand for their age-group and share with the listeners the narrative of its collective memory, contributing to assert its presence within the society.

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