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<dc:title xml:lang="fr">Les temps discordants de la musique : Une alternative à l'homogénéité du temps dominant, un enjeu de l'enseignement musical</dc:title>
<dcterms:alternative xml:lang="en">The discordant times of musicAn alternative to the homogeneity of dominant time : an issue in music education</dcterms:alternative>
<dc:subject xml:lang="fr">Musique</dc:subject>
<dc:subject xml:lang="fr">Pédagogie musicale</dc:subject>
<dc:subject xml:lang="fr">Temps</dc:subject>
<dc:subject xml:lang="fr">Organisation temporelle</dc:subject>
<dc:subject xml:lang="fr">Rythmes</dc:subject>
<dc:subject xml:lang="fr">Individuation</dc:subject>
<dc:subject xml:lang="en">Music</dc:subject>
<dc:subject xml:lang="en">Music education</dc:subject>
<dc:subject xml:lang="en">Time</dc:subject>
<dc:subject xml:lang="en">Temporal organisation</dc:subject>
<dc:subject xml:lang="en">Rhythms</dc:subject>
<dc:subject xml:lang="en">Individuation</dc:subject>
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<dcterms:abstract xml:lang="fr">A partir d’une analyse en immersion de pratiques musicales à vocation sociale au Venezuela et en Ecosse (El Sistema), la question de la perception du temps s’est imposée à moi comme essentielle à penser en tant qu’enseignante en conservatoire et musicienne. La musique entretient en elle-même un rapport étroit au temps, et l’utilisation du temps est devenue aujourd’hui une question politique cruciale sur deux aspects : dans notre vie quotidienne et dans les rapports de production.&#8232;&#8232; Je pose donc l’hypothèse qu’un travail de la musique peut modifier notre rapport au temps et au monde, dans une visée à la fois éthique et politique.&#8232; J’analyserai les formes de temporalités (ou de temporalisations) qui sont développées par des penseurs (philosophes, historiens, sociologues, physiciens...) qui cherchent à sortir de l’urgence du temps imposée par notre société capitaliste, et qui encouragent l’anticipation, l’imagination, plutôt que la planification perpétuelle qui ne laisse aucune place – ou si peu, à l’individuation.&#8232; Je suppose que la pratique de la musique, si elle est pensée dans ce sens, permet aux rythmes propres de chacun de s’exprimer (idiorrythmie), et de travailler un autre rapport au temps, et par là à l’apprentissage, à soi-même, aux autres. &#8232;&#8232;Il relève donc de la responsabilité de l’enseignant de penser un autre enseignement de la musique y compris au sein d’un environnement institutionnel.</dcterms:abstract>
<dcterms:abstract xml:lang="en">The opportunity I had to analyse socially oriented musical practice in Venezuela (El Sistema) and Scotland rose the question of time perception. From a music teacher's and performer's perspective, the matter seemed to be essential.Thus, from an ethical and political angle, I formulate the hypothesis that musical practice can influence our relation to time and to the world. I analyse different forms of temporality (or temporalisation) as developed by thinkers (philosophers, historians, sociologists, physicists...) who tried to think outside of the frame of time as an urgency, as it is imposed by capitalist society. These thinkers advocate anticipation and imagination, rather than the perpetual planification of time that leaves very little space, if any at all, to individuation.I suppose that musical practice, if considered this way, allows the expression of individual rhythms (idiorrhythmy). It also helps shaping another relation to time and, consequently, to learning, to oneself and to others.Therefore, it is the teacher's responsibility to design a new form of musical teaching, even within the institutions.</dcterms:abstract>
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