The Japanese musician in France or the franco

The Japanese musician in France
or the franco-japanese musical relations
Abstract
At the opening of the Meiji era, at the late XIXth century, the training of Japanese musicians had
been subjected to the cultural and political constraints of the western countries. Given a choice
between the European education, mainly dominated by the Germanic and French schools, or the
teaching influenced by the United States of America, the Japanese musician sometimes had to learn
with the risk of loosing his own cultural identity. However, Japanese artists seems to have
maintained the ontology of their music, while having assimilated some of the Western cultures
characteristics. Conversely, early in the twentieth century, some European musicians found
inspirations in the Japanese culture, inspirations that could give a new life to a musical discourse
that seemed to wither between dogmatic struggles and the exhaustion of their society. The
relationships between Japanese musicians and France in this context will be the subject of those
first days of reflexion, to be held at the Conservatoire de Paris (Paris Conservatoire).
Announcement
International Colloquium « The Japanese musician in France and in the USA, the play of
mutual influences », Aix Marseille Université, Université Paris Sorbonne, Université MarneLa-Vallée, INA-GRM et le Conservatoire de Paris (CNSMDP), the february 4th, 5th and 6th of
2016.
At the opening of the Meiji era, at the late XIXth century, the training of Japanese musicians had
been subjected to the cultural and political constraints of the western countries. Given a choice
between the European education, mainly dominated by the Germanic and French schools, or the
teaching influenced by the United States of America, the Japanese musician sometimes had to learn
with the risk of loosing his own cultural identity. However, Japanese artists seems to have
maintained the ontology of their music, while having assimilated some of the Western cultures
characteristics. Conversely, early in the twentieth century, some European musicians found
inspirations in the Japanese culture, inspirations that could give a new life to a musical discourse
that seemed to wither between dogmatic struggles and the exhaustion of their society. The
relationships between Japanese musicians and France in this context will be the subject of those
first days of reflexion, to be held at the Conservatoire de Paris (Paris Conservatoire).. A second
colloquium will be held in Japan and discuss the impact of Western culture on the Japanese
composition, performance, education and music scene, and the impact of the discovery of Japanese
culture on Western musicians. A third symposium will be held in Canada that address the reciprocal
influences between Japan and North America (Canada, USA) in the twentieth and twenty-first
century.
At the first conference organized in France, we would like to discuss the influence of the French
musical world (musical institutions, composers and performers) on Japanese musicians from the
Meiji era to the present. We will address the four following topics :
Composition and musical creation
Interpretation
Musicology
Pedagogy
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Coming in France, are the Japanese musicians only seeking to reach any specific musical skills?
Why a young Japanese musician chooses France to further his musical education? Are there specific
compositional properly French, some national skills? What kind of roles may have our major
musical institutions in this attraction? These questions are to be asked in all the areas listed above,
and should provide further insights into the mutual links of our stories. In this first symposium, we
will focus on the reasons for such an appeal of French music on the Japanese musicians, and the
marks they may have left, not forgetting the impact that may have had in turn the Japanese
musicians on the French ones.
Each topic is declined into some directions for the scheduling of these first days :
a) Composition and musical creation :
- influences of french music on japanese music
- between musical notation and musical thought
- composition teacher's role;
- stylistic trends influences;
- contemporary institutions influences (GRM, IRCAM, etc.)
- creation centers
- why coming in France to study ?
b) Interpretation
- great masters and performers influences
- expressivity influences, or the French school myth
- influences of the French way of conducting
- competitions roles
- analysis and technics
- chamber music interpretation
c) Musicology
- influence of French musicology, from Maurice Emmanuel to the present
- some sights on the french patrimony
- a french methodology
- musicologic exchanges between France and Japan
d) Pedagogy
- influences of French pedagogical models on the japanese pedagogy
- influences of the French musical institutions on Japanese institutions
- the role of the Japanese students in French insitutions
- which academical teaching program for which music professional
- comparison of the French and the Japanese musical pedagogies
- influence of the interpretation, composition and solfege pedagogies on Japanese musicians
Bibliography :
Burt, Peter, The Music of Tōru Takemitsu, Cambridge, Cambridge University Press, 2006, 308 p.
Chen, Hui-Mei, « L'osmose de la culture traditionnelle et de l'écriture occidentale dans deux œuvres
pour flûte seule d'Isang Yun et Yoshihisa Taïra », mémoire de Dea, sous la direction d’Hugues
Dufourt, Ircam/Sorbonne, 1997.
Chen, Hui-Mei, Les influences et les sources d'inspiration de la musique de Yoshihisa Taïra, thèse
de doctorat, sous la direction de Marc Battier, Paris-Sorbonne, 2007.
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Dissonance n° 86, Mai 2004, Zurich, Association Suisse des Musiciens.
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Interpretation of Music Vol.44), Lampeter, The Edwin Mellen Press, 1994, 158 p.
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2002, 357 p.
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(Avril 2004), p. 14-22
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N°228 (Avril 2004), p. 14-22
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Publications Orientalistes de France, 2001, 175 p.
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Ircam, 188 p., extraits publiés in Perspectif of Music, vol. 30, n° 1, 1992, p. 22-32, vol. 30, n° 2,
1992, p. 60-63, vol. 31, n° 2, 1993, p. 172-177.
Shiono, Eiko, « Yoshihisa Taïra : un compositeur japonais dans la France d'aujourd'hui », mémoire
de maîtrise, Paris-Sorbonne, sous la direction de Danièle Pistone, 1995.
Tamba Akira et Imamichi Tomonobu (éd. ), L’Esthétique contemporaine du Japon : Théorie et
pratique à partir des années 1930, Paris, CNRS, 1997.
Tamba Akira, Musiques traditionnelles du Japon, Paris, Cité de la Musique/Actes sud, 1995, 2001
(nouvelle édition), 160 p.
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388 p.
Yamada, Shōji, Shots in the dark : Japan, Zen and the West (traduit du japonais par Earl Hartman),
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Terms
The lectures proposals (written in French or in English) have to be sent as an abstract of 1500 signs,
a developped text of 5000 signs (with spaces), and with a short curriculum vitae, at :
[email protected],
[email protected],
[email protected],
[email protected]
before the : 15th of february 2015.
Results will be announced before the 30th of May 2015.
Symposium will be held from thursday 4th to saturday 6th in Paris.
Scientific team :
Marc Battier, Université Paris-Sorbonne
Hui-Mei Chen, Université de Taïwan
Inoué Satsuki, Université Aichi-Geidai
Osamu Tomori, Université de Kunitachi
Laurent Pottier, Université de Saint-Etienne
Yves Balmer, Ecole normale supérieure de Lyon, Conservatoire de Paris (CNSMDP)
Friedemann Sallis, Université de Calgary
Denis Huneau, Université catholique de l’Ouest
Fabrice Marandola, McGill University
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Christopher Moore, Université d’Ottawa
Kevin Dahan, Université de Marne-La-Vallée
Pascal Terrien, Aix-Marseille Université, Conservatoire de Paris (CNSMDP)
Nicolas Donin, IRCAM, Paris
James Giroudon, GRAME, Lyon
Bruno Mantovani, compositeur & Directeur du Conservatoire de Paris
Daniel Truggi, compositeur et directeur de l’INA-GRM
Hope Lee, compositrice Canada (sous réserve d’acceptation)
David Eagle, compositeur, Canada
Susumu Yoshida, compositeur
Misato Mochizuki, compositrice
Malika Kishino, compositrice
Claude Ledoux, compositeur
Allain Gaussin, compositeur
Alain Poirier, Conservatoire de Lyon (CNSMDL)
Emmanuel Ducreux, Conservatoire de Lyon (CNSMDL)
Serge Cyferstein, Conservatoire de Paris (CNSMDP)
Yuko Sonoda, Professeur de piano C.A.
Tamamo Nagai, Doctorante, Paris-Sorbonne
Nicolas Munck, CNSMD de Lyon, Doctorant Université de Saint-Etienne
Florent Caron-Darras, CNSMD de Paris
Organization team :
Pascal Terrien, Aix Marseille Université (EA 4671-ADEF), Conservatoire de Paris (CNSMDP)
Florent Caron-Darras, CNSMD de Paris
Nicolas Munck, Doctorant Université de Saint-Etienne, Conservatoire national supérieur de
musique et de danse de Lyon
Tamamo Nagai, Doctorante, Paris-Sorbonne
Yuko Sonoda, Professeur de piano C.A.
Place :
Conservatoire de Paris, 229 avenue Jean Jaurès, Paris 75019, Université de Marne-la-Vallée,
Université de Paris Sorbonne.
Date :
Symposium will be held from thursday 4th to saturday 6th in Paris.
Key Words:
Music, Music Creation, Music Performance, Training and Pedagogy, Musicology, Sociology
Contacts:
Pascal Terrien : [email protected]
Nicolas Munck : [email protected]
Tamamo Nagai : [email protected]
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Florent Caron-Darras : [email protected]
Yuko Sonoda : [email protected]
With this exchange program, a second workshop is planned in Kunitachi College of Music, Tokyo,
on 13 and 14 May 2017. The date of the Canadian conference will be announced later.
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