Bio
Pt: Clément Canonne é pesquisador do CNRS e forma parte da equipe “Análise de práticas musicais” do IRCAM desde 2015. Suas pesquisas estão focadas principalmente na improvisação livre coletiva, trazendo perspectivas da etnografia e da psicologia experimental. Publicações recentes sobre esse assunto incluem trabalhos em diferentes revistas especializadas, como Cognition, Music Theory Online, Empirical Musicology Review, Revue de Musicologie, Psychology of Music e Journal of New Music Research. Tem também interesse na filosofia da música – em colaboração com Pierre Saint-Germier, traduziu para o francês dois volumes de ensaios do filósofo americano Jerrold Levinson (Vrin, 2015 e 2019) – e nas abordagens empíricas de questões estéticas. Atualmente, está trabalhando em dois projetos de grande escala: um projeto financiado pela ANR «Improvisação Musical e Ação Coletiva» (2018-2021), que tem como objetivo estudar a ação conjunta e a coordenação emergente através da prática da improvisação livre; e uma investigação etnográfica sobre os aspectos materiais das práticas instrumentais dos improvisadores em gêneros diferentes (barroco, jazz, arte sonora, improvisação libre e música tradicional).
En: Clément Canonne is a CNRS researcher in the « Analysis of Musical Practices » team at IRCAM since 2015. His researches are mainly focused on collective free improvisation, bringing perspectives from ethnography and experimental psychology. Recent publications on this topic include papers in Cognition, Music Theory Online, Empirical Musicology Review, Revue de Musicologie, Psychology of Music and Journal of New Music Research. He is also interested in the philosophy of music – in collaboration Pierre Saint-Germier, he has translated in French two volumes of essays from the American philosopher Jerrold Levinson (Vrin, 2015 & 2019)– and in the empirical approaches of aesthetic issues. He is currently working on two large scale projects: the ANR-funded project « Musical Improvisation and Collective Action » (2018-2021), which aims to study joint action and emergent coordination through the lens of free improvisation; and an ethnographic inquiry into the material aspects of improvisers’ instrumental practices across many different genres (baroque, jazz, sound art, free improvisation and traditional music).
Es: Clément Canonne es investigador del CNRS en el equipo de «Análisis de prácticas musicales» del IRCAM desde 2015. Sus investigaciones se centran principalmente en la improvisación colectiva libre, aportando perspectivas desde la etnografía y la psicología experimental. Las publicaciones recientes sobre este tema incluyen trabajos en diferentes revistas especializadas, como Cognition, Music Theory Online, Empirical Musicology Review, Revue de Musicologie, Psychology of Music y Journal of New Music Research. También tiene interés en la filosofía de la música – en colaboración con Pierre Saint-Germier, ha traducido al francés dos volúmenes de ensayos del filósofo estadounidense Jerrold Levinson (Vrin, 2015 y 2019) – y en los enfoques empíricos de cuestiones estéticas. Actualmente está trabajando en dos proyectos de gran escala: un proyecto, financiado por la ANR, llamado «Improvisación musical y acción colectiva» (2018-2021), cuyo objetivo es estudiar la acción conjunta y la coordinación emergente a través de la perspectiva de la improvisación libre; y una investigación etnográfica sobre los aspectos materiales de las prácticas instrumentales de los improvisadores en géneros diferentes (barroco, jazz, arte sonoro, improvisación libre y música tradicional).
The Cognition of Collective (Free) Improvisation
Most studies in the field of music cognition treat music as an abstract sonic structure, a “sound text” that is received, analyzed for syntax and form, and eventually decoded for content and expression. However, music is also something that people do, and often something that people do together, a creative activity whose meaning is generated in real-time as a result of the interactions between a series of agents. This collective and interactive dimension of music-making is perhaps most obvious in improvised music, such as jazz or free jazz. In this talk, I will thus present several studies centered on collective free improvisation in order to better understand how musicians manage to coordinate their actions and create music together when common knowledge between them is minimal.