Communication

The territory as a component of the production of music: what impact in the mediation devices?

How, in mediation devices aimed at involving audiences in the process of creation or interpretation, can the territory be considered as a component of the production of music – a space in which and not on which values, by actions, musical in particular, are constantly being re-manufactured? Taking the dual view of an anthropologist and a musician involved in the training of music teachers, I observe how collectives, ephemeral or instituted, coordinate through operations of negotiation, adjustment, stabilization, to make a territory exist while they manufacture a musical practice. From case studies, I question how the framing of musical contexts as well as the artistic manipulation of its stakes by a plural group promotes both intercultural dialogue and the development of new territorialized musical procedures, significantly modifying the music implemented. and its possible support methods.

Biography

Karine Hahn is head of the pedagogy department, training in specialized music education at the National Conservatory of Music and Dance in Lyon. A harpist by training, she holds the National Diploma of Higher Musical Studies from the CNSMDL, and Certificates of Aptitude for music teacher and conservatory management.

Doctoral student in sociology-anthropology (under the direction of Emmanuel Pedler, Center Norbert Elias, EHESS Marseille), her research question concerns the articulation between musical practices and territory (“The [re]sonant practices of the territory of Dieulefit [Drôme], another way of making music: implications, commitments, and theorizing through the ordinary making of music”).

As a musician, Karine Hahn is involved in various collectives (PaaLabRes – action research on nomadic and transversal practices; Inouï production; VMC – Giacomo Spica) focusing on linking musical practice and reflexivity, creation, and actor involvement. various artists during creative residencies.