Soutenance de thèse de Jean-Luc Amestoy
le 24 novembre 2016
Brad Mehldau et le lâcher-prise / Une approche comportementale de l’improvisation musicale
- Jésus Aguila, professeur, Université Toulouse Jean Jaurès
- Laurent Cugny, professeur, Université Paris 4 Sorbonne
- Jean-Louis Deneubourg, professeur, Université libre de Bruxelles
- Ludovic Florin, maître de conférences, Université Toulouse Jean Jaurès
- Richard Fournier, professeur, Université Toulouse 3 Paul Sabatier
- François Madurell, professeur, Université Paris 4 Sorbonne
Mots clés : Brad Mehldau, improvisation, jazz, comportements collectifs, émergence, modélisation de la complexité, auto-organisation, lâcher-prise.
Currently, the musicology of improvisation essentially highlights the intentional part of an artistic project ; our thesis starts with a quite distinct approach, looking at improvisation as a complex process, with a self-organization dimension inspired of the way biologists analyse collective behaviors in animal societies. These behaviors are todays perceived as the result of combined statistical processes at the individual scale, with numerous inter-individual interactions, amplifications, and non linear loops. Such an analysis of observed natural phenomena led biologists and physicists to introduce and set-up concepts and tools that we use here to propose a modeling approach adapted to Musicology. We start with musical intuitions to propose a description of the perceptions and actions of the improviser that puts forward the deep interaction between what is made of pre-builded knowledge and intention, on one side, and of « tuning random behaviors », on the other. This modeling approach is carried out on two transcriptions of the american pianist Brad Mehldau. With the first piece (Am Zauberberg), we fully describe the iterative process leading from the poorest model to the need of incorporating hand-gestures. With the second piece (Bard), we dress the question of improvising harmony, each voice being conceived as animated of its own displacement rules, but spatially constrained by the others. We conclude by opening up prospects of experiments inspired by these models, some concerning the teaching of improvisation, others aiming at better understanding the process by which a musician seeks to incorporate to his play more « letting go », at the heart of what improvisation is about.
Keywords : Brad Mehldau, improvisation, jazz, collective behavior, emergence, complexity modeling, self-organization, letting go.
- Lieu(x) :
- Université Toulouse Jean Jaurès
Bâtiment du Gai Savoir - Département Musique