Structure, mouvement, raison graphique: le modèle affecté

Abstract

After a short introduction to clear up some specific terminological points, we assess the complex relationship between performance and notation. We look at two musical forms ; Turkish and Cuban, both of which have been widely described and written about in ethnomusicology, and both of which strongly link performance and apprenticeship to an oral tradition. Each of these forms seems to answer to a different logic : rhythmic development expresses itself in a horizontal and linear way in the case of Turkey, whereas Afro-Cubans privilege the vertical aspect of multi-rhythmical ­integration. What then are the links between sol-fa notation and the actual sound produced, that, thanks to modern instruments of today may be accurately apprehended? From a wider standpoint, our paper fits into problematic development connected to cognitive, musical anthropology. With this goal in mind, we question not only measurable musical production but also cultural categories such as the clave and the notion of territory in aksak rhythms.

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