Abstract

This paper observes the conditions of reception and understanding of music using the theoretical concepts of learning (Chevallard 1985; Brousseau 1998) adapted to the teaching of these various musics (Terrien 2006). We verify, in the light of an epistemological questioning, the nature of electroacoustic music, and if the didactic transposition (Verret 1975; Chevallard 1985) applied to Yan Maresz's Metallics allows us to understand the phenomena of music (listening, intention-reception: issues of perception and interpretation), and identify issues of language. Our contribution is a tool for reflection on a teaching approach that relies on new teaching methods in the teaching of this music.

Highlights

  • Today, no thought should be given to the arts without an analysis of the technical phenomenon: this argument cannot be ignored

  • We will offer a didactic analysis of Metallics, a musical piece by Yan Maresz, using some of these didactic tools

  • Our initial assumption was based on the fact that a thoughtful didactic analysis enables teachers specialized in electroacoustic music to better understand the nature and functions of this type of music, and to adjust their teaching methods to the target audience

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Summary

Introduction

No thought should be given to the arts without an analysis of the technical phenomenon: this argument cannot be ignored. In the case of electroacoustic music, listeners have only their ears to give meaning to what they have just heard, and meaning always draws on what listeners feel during the aural perception of music (Terrien, 2006) As for teachers, they have the same abilities and generally have deeper knowledge of musical phenomena thanks to their sensory 3, technical and scientific education. The epistemological nature of the piece is radically altered, whereas its function is hardly, if ever modified compared with other musical pieces belonging to the history of music This question of the nature of an electroacoustic piece is one of the major issues didactic teachers should deal with. We will conclude with an analysis and discussion of the teleological contribution to this new relationship between didactics and music in the sector of musical education, and more of electroacoustic music

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