著者

枝澤 康代

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.22, pp.64-74, 2005-03-31

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研究プロジェクト・論文 (Final research project reports)

著者

吉海 直人

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.7, pp.141-162, 1990-03-31

著者

椎名 亮輔

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.19, pp.93-107, 2002-03-31

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The strategy of Luc Ferrari (1929 -), a French contemporary composer, in bewildering his listeners, consists among other things, of scattering autobiographical references in his work. As Philippe Lejeune points out, in reading an autobiography we must make contract with the author : we must acknowledge that the author really exists, and that it was he who realized these texts. Here we encounter the reality that extends behind the artistic work itself. With Ferrari, through his autobiography, we are led to an extra-musical world. His interest in the extra-musical world had already begun with his early "concrete" works in the 50's. The "musique concrete" is constructed with sound material from the real environment, material that the composer records, manipulates and fixes directly on disk or tape. Although manipulated in this way, the sounds keep their original character : the listeners easily understand which sounds he uses, so that the sounds do not remain a merely physically but are carriers of some meaning. Ferrari takes advantage of the variety of meanings, carried in this way by the auto-biographical, or the "concrete" character of the sounds. But this is not all : our tendency to listen to music as absolute music - to listen only to the sounds without reading the literal explanation in the case of lieder, operas or program music - is of no use, because our attention is immediately disturbed by the pornographic photos on the jacket of his LP disk, Cellule 75,for example. If Mikel Dufrenne is right saying that before the appiarance of writing the arts had their origin in the memory, and that the mother of arts is at the same time the goddess of memory (Mnemosyne, mother of Muses), the position of Ferrari is very significant because he continuously tries to bring the maximum of the senses to the sound works, despising the written level : surcharging the meaning of sounds, written texts, photos, films, radio dramas, installations... as if he returned to the origin of the music, memory. As for memory, according to the research of Paul Ricoeur, the Greeks distinguished two kinds : mneme, simple remembering, and anamnesis, recollection, i. e. spiritual movement for recollecting. The Greeks were conscious of the fact that it is us who make the memory, not the memory which returns to us, a fact on which, in the domain of neuro-psychology, Israel Rosenfield is insisting today. And in the artistic domain, we can say that there are authors who create so to say "new memory" for us, who appreciate it and experience it as if we lived this memory, as "our" autobiography. Among others it is Luc Ferrari and his music which bring us this kind of artistic experience, out of the traditional esthetic criteria.