{"id":2129,"date":"2024-08-23T21:30:04","date_gmt":"2024-08-23T19:30:04","guid":{"rendered":"https:\/\/www.samverlen.com\/?page_id=2129"},"modified":"2026-09-05T19:20:11","modified_gmt":"2026-09-05T17:20:11","slug":"recherches-musicales","status":"publish","type":"page","link":"https:\/\/www.samverlen.com\/index.php\/recherches-musicales\/","title":{"rendered":"Recherches musicales"},"content":{"rendered":"

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RECHERCHESMUSICALES<\/h1>\n

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MUSIQUES \u00c9LECTRONIQUES SUR DES INSTRUMENTS ACOUSTIQUES<\/strong><\/h3>\n

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\u00c0 l’heure du son uniquement digitalis\u00e9 et d\u00e9sincarn\u00e9, mon intention artistique est de composer des musiques IDM, n\u00e9o-classiques et ambient, utilisant les logiques et outils des musiques \u00e9lectroniques<\/strong> mais sur des instruments acoustiques<\/strong> pour une \u00e9coute non-amplifi\u00e9e, riche en dynamique, en souffle et naturellement spatialis\u00e9e.<\/span><\/p>\n

A cet effet, je pilote mes instruments automatis\u00e9s en MIDI, comme des synth\u00e9tiseurs ou bo\u00eetes \u00e0 rythmes, via des s\u00e9quenceurs logiciels sur ordinateur (Ableton Live + plugins d\u00e9di\u00e9s cr\u00e9\u00e9s sur Max4Live) habituellement utilis\u00e9s par des producteurs de musique \u00e9lectronique.\u00a0<\/p>\n

Cela me permet de cr\u00e9er mes boucles en direct, r\u00e9aliser de nombreux traitements<\/strong> midi sur-mesure avec les contraintes li\u00e9es aux instruments \u00e9lectro-m\u00e9caniques<\/strong> (\u00e9cho, arp\u00e9giateurs, tr\u00e9molos, filtrage, dur\u00e9e des notes, phasing, <\/span>dynamique, al\u00e9atoire, etc…).\u00a0<\/p>\n

Cela me permet \u00e9galement de piloter ces instruments avec toute sorte de contr\u00f4leurs physiques<\/strong>, rendant leur utilisation plus ludiques et accessibles \u00e0 tous.\u00a0<\/p>\n

Mes recherches sont, au d\u00e9part, de simples transpositions de concepts cl\u00e9s de musiques \u00e9lectroniques<\/strong> sur des instruments acoustiques. Elles s’\u00e9tendent d\u00e9sormais pour amener les instruments vers des territoires \u00e9loign\u00e9s des pratiques habituelles d’un musicien sur un instrument acoustique \u00e0 travers une recherche <\/strong>de textures et timbres originaux<\/strong>, issus de l\u2019hybridation entre mat\u00e9riaux<\/span> traditionnels (peaux, bois, m\u00e9tal) et modes de mise en vibration par les actionneurs m\u00e9caniques.\u00a0<\/span><\/p>\n

Ces recherches ouvrent un champ situ\u00e9 <\/span>\u00e0 la crois\u00e9e de la musique exp\u00e9rimentale, de la musique \u00e9lectronique et du sound design acoustique<\/span>, o\u00f9 l’instrumentarium \u00e9lectro-m\u00e9canique devient le m\u00e9dium artistique.<\/span><\/p>\n

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CR\u00c9ATION SUR-MESURE D’UN INSTRUMANTARIUM ATYPIQUE<\/h3>\n

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Au d\u00e9part pour la cr\u00e9ation du spectacle \u00ab\u00a0L’homme montagne<\/a>\u00ab\u00a0, puis progressivement pris au jeu de la recherche sonore et \u00e9lectro-m\u00e9canique, j’ai con\u00e7u des pierres sonores, contr\u00f4lleurs<\/strong>\u00a0et automates sonores<\/strong> MIDI.<\/p>\n

J’ai ainsi progressivement pu cr\u00e9er un instrumentarium vari\u00e9 et original<\/strong> pour des spectacles, concerts et installations sonores.\u00a0<\/strong><\/p>\n

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PERCUSSIONS<\/strong><\/span><\/h4>\n

Mes percussions ont \u00e9t\u00e9 r\u00e9alis\u00e9es avec\u00a0 le constructeur machiniste Fran\u00e7ois Marsollier, avec une attention particuli\u00e8re pour supprimer les bruits m\u00e9caniques, disposer d’une belle dynamique et v\u00e9locit\u00e9.
Afin de piloter par ordinateur des percussions <\/strong>actionn\u00e9s par des \u00e9lectro-aimants, des capteurs et\/ou des moteurs, j’ai cr\u00e9\u00e9 des modules \u00e9lectroniques et programm\u00e9s des micro-processeurs low-tech<\/strong>, tr\u00e8s peu consommateurs en \u00e9lectricit\u00e9 (Teensy \/ Arduino).
Les percussions jouant actuellement avec moi sur sc\u00e8ne :\u00a0
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– batterie<\/strong> en modules cubiques ind\u00e9pendants : grosse caisse, caisse claire (deux frappes plus rimshot), charleston, cymbale et tom basse. Ces percussions disposent d’une gestion de la dynamique pour des frappes plus r\u00e9alistes avec une prise en compte<\/span> de la v\u00e9locit\u00e9<\/span>).<\/span><\/p>\n

– calebasse<\/strong> frapp\u00e9e par une mailloche actionn\u00e9e par un \u00e9lectro-aimant pour r\u00e9aliser un son de grosse caisse (une fois sonoris\u00e9e)
– caisse claire<\/strong> frapp\u00e9e par dessous par un \u00e9lectro-aimant
– cercle \u00e0 cymbalette<\/strong> frapp\u00e9 par un \u00e9lectro-aimant
– cymbale<\/strong> crash frapp\u00e9e par dessous par un \u00e9lectro-aimant
– Air compress\u00e9 et filtr\u00e9<\/strong> rythm\u00e9 par des electro-vannes
– \u00c9oliphone<\/strong> (simulant le bruit du vent) actionn\u00e9 par un moteur
– Ventilateurs d’ordinateurs avec g\u00e9latines sur bois simulant le bruit d’un envol d’oiseau
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<\/strong><\/strong><\/strong>CONTR\u00d4LEURS MIDI
<\/span><\/strong><\/strong>J’ai \u00e9galement cr\u00e9\u00e9 diff\u00e9rents contr\u00f4leurs MIDI pour piloter mes dispositifs sonores :
– capteurs type fils ou tapis<\/strong> d\u00e9clenchant des envois midi
<\/span>– p\u00e9dales et boutons<\/strong> poussoirs MIDI<\/span><\/strong><\/strong><\/strong><\/span><\/strong><\/p>\n

– Montagne de la chance<\/strong>, instrument inspir\u00e9 du \u00ab\u00a0jeu du fakir\u00a0\u00bb en bois et permettant de g\u00e9n\u00e9rer de la musique al\u00e9atoirement. A partir de capteurs fin de course et d’une structure en bois r\u00e9alis\u00e9e en Fablab.<\/span>
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MODULES D’ORGUE A TUYAUX<\/strong><\/span><\/h4>\n

Actuellement, mes travaux de conception en \u00e9lectro-m\u00e9canique sonore se focalisent sur des modules d’orgue \u00e0 tuyaux transportables<\/strong> et disposant d’\u00e9lectro-aimants sous chaque tuyau, le rendant pilotable par ordinateur comme mes percussions.<\/p>\n

Depuis deux ans, j’ai la chance de participer, avec Fran\u00e7ois Marsollier \u00e0 l’am\u00e9lioration m\u00e9canique, esth\u00e9tique, fonctionnelle et logicielle de Phil\u00e9as<\/strong>, orgue modulaire cr\u00e9\u00e9 par Yves Yollant pour l’association Musiques Rive Gauche<\/a> de Dinard (avec des cartes \u00e9lectroniques cr\u00e9\u00e9es par Pascal Leray).<\/p>\n

Cet instrument a \u00e9t\u00e9 cr\u00e9\u00e9 \u00e0 partir de tuyaux, p\u00e9dalier et sommiers d’anciens orgues d’\u00e9glise et ont \u00e9t\u00e9 compl\u00e8tement \u00ab\u00a0re-conditionn\u00e9s\u00a0\u00bb (r\u00e9nov\u00e9s et adapt\u00e9s).\u00a0 La d\u00e9marche de Musique Rive Gauche que je partage est \u00e0 la fois p\u00e9dagogique et aussi de \u00ab\u00a0d\u00e9-construire\u00a0\u00bb l’image de l’instrument<\/strong> dont l’usage n’est souvent associ\u00e9 qu’\u00e0 la liturgie dans l’inconscient collectif. Il s’agit ici de pouvoir l’utiliser en dehors des \u00e9glises en y interpr\u00e9tant des r\u00e9pertoires vari\u00e9s (musique classique, jazz, chanson, \u00e9lectronique,…).<\/p>\n

PIERRES SONORES
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Sur des mat\u00e9riaux toujours diff\u00e9rents par essence, porteurs d’histoires telluriques, nous avons cr\u00e9\u00e9 des pierres sonores avec le tailleur de pierre Lo\u00efc Maillard<\/strong> (entreprise Maillard et maillard<\/a> \u00e0 Lanh\u00e9lin) pour mes spectacles\u00a0 et performances<\/a>. Inspir\u00e9s par les travaux du plasticien Pinnuccio Scola, nous avons effectu\u00e9 des entailles r\u00e9guli\u00e8res dans la pierre \u00e0 des profondeurs variables (pour obtenir des notes diff\u00e9rentes). Apr\u00e8s avoir exp\u00e9riment\u00e9 sans succ\u00e8s avec le \u00ab\u00a0Bleu de Lanh\u00e9lin\u00a0\u00bb (granit local), nous nous sommes tourn\u00e9s vers des pierres plus denses et notamment la Dol\u00e9rite que l’on trouve dans les champs en Ille et Vilaine. Datant du N\u00e9oprot\u00e9rozo\u00efque (entre 300 et 200 millions d\u2019ann\u00e9es), riche en fer (induisant un son assez m\u00e9tallique), cette pierre sombre et ocre \u00e0 rouille en patine de surface est tr\u00e8s r\u00e9sistante et est localement nomm\u00e9e la pierre de fer par les agriculteurs.<\/span><\/p>\n

En plus des cr\u00e9ations pour mes spectacles, nous commen\u00e7ons \u00e0 proposer des conceptions de pierres sonores sur-mesures pour l’espace public<\/strong> notamment avec le plasticien Heol Jeffroy<\/a>. Les pierres peuvent \u00eatre r\u00e9alis\u00e9es \u00e0 partir de mod\u00e8les 3D scann\u00e9s, d\u00e9tour\u00e9s par une machine et finis \u00e0 la main pour un rendu unique. De quoi laisser une carte postale sonore pour les g\u00e9n\u00e9rations futures !<\/p>\n

Enfin, mes exp\u00e9rimentations continuent pour la cr\u00e9ation de dispositifs sonores ludiques et interactifs bas\u00e9s sur de la r\u00e9cup\u00e9ration de pierres \u00ab\u00a0d\u00e9chets\u00a0\u00bb<\/strong> de l’entreprise Maillard et Maillard avec ici, une ma\u00eetrise du diapason de chaque \u00e9l\u00e9ment.<\/p>\n

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TRANS-DISCIPLINARIT\u00c9<\/h2>\n

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Mes cr\u00e9ations de spectacles et installations sonores privil\u00e9gient la trans-disciplinarit\u00e9 avec des disciplines scientifiques et artistiques<\/strong>: peinture, vid\u00e9o, th\u00e9\u00e2tre, danse… d’autres langues que celle de la musique mais qui viennent la nourrir et qui me permettent de r\u00eaver \u00e0 de nouvelles formes d’expressions.<\/span><\/p>\n

J’y d\u00e9ploie mes comp\u00e9tences musicales<\/strong> (composition, interpr\u00e9tation) et informatiques\/\u00e9lectroniques<\/strong> dans la recherche et cr\u00e9ation de musiques et dispositifs num\u00e9riques s’entrem\u00ealant avec le sensible \u00e0 la qu\u00eate d’une po\u00e9sie singuli\u00e8re<\/strong>.<\/p>\n

Avec notamment, ces derni\u00e8res ann\u00e9es:<\/p>\n

– les spectacles L’homme montagne<\/a>, Na\u00efk\u00f6 (peinture \/ vid\u00e9o),\u00a0<\/a><\/p>\n

– l’installation Algo-rythmes \/ Juke box 2.0<\/a><\/p>\n

– les expositions \u00ab\u00a0Confidences<\/a>\u00ab\u00a0, \u00ab\u00a0Racines<\/a>\u00ab\u00a0, \u00ab\u00a0P\u00e9pites<\/a>\u00ab\u00a0, \u00ab\u00a0Tisser des sons<\/a>\u00ab\u00a0<\/p>\n

\n

Mes d\u00e9marches artistiques s’inscrivent aussi dans une qu\u00eate de sobri\u00e9t\u00e9 num\u00e9rique<\/strong> (num\u00e9rique responsable), j’utilise \u00e0 cet effet de vieux ordinateurs (machines re-conditionn\u00e9es) et privil\u00e9gie les low-tech (peu \u00e9nergivores) dans mes cr\u00e9ations et ma d\u00e9marche de communication sur les r\u00e9seaux sociaux limite l’usage de la vid\u00e9o le plus possible.\u00a0\u00a0<\/p>\n

<\/span><\/p>\n

 <\/p>\n

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