{"id":7360,"date":"2025-01-25T14:00:41","date_gmt":"2025-01-25T13:00:41","guid":{"rendered":"https:\/\/utla.univ-pau.fr\/site\/?p=7360"},"modified":"2025-05-19T19:31:15","modified_gmt":"2025-05-19T17:31:15","slug":"le-dialogue-musical-ou-comment-les-compositeurs-evoquent-ils-lalterite-dans-loeuvre-musicale","status":"publish","type":"post","link":"https:\/\/utla.univ-pau.fr\/site\/?p=7360","title":{"rendered":"Le dialogue musical ou comment les compositeurs \u00e9voquent-ils l&rsquo;alt\u00e9rit\u00e9 dans l&rsquo;\u0153uvre musicale ?"},"content":{"rendered":"<div class=\"page\" title=\"Page 19\">\n<div class=\"section\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>Le dialogue est pre\u0301sent a\u0300 l\u2019inte\u0301rieur me\u0302me du discours musical : entre un soliste et un groupe, dans un duo ou un trio d\u2019ope\u0301ra, ou entre plusieurs voix dans une polyphonie.<\/p>\n<p>Bernard Arbus, pianiste et confe\u0301rencier, interroge ici la notion d\u2019alte\u0301rite\u0301 dans la musique, ou comment une seule forme musicale peut parvenir a\u0300 faire coexister plusieurs identite\u0301s, plusieurs personnages en son sein.<\/p>\n<p>A\u0300 travers l\u2019exemple du concerto, et sur des \u0153uvres de Jean-Se\u0301bastien Bach, Wolfgang- Amadeus Mozart et Sergue\u00ef Rachmaninoff, il tente de proposer quelques re\u0301ponses a\u0300 ces questions.<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>&nbsp;<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Le dialogue est pre\u0301sent a\u0300 l\u2019inte\u0301rieur me\u0302me du discours musical : entre un soliste et un groupe, dans un duo ou un trio d\u2019ope\u0301ra, ou entre plusieurs voix dans une polyphonie. Bernard Arbus, pianiste et confe\u0301rencier, interroge ici la notion d\u2019alte\u0301rite\u0301 dans la musique, ou comment une seule forme musicale&#8230; <a href=\"https:\/\/utla.univ-pau.fr\/site\/?p=7360\" class=\"readmore\">lire la suite\u2026<span class=\"screen-reader-text\">Le dialogue musical ou comment les compositeurs \u00e9voquent-ils l&rsquo;alt\u00e9rit\u00e9 dans l&rsquo;\u0153uvre musicale ?<\/span><span class=\"fa fa-angle-double-right\" aria-hidden=\"true\"><\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":7361,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[58],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=\/wp\/v2\/posts\/7360"}],"collection":[{"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7360"}],"version-history":[{"count":4,"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=\/wp\/v2\/posts\/7360\/revisions"}],"predecessor-version":[{"id":7370,"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=\/wp\/v2\/posts\/7360\/revisions\/7370"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=\/wp\/v2\/media\/7361"}],"wp:attachment":[{"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7360"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7360"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/utla.univ-pau.fr\/site\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7360"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}