Defining what constitutes research in the arts in general and research in music in particular is a perilous exercise, a subject that has already been the subject of numerous scientific reflections and international symposia. I don’t pretend to answer such a problematic here, but more simply to take you on a journey and share with you the subjects and questions that agitate me and set me in motion on a daily basis in my approach as a researcher and artist. Since the end of my doctoral thesis in Music (research and practice), I have had the opportunity to produce critical editions of various vocal pieces, to write articles devoted to musical or pedagogical practice and to work on the development of new forms of concert and mediation. Here, I will not only write about musicology or vocal learning, but I will also invite you to reflect on the way music is lived, shared or spread yesterday, today and tomorrow.
Building up the singing repertoire How do the singer’s repertoire and the repertoire of the singing discipline develop according to time and context? Introduction Table des matières
The melodies of Charles Bordes at the mutual edition Founder of the Schola Cantorum and composer of French melodies, Charles Bordes created in 1902 a collaborative music