Calenda - Satie, cent ans d鈥檋茅ritage

<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="fr" lang="fr"> <head> <meta http-equiv="Content-type" content="text/html; charset=utf-8" /> <meta http-equiv="Content-language" content="" /> <link rel="shortcut icon" type="image/x-icon" href="favicon.ico" /> <title>Calenda - Satie, cent ans d鈥檋茅ritage</title> <link rel="stylesheet" type="text/css" href="https://static-origin.openedition.org/openbarre_/styles/main.css?date=2018-11-06" /> <link rel="stylesheet" type="text/css" href="css/screen.css" media="screen, print" /> <link rel="stylesheet" type="text/css" href="css/print.css" media="print" /> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <meta name="twitter:card" content="summary" /> <meta property="og:type" content="article" /> <meta name="twitter:site" content="@calendaSHS" /> <meta property="og:url" content="https://calenda.org/1229887" /> <meta property="og:title" content="Satie, cent ans d鈥檋茅ritage" /> <meta property="og:description" content="Le colloque propose une réflexion sur l’héritage de Satie aux XXe et XXIe siècles, en favorisant la comparaison entre différents répertoires et expériences, dans une perspective pluridisciplinaire...." /> <meta property="og:image" content="https://calenda.org/images/favicon_150x150.png" /> <meta name="DC.rights" content="https://creativecommons.org/publicdomain/zero/1.0/" /> <meta name="viewport" content="width=device-width, initial-scale=1, shrink-to-fit=no"></head> <body> <div id="ob-breadcrumb" class="ob-breadcrumb-calenda"> <div class="container"> <a href="https://calenda.org">Accueil</a><a href=""><span>Satie, cent ans d鈥檋茅ritage</span></a> </div> </div> <div id="wrapper"> <div id="content"> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <div class="colwrapper"> <div id="icon" class="column"> <h2><a href="search?primary=ftype&ftype=40">Appel 脿 contribution</a><span><a href="search?primary=fsubject&fsubject=228">Histoire</a></span></h2> <div id="tabledates"> <h2>Dates</h2> <div class="list_dates"> <div class="unique_date highlight"> <div class="day"><a href="search.html?primary=fdate&fyear=2025&fmonth=04&fday=30">30</a></div> <div class="month"><a href="search.html?primary=fdate&fyear=2025&fmonth=04">avr</a></div> <div class="year"><a href="search.html?primary=fdate&fyear=2025">2025</a></div> </div> </div> </div> <div id="listcategories"> <h2>Cat茅gories</h2> <ul> <li><a href="search?primary=fsubject&fsubject=260">Pens茅e</a></li> <li><a href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=269">Litt茅ratures</a></li> <li><a href="search?primary=fsubject&fsubject=278">Histoire de l'art</a></li> <li><a href="search?primary=fsubject&fsubject=280">脡tudes visuelles</a></li> <li><a href="search?primary=fsubject&fsubject=317">脡poque contemporaine</a></li> <li><a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a></li> </ul> </div> </div> <div id="document" class="column"> <div id="main"> <div class="titles"> <h1 class="origt"><a href="1229887">Satie, cent ans d鈥檋茅ritage</a></h1> <h2 class="origt">Satie 2025. One hundred years of heritage</h2> <h2 class="origt">Satie 2025. Cento anni di eredit脿聽</h2> </div> <div class="mapuce2">*  *  *</div> <p id="pubdate"> Publi茅 le mardi 11 f茅vrier 2025 </p> <div id="texte"> <div id="resume"> <p class="intitule">R茅sum茅</p> <div id="resume-1229887-fr" class="tabContent" lang="fr" xml:lang="fr"> <p style="text-align: left;">Le colloque propose une réflexion sur l’héritage de Satie aux XX<sup>e</sup> et XXI<sup>e</sup> siècles, en favorisant la comparaison entre différents répertoires et expériences, dans une perspective pluridisciplinaire. Il sera également question de poser le problème en termes transdisciplinaires étant donné la propension de l’auteur à élargir les frontières sémantiques et esthétiques de la musique elle-même. Cette perspective élargie ne devra cependant pas exclure l’interrogation purement musicologique et sont attendues des contributions novatrices – surtout dans le domaine analytique – en vertu des compétences spécifiques exprimées par le partenariat avec les Conservatoires de Turin et Catane. </p> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div class="tabMenu"><a href="#annonce-1229887-fr" hreflang="fr" class="active">Fran莽ais</a> <a href="#annonce-1229887-en" hreflang="en">English</a> <a href="#annonce-1229887-it" hreflang="it">Italiano</a> </div> <div id="annonce-1229887-fr" class="tabContent" lang="fr" xml:lang="fr"> <p class="MsoNormal" style="text-align: left;">Honfleur 31 octobre, Turin 5-6 décembre, Catane 9-10 décembre</p> <h1 class="MsoNormal">Argumentaire</h1> <p class="MsoNormal" style="text-align: left;">Colloque international organisé par la Section Musique et Média (département d’Études Humanistes de l’Université de Turin), par le Département de Théorie, analyse et musicologie du Conservatoire de musique « G. Verdi » de Turin et le Conservatoire de musique « V. Bellini » de Catane, en collaboration avec l’Institut de recherche en Musicologie (IreMus), Sorbonne Université, le projet “Correspondencias entre la música y la literatura en la Edad de Plata II” (MULICO2)  de l’Université Complutense de Madrid (UCM), la Società Italiana di Analisi e Teoria Musicale – GATM et la ville de Honfleur avec les Maisons Satie et le musée Eugène-Boudin.</p> <p class="MsoNormal" style="text-align: left;">Cent ans après la mort d’Erik Satie (1925), les études spécifiques demeurent toujours intenses et surprenantes. Tout en étant bien enracinée, du point de vue biographique, dans le XIXe siècle, la poétique visionnaire du compositeur a inspiré les générations postérieures, constituant un héritage remarquable, de Debussy et des Six, aux recherches sur le minimalisme américain, en passant par les ré-élaborations de la culture musicale pop.</p> <p class="MsoNormal" style="text-align: left;">La prédisposition naturelle à la réflexion interdisciplinaire du répertoire spécifique nous amène à considérer le rapport avec le théâtre, la danse et le cinéma, à partir des expériences pionnières de Parade (1917) et Entr’acte (1924) : il s’agit de deux &oelig;uvres engendrées par des systèmes de forces imposant une analyse stratifiée rendue possible par le dialogue entre des domaines d'étude différents quoique complémentaires.</p> <p class="MsoNormal" style="text-align: left;">Le colloque veut encourager ce dialogue à travers la rencontre entre musicologues et spécialistes dans les domaines de la danse, du théâtre, du cinéma muet, de la littérature et des arts plastiques. Le cas de Satie a toujours incarné un équilibre significatif entre ces composantes, nécessitant des connaissances et des compétences diverses afin d’atteindre une compréhension critique adéquate. De récentes études continuent à le prouver, privilégiant les stimuli d'une observation multidimensionnelle, générée par une poétique complexe, souvent difficile à déchiffrer dans ses intentions les plus profondes. Cette spécificité stylistique doit sans doute beaucoup à la complexité du contexte parisien dans lequel le répertoire a pris forme, favorisant le croisement des arts. En effet, cette imbrication a souvent trouvé des convergences au sein de certaines communautés intellectuelles, décisives pour la maturation de la pensée de Satie, telles le cercle ésotérique de la Rose-Croix, la direction des Ballets Russes, l'atmosphère antiacadémique du Chat Noir, la Librairie de l’Art Indépendant d’Edmond Bailly, le salon de la Princesse de Polignac, le groupe des dadaïstes ou le mouvement socialiste naissant ; autant de pensées différentes, également utiles pour comprendre l'éclectisme substantiel d'un compositeur inclassable sous une étiquette contraignante.</p> <p class="MsoNormal" style="text-align: left;">Le colloque propose une réflexion sur l'héritage de Satie aux XXe et XXIe siècles, en favorisant la comparaison entre différents répertoires et expériences, dans une perspective pluridisciplinaire. Il sera également question de poser le problème en termes transdisciplinaires étant donné la propension de l'auteur à élargir les frontières sémantiques et esthétiques de la musique elle-même. Cette perspective élargie ne devra cependant pas exclure l’interrogation purement musicologique et sont attendues des contributions novatrices – surtout dans le domaine analytique – en vertu des compétences spécifiques exprimées par le partenariat avec les Conservatoires de Turin et Catane. C'est précisément cette collaboration qui garantira également une dimension performative à l'événement, en impliquant les élèves de différentes classes dans quelques interprétations de la production Satiste. </p> <p class="MsoNormal" style="text-align: left;">Les pistes d'investigation (non limitatives) proposées par le comité scientifique pourraient être les suivantes :</p> <ul> <li class="MsoNormal">La relation avec le cinéma muet. La réflexion autour d'Entr'acte encourage une évaluation de l'héritage laissé par une &oelig;uvre pionnière sur les expériences ultérieures, y compris l'histoire de la musique de film ;</li> <li class="MsoNormal">Les contacts avec l’ésotérisme. L'appartenance documentée de Satie à l'ordre de la Rose-Croix nécessite un examen historique plus approfondi, en relation avec la pratique compositionnelle ;</li> <li class="MsoNormal">La transformation de la dramaturgie musicale. Le rôle central de Parade, dans le cadre de la réflexion esthétique de la fin des années 1920, suppose des sensibilités complémentaires, du Surréalisme au Dadaïsme. Les recherches engendrées par l'&oelig;uvre de Cocteau ont produit des transformations dans le domaine du théâtre et de la danse, méritant, cent ans plus tard, d'être ré-examinées ;</li> <li class="MsoNormal">La recherche sur l’humour. La propension bien connue du compositeur pour la drôlerie musicale contenue dans certaines de ses &oelig;uvres permet de poursuivre une investigation des méta-textes des partitions ou de sa correspondance, en initiant de pertinentes comparaisons avec les développements de l'écriture musicale et littéraire jusqu'à nos jours ;</li> <li class="MsoNormal">L’analyse musicale. L'apparente simplicité de l'écriture de Satie exige une application structurée des récentes méthodes d’analyse de la musique post-tonale ayant fait l'objet de recherches et de systématisation au cours des dernières années ;</li> <li class="MsoNormal">La réflexion esthétique. La nature ontologiquement complexe de la production de Satie favorise des réflexions transdisciplinaires favorisant la réinterprétation des frontières conventionnellement attribuées à la discipline musicale ;</li> <li class="MsoNormal">L’interprétation musicale. La confrontation avec les interprètes, ainsi que l'évaluation comparative des interprétations disponibles, méritent une mise à jour des investigations, grâce à une approche appropriée, afin d'offrir une vue d'ensemble diachronique des transformations ayant eu lieu au fil du temps ;</li> <li class="MsoNormal">Les arts figuratifs. Les recherches récentes ont mis en évidence des relations pertinentes entre Satie et les artistes de la scène parisienne contemporaine qui méritent d'être approfondies de manière interdisciplinaire.</li> <li class="MsoNormal">La dimension synesthésique et sensorielle.  Sons, couleurs, évocations d’images, de paysages ou d'émotions par le choix des titres et des méta-textes des partitions sont autant de correspondances sur lesquelles s’appuie l'&oelig;uvre de Satie. Ces relations seraient intéressantes à explorer à l’aune de son ancrage artistique et littéraire du XIXe siècle jusqu’au XXIe siècle.</li> <li class="MsoNormal">L’ancrage normand d’Erik Satie. Explorer son rapport au paysage et à la lumière dans ses compositions et ses écrits, identifier les réseaux normands dans les cercles de sociabilités fréquentés, approfondir ses collaborations artistiques moins connues à l’instar de celle avec le Pou qui grimpe (mouvement artistique coutançais) seraient autant d’éléments qui apporteraient un éclairage intéressant à la perception et au rayonnement de son &oelig;uvre.</li> <li class="MsoNormal">Le rapport au quotidien ou la banalité comme matériau artistique. Sa manière d’inclure le quotidien, dans la mise en scène humoristique de sa personnalité comme dans les principes créatifs de ses oeuvres (Musique d’Ameublement) ou écrits seraient intéressants à explorer pour comprendre, à travers les résonances artistiques, musicales et sociétales actuelles, la fascination continue pour l’univers de Satie.</li> </ul> <h1 class="MsoNormal"> Modalités de contribution</h1> <p class="MsoNormal" style="text-align: left;">Les propositions, d'une longueur maximale de 250 mots et accompagnées d'une note biographique (100 mots environ) e de 5 références bibliographiques maximum, devront être envoyées à l’adresse <strong>satie2025@unito.it</strong>,</p> <h3 class="MsoNormal">le 30 avril 2025 au plus tard.</h3> <p class="MsoNormal" style="text-align: left;">Le comité scientifique les évaluera avant le 15 juillet 2025.</p> <p class="MsoNormal" style="text-align: left;">La durée des communications ne devra pas dépasser 20 minutes. Les langues de la conférence seront l'italien, le français et l'anglais. Le comité scientifique évaluera la possibilité de publier une sélection de contributions, selon des modalités à définir.</p> <p class="MsoNormal" style="text-align: left;">Le colloque sera tripartite et se tiendra à Honfleur (Maisons Erik Satie et musée Eugène-Boudin) le 31 octobre 2025, à Turin (Université et Conservatoire « G. Verdi ») les 5 et 6 décembre 2025 et à Catane (Conservatoire « V. Bellini ») les 9 et 10 décembre 2025. Le comité d'organisation se réserve le droit de définir la distribution des sujets entre les trois sites, dès que la sélection des propositions sera complète (fin juin - début juillet 2025).</p> <h1 class="MsoNormal">Comité scientifique </h1> <p class="MsoNormal" style="text-align: left;">Tatiana Aráez Santiago (Universidad Complutense de Madrid), Silvio Alovisio (Università di Torino), Michèle Barbe (Sorbonne Université), Anna Maria Bordin (Conservatorio di Torino), Franca Bruera (Università di Torino), Pietro Cavallotti (Università di Torino), David Christoffel (IReMus), Sylvie Douche (Sorbonne Université), Mara Lacchè (Conservatorio di Torino), Enrica Lisciani-Petrini (Università di Salerno), Marie-Laure Loizeau (Musées de Honfleur), Andrea Malvano (Università di Torino), Ilario Meandri (Università di Torino), Benoît Monginot (Università di Torino), Giuseppe Montemagno (Conservatorio di Catania), Alessandro Pontremoli (Università di Torino), Caroline Potter (Royal Birmingham Conservatoire), Carlo Serra (Università di Torino-Calabria), Jacopo Tomatis (Università di Torino), Andrea Valle (Università di Torino), Nigel Wilkins (Sorbonne Université).</p> <h1 class="MsoNormal">Comité d’organisation</h1> <p class="MsoNormal" style="text-align: left;">Sylvie Douche (Sorbonne Université), Mara Lacchè (Conservatorio di Torino), Marie-Laure Loizeau (Musées de Honfleur), Andrea Malvano (Università di Torino), Giuseppe Montemagno (Conservatorio di Catania), Carla Rebora (Conservatorio di Torino).</p> </div> <div id="annonce-1229887-en" class="tabContent hidden" lang="en" xml:lang="en"> <p class="MsoNormal" style="text-align: left;">Honfleur 31 October, Turin and Catania 5-9 December 2025</p> <h1>Argument</h1> <p class="MsoNormal" style="text-align: left;">An international conference organized by the Music and Media Section of the Department of Humanities of the University of Turin, the Department of Theory, Analysis and Musicology of the «G. Verdi» Conservatory  of Turin and the «V. Bellini» Conservatory  of Catania, in collaboration with the Institut de recherche en Musicologie (IreMus) of the Sorbonne Université, the «Correspondencias entre la música y la literatura en la Edad de Plata II» (MULICO2) project of the University Complutense of Madrid (UCM), the  Società Italiana di Analisi e Teoria Musicale – GATM and the town of Honfleur with the Maisons Satie and the Eugène Boudin Museum.</p> <p class="MsoNormal" style="text-align: left;">One hundred years after the death of Erik Satie (1925), researchers are still making new discoveries about his music and context. Despite his biographical roots in the 19th century, the composer’s visionary poetics has continued to inspire many generations, building a remarkable legacy, from Debussy and Les Six to American minimalism, including developments in pop culture. </p> <p class="MsoNormal" style="text-align: left;">Satie’s interdisciplinary nature brings us to evaluate links with theatre, dance and cinema, starting from the pioneering Parade (1917) and Entr’acte (1924): two works that suggest multilayered analysis.</p> <p class="MsoNormal" style="text-align: left;">The aim of the conference is to encourage dialogue between musicologists and scholars in the fields of dance, theatre, silent cinema, literature and visual arts. Satie's multifaceted work requires input from many different disciplines in order to fully evaluate his contribution. </p> <p class="MsoNormal" style="text-align: left;">This stylistic specificity owes much to the vitality of Satie’s Parisian scene. In fact, this cultural network often directly impacted on Satie's music including groups such as the esoteric circle of RoseCroix, the Ballets Russes, the anti-academic circle of the Chat Noir, the Librairie de l’Art Indépendant led by Edmond Bailly, the salon of the Princesse de Polignac, the Dadaist group or the growing Socialist movement. This demonstrates the eclecticism of a composer who  is impossible to categorize.  </p> <p class="MsoNormal" style="text-align: left;">The conference proposes reflection focused on Satie’s legacy in the 20th and 21st centuries, comparing different repertoire from a multi-disciplinary perspective. Furthermore, the event will investigate the problem in trans-disciplinary terms, because the composer moved beyond the semantic and aesthetic boundaries of music itself.  Nevertheless, this broader perspective does not neglect the musicological outlook. New contributions – mainly from an analytical perspective –  are expected because of our partnership with the Conservatory of Turin. Indeed, this collaboration will   also provide a performance element to the event, engaging students from different classes in the interpretation of Satie’s work. </p> <p class="MsoNormal" style="text-align: left;">Suggested topics proposed by the scientific committee are the following, though we welcome proposals on other topics:</p> <ul> <li class="MsoNormal">The relationship with silent cinema. An investigation of Entr’acte encourages an evaluation of the influence of this pioneering masterpiece on subsequent work, including music for moving image.</li> <li class="MsoNormal">Connections with esotericism. Satie’s membership in the Rose-Croix circle requires deeper historical analysis.</li> <li class="MsoNormal">The transformation of musical dramaturgy. The central role played by Parade, within the aesthetic context of the late 1920s, involved complementary movements, from Surrealism to Dadaism. Cocteau’s work produced some remarkable transformations in the fields of theatre and dance, deserving – one hundred years later – a new examination. </li> <li class="MsoNormal">Research on humor. The well-known tendency of the composer to play musical jokes, elaborated in some of his works, allows scholars to pursue a meta-textual investigation of the scores and the letters, encouraging appropriate comparisons with the development of music and literature up to the present day. </li> <li class="MsoNormal">Musical analysis. The apparent simplicity of Satie’s music calls for the application of the most up-to-date analytical methodologies of post-tonal repertoire.  </li> <li class="MsoNormal">Aesthetic reflection. The complex ontological identity of this music suggests transdisciplinary readings, including the reinterpretation of boundaries conventionally attributed to the musical discipline. </li> <li class="MsoNormal">Musical interpretation. Discussion with performers, as well as a comparative evaluation of available interpretations, will engender new ideas about Satie performance practice. </li> <li class="MsoNormal">The visual arts. Recent research has emphasized the relationships between Satie and artists of the Parisian scene, a phenomenon to be examined thoroughly in an interdisciplinary way. </li> <li class="MsoNormal">The synesthetic and sensory dimension. Satie’s works feature sounds, colors, evocation of images, landscapes and emotions. These links could be explored in relation to their legacy from the 19th to 20th century.  </li> <li class="MsoNormal">The Norman origins of Satie. Investigating the relationship with landscape and light in his scores and writings, identifying the Norman network in his circles of friends, deepening the lesser-known artistic collaborations with movements such as Pou qui grimpe (founded in Coutance) could enlighten the perception. </li> <li class="MsoNormal">Daily life as source of inspiration. His interest in including the everyday life in the humoristic presentation of his personality and the creative principles of his compositions and writings as well (Musique d’Ameublement) could be investigated in order to understand, through contemporary resonances in arts, music and society, the perpetual charm exerted by Satie’s universe.    </li> </ul> <h1>Submission guidelines</h1> <p>Abstracts (no more than 250 words) with a biography (about 100 words) and a related bibliography (no more than 5 references) should be sent to <strong>satie2025@unito.it </strong></p> <h3>before the deadline of 30 April 2025.</h3> <p>The scientific committee will respond by 15 July 2025. </p> <p>The duration of papers should be no more than 20 minutes. The languages accepted for the conference will be Italian, French and English. The scientific committee will evaluate the possibility of publishing a selection of papers. </p> <p class="MsoNormal" style="text-align: left;">The conference will be in three parts and will take place in Honfleur (Maisons Erik Satie and Museum Eugène-Boudin) on 31 October 2025, Turin (University and «G. Verdi» Conservatory) on 5 and 6 December 2025, and Catania («V. Bellini» Conservatory) on 9 and 10 December 2025. The organising committee reserves the right to plan the distribution of the topics in the three venues, as soon as the selection of proposals is completed</p> <h1 class="MsoNormal">Scientific Committee </h1> <ul> <li class="MsoNormal">Tatiana Aráez Santiago (Universidad Complutense de Madrid),</li> <li class="MsoNormal">Silvio Alovisio (Università di Torino),</li> <li class="MsoNormal">Michèle Barbe (Sorbonne Université),</li> <li class="MsoNormal"> Anna Maria Bordin (Conservatorio di Torino),</li> <li class="MsoNormal">Franca Bruera (Università diTorino),</li> <li class="MsoNormal"> Pietro Cavallotti (Università di Torino),</li> <li class="MsoNormal">David Christoffel (IReMus),</li> <li class="MsoNormal">Sylvie Douche (Sorbonne Université), </li> <li class="MsoNormal">Mara Lacchè (Conservatorio di Torino), </li> <li class="MsoNormal">Enrica Lisciani-Petrini (Università di Salerno), </li> <li class="MsoNormal">MarieLaure Loizeau (Musées de Honfleur),</li> <li class="MsoNormal">Andrea Malvano (Università di Torino),</li> <li class="MsoNormal">Ilario Meandri (Università di Torino), </li> <li class="MsoNormal">Benoît Monginot (Università di Torino),</li> <li class="MsoNormal"> Giuseppe Montemagno (Conservatorio di Catania),</li> <li class="MsoNormal">Alessandro Pontremoli (Università di Torino),</li> <li class="MsoNormal">Caroline Potter (Royal Birmingham Conservatoire),</li> <li class="MsoNormal"> Carlo Serra (Università di Torino-Calabria),</li> <li class="MsoNormal">Jacopo Tomatis (Università di Torino),</li> <li class="MsoNormal">Andrea Valle (Università di Torino),</li> <li class="MsoNormal">Nigel Wilkins (Sorbonne Université).</li> </ul> <h1 class="MsoNormal">Organising Committee </h1> <ul> <li class="MsoNormal">Sylvie Douche (Sorbonne Université),</li> <li class="MsoNormal">Mara Lacchè (Conservatorio di Torino),</li> <li class="MsoNormal">Marie-Laure Loizeau (Musées de Honfleur),</li> <li class="MsoNormal">Andrea Malvano (Università di Torino),</li> <li class="MsoNormal">Giuseppe Montemagno (Conservatorio di Catania),</li> <li class="MsoNormal"> Carla Rebora (Conservatorio di Torino).</li> </ul> </div> <div id="annonce-1229887-it" class="tabContent hidden" lang="it" xml:lang="it"> <p class="MsoNormal" style="text-align: left;">Honfleur, 31 ottobre, Torino 5-6 dicembre, Catania 9-10 dicembre</p> <h1 class="MsoNormal">Argomento</h1> <p class="MsoNormal" style="text-align: left;">Convegno internazionale organizzato dalla Sezione Musica e Media (Dipartimento degli Studi Umanistici dell'Università di Torino), dal Dipartimento di Teoria, analisi e musicologia dle Conservatorio di musica "G. Verdi" di Torino e dal Conservatorio di musica "G. Bellini" di Catania, in collaborazione con l'Institut de recherche en Musicologie (IreMus), Sorbonne Université, il progetto “Correspondencias entre la música y la literatura en la Edad de Plata II” (MULICO2)  dell’Universidad Complutense de Madrid (UCM), la Società Italiana di Analisi e Teoria Musicale – GATM e la ci&à di Honfleur con les Maisons Sa3e e il museo Eugène-Boudin.</p> <p class="MsoNormal" style="text-align: left;">A cento anni dalla scomparsa di Erik Satie (1925), gli studi specifici continuano a essere intensi e sorprendenti. La poetica visionaria del compositore, nonostante radici biografiche ben aXondate nell’Ottocento, ha ispirato le generazioni successive, lasciando eredità rilevanti che vanno dalla musica di Debussy e dei Six alle ricerche sul minimalismo americano, passando attraverso le rielaborazioni della cultura musicale pop. </p> <p class="MsoNormal" style="text-align: left;">La naturale predisposizione alla riflessione interdisciplinare del repertorio specifico esige un confronto con il teatro, la danza e il cinema, a partire dalle pionieristiche sperimentazioni di Parade (1917) e Entr’acte (1924): si tratta di lavori generati da diversi sistemi di forze che impongono un'analisi stratificata, possibile solo attraverso il dialogo tra ambiti di studio diversi seppur complementari. </p> <p class="MsoNormal" style="text-align: left;">Il convegno si propone di incoraggiare tale dialogo, favorendo l’incontro tra musicologi e studiosi di danza, teatro, cinema muto, letteratura e arti figurative. Il caso di Satie ha sempre incarnato un significativo equilibrio tra queste componenti, richiedendo conoscenze e competenze diversificate finalizzate a raggiungere un adeguato livello di comprensione critica. Gli studi recenti continuano a dimostrarlo, privilegiando proprio gli stimoli derivanti da un'osservazione multidimensionale, generata da una poetica complessa, spesso diXicile da decifrare nelle intenzionalità profonde. Tale peculiarità stilistica deve senza dubbio molto alla complessità dello contesto parigino nel quale il repertorio ha preso forma, favorendo un denso intreccio tra le arti; e tale ordito ha trovato spesso una convergenza in alcune comunità intellettuali decisive per la maturazione del pensiero di Satie: in particolare il circolo esoterico dei Rosa-Croce, la dirigenza dei Ballets Russes, l’antiaccademico ambiente dello Chat Noir, la Librairie de l’Art Indépendant di Edmond Bailly, il salotto della Princesse de Polignac, il gruppo dei dadaisti e il nascente movimento socialista. Tutte espressioni di pensieri molto diXerenti, utili anche alla comprensione del sostanziale eclettismo di un compositore impossibile da classificare con un’etichetta vincolante. </p> <p class="MsoNormal" style="text-align: left;">Il convegno propone una riflessione sull'eredità lasciata da Satie nel XX e nel XXI secolo, favorendo il confronto tra repertori ed esperienze diXerenti, in un’ottica multidisciplinare. Sarà inoltre l’occasione per porre il problema anche in termini transdisciplinari, vista la propensione dell’autore in oggetto ad ampliare i confini semantici ed estetici della musica stessa. Tale prospettiva allargata non dovrà tuttavia escludere la considerazione puramente musicologica, che dovrà portare contributi innovativi soprattutto in sede analitica, anche in virtù delle competenze specifiche espresse dalla partnership con il Conservatorio. Sarà proprio questa collaborazione a garantire anche una dimensione performativa all’evento, che coinvolga le allieve e gli allievi delle varie classi del conservatorio, in alcune esecuzioni tratte dalla produzione satiana.</p> <p class="MsoNormal" style="text-align: left;">Le linee di indagine (non limitative) proposte dal comitato scientifico potrebbero essere le seguenti:</p> <ul> <li class="MsoNormal">I rapporti con il cinema muto. La riflessione intorno a Entr’acte favorisce una valutazione in merito all’eredità lasciata da un lavoro pionieristico sulle esperienze successive, inclusa la storia della musica per il cinema;</li> <li class="MsoNormal">I contatti con l’esoterismo. La documentata appartenenza di Satie all’ordine dei Rosacroce necessita approfondimenti storici, anche in relazione alla prassi compositiva; </li> <li class="MsoNormal">La trasformazione della drammaturgia musicale. La centralità di Parade nella sfera della riflessione estetica della fine anni Venti coinvolge tante sensibilità complementari, dal Surrealismo al Dadaismo. Le ricerche sperimentate nell'opera di Cocteau hanno prodotto trasformazioni negli ambiti del teatro e della danza che meritano, a cento anni di distanza, di essere riprese in considerazione;</li> <li class="MsoNormal">La ricerca sull’umorismo. La nota propensione allo scherzo musicale contenuta in gran parte del suo repertorio consente di proseguire le indagini sui metatesti delle partiture e della corrispondenza, originando appropriati confronti con gli sviluppi della scrittura musicale e letteraria, fino ai nostri giorni; </li> <li class="MsoNormal">L’analisi musicale. L’apparente semplicità della scrittura di Satie richiede un’applicazione strutturata delle più aggiornate metodologie di analisi della musica post-tonale, oggetto di ricerca e sistematizzazione nel corso degli ultimi anni; </li> <li class="MsoNormal">La riflessione estetica. La natura ontologicamente complessa della produzione di Satie favorisce riflessioni di taglio transdisciplinare, che permettono una rilettura dei confini convenzionalmente attribuiti alla disciplina musicale; </li> <li class="MsoNormal">L’interpretazione musicale. Il confronto con gli interpreti e la valutazione comparata delle esecuzioni disponibili merita un aggiornamento delle indagini, grazie ad un di un approccio appropriato, onde oXrire una visione diacronica d'insieme delle trasformazioni avvenute nel corso del tempo;</li> <li class="MsoNormal">Le arti figurative. Recenti ricerche hanno messo in evidenza relazioni rilevanti tra Satie e gli artisti dello scenario parigino contemporaneo, che meritano ulteriori indagini interdisciplinari. </li> <li class="MsoNormal">La dimensione sinestetica e sensoriale. Suoni, colori, evocazioni di immagini, paesaggi ed emozioni attraverso la scelta di titoli e meta-testi delle partiture sono rilevanti corrispondenze sulle quali si appoggia l’opera di Satie. Queste relazioni sono interessanti da esplorare alla luce del loro radicamento artistico e letterario dal XIX fino al XXI secolo. </li> <li class="MsoNormal">Le origini normanne di Erik Satie. Esplorare il suo rapporto con il paesaggio e la luce nelle composizioni e negli scritti, identificare le reti normanne nella cerchia delle persone che frequentava, approfondire le sue collaborazioni artistiche con movimenti meno conosciuti quali Le Pou qui grimpe (fondato a Coutance) potrebbe apportare ulteriori elementi per chiarire la percezione e l’irradiazione della sua opera. </li> <li class="MsoNormal">Il rapporto con il quotidiano o la banalità come fonti di ispirazione artistica. La sua maniera di includere il quotidiano nella messa in scena umoristica della sua personalità come nei principi creativi delle sue opere (Musique d’Ameublement) o scritti sarebbe interessante da indagare per comprendere, attraverso le risonanze artistiche, musicali e sociali contemporanee, il fascino perpetuo esercitato dall’universo Satie.  </li> </ul> <h1>Modalità di partecipazione</h1> <p class="MsoNormal" style="text-align: left;">Le proposte, della lunghezza massima di 250 parole, accompagnate da una breve nota biografica (circa 100 parole) e da non più di cinque riferimenti bibliografici, dovranno essere inviate all'indirizzo <a href="mailto:satie2025@unito.it"><strong>satie2025@unito.it</strong></a>,</p> <h3 class="MsoNormal">entro e non oltre il 30 aprile 2025.</h3> <p class="MsoNormal" style="text-align: left;">Il comitato scientifico le valuterà entro del 15 luglio 2025.</p> <p class="MsoNormal" style="text-align: left;">La durata delle relazioni non dovrà superare i 20 minuti. Le lingue della conferenza saranno italiano, francese e inglese. Il comitato scientifico valuterà la possibilità di pubblicare una selezione dei contributi secondo modalità da definire. </p> <p class="MsoNormal" style="text-align: left;">Il convegno sarà tripartito e si terrà a Honfleur (Maisons Erik Sa3e et musée Eugène-Boudin) il 31 o’obre 2025, Torino (Università e Conservatorio "G. Verdi") il 5 e 6 dicembre 2025 e Catania (Conservatorio "V. Bellini) il 9 e 10 dicembre 2025. Il comitato organizzatore si riserva di definire la distribuzione dei temi tra le tre sedi, non appena la selezione delle proposte sarà completa (fine giugno, inizio luglio 2025). </p> <h1 class="MsoNormal">Comitato scientifico</h1> <p class="MsoNormal" style="text-align: left;">Ta#ana Aráez San#ago (Universidad Complutense de Madrid), Silvio Alovisio (Università di Torino), Michèle Barbe (Sorbonne Université), Anna Maria Bordin (Conservatorio di Torino), Franca Bruera (Università di Torino), Pietro CavalloF (Università di Torino), David Christoffel (IReMus), Sylvie Douche (Sorbonne Université), Mara Lacchè (Conservatorio di Torino), Enrica Lisciani-Petrini (Università di Salerno), Marie-Laure Loizeau (Musées de Honfleur), Andrea Malvano (Università di Torino), Ilario Meandri (Università di Torino), Benoît Monginot (Università di Torino), Giuseppe Montemagno (Conservatorio di Catania), Alessandro Pontremoli (Università di Torino), Caroline PoRer (Royal Birmingham Conservatoire), Carlo Serra (Università di Torino-Calabria), Jacopo Toma#s (Università di Torino), Andrea Valle (Università di Torino), Nigel Wilkins (Sorbonne Université).</p> <h1 class="MsoNormal">Comitato organizzatore </h1> <p class="MsoNormal" style="text-align: left;">Sylvie Douche (Sorbonne Université), Mara Lacchè (Conservatorio di Torino), Marie-Laure Loizeau (Musées de Honfleur), Andrea Malvano (Università di Torino), Giuseppe Montemagno (Conservatorio di Catania), Carla Rebora (Conservatorio di Torino).</p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Cat茅gories</p> <ul> <li><a href="search?primary=fsubject&fsubject=228">Histoire</a> (Cat茅gorie principale)</li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=260">Pens茅e</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=267">Langage</a> > <a href="search?primary=fsubject&fsubject=269">Litt茅ratures</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=278">Histoire de l'art</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=280">脡tudes visuelles</a></li> <li><a href="search?primary=fsubject&fsubject=302">P茅riodes</a> > <a href="search?primary=fsubject&fsubject=317">脡poque contemporaine</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a></li> </ul> </div> <div id="lieux"> <p class="intitule">Lieux</p> <ul> <li class="location"> Honfleur, France (14) </li> <li class="location"> Turin, Italie </li> <li class="location"> Catane, Italie </li> </ul> </div> <div id="eventformats"> <h2 class="intitule">Format de l'茅v茅nement</h2> <p>脡v茅nement uniquement sur site</p><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>mercredi 30 avril 2025</li> </ul> </div> <div id="attachments"> <p class="intitule">Fichiers attach茅s</p> <ul> <li><a href="1229907?file=1" target="_blank">Satie 2025 - Appel complet.pdf</a></li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-cl茅s</p> <ul> <li>Satie</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li>Marie-Laure Loizeau<br/><em>courriel :</em> mlloizeau [at] ville-honfleur [dot] fr<br/></li> </ul> </div> <div id="refurl"> <p class="intitule">URLS de r茅f茅rence</p> <ul> <li><a href="https://www.satie2025.unito.it/">Satie 2025</a></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Marie-Laure Loizeau<br/><em>courriel :</em> mlloizeau [at] ville-honfleur [dot] fr</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Cette annonce est mise 脿 disposition selon les termes de la <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universel</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>芦 Satie, cent ans d鈥檋茅ritage 禄, <span class="category">Appel 脿 contribution</span>, <em>Calenda</em>, Publi茅 le mardi 11 f茅vrier 2025, <a class="url" href="https://doi.org/10.58079/13ak8">https://doi.org/10.58079/13ak8</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" 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