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Jacques Viret

January 01, 1970

For other uses, see Viret.

Jacques Viret (born 19 October 1943) is a contemporary French musicologist of Swiss origin.

Jacques Viret
Jacques Viret in May 2014
Born19 October 1943
Lausanne
Occupation(s)Musicologist
Music educator

Life edit

Born in Lausanne, Viret is a pianist and organist, graduated in classic literature from the University of Lausanne, habilitated for the teaching of music theory (Société suisse de pédagogie musicale), Jacques Viret perfected his studies in musicology at the Paris-Sorbonne University, with Jacques Chailley who conducted his Ph.D. thesis on gregorian chant (1981). Since 1972, Jacques Viret has been teaching musicology at the university of Strasbourg, as an assistant and then lecturer and professor, emeritus since 2009.[1]

Gregorian chant and medieval music edit

The research and reflection of Jacques Viret refer essentially to the notion of tradition as defined by René Guénon in the line of the perennialism (or Gnosis): Not as the preservation of a fixed legacy, more or less ancient, but as the manifestation, diversified according to cultures, epochs and disciplines, of a "sacred, universal and timeless truth", a fruitful source of inspiration and creativity, in perpetual becoming and renewal. For music, Pythagoras remains, in this respect, a permanent reference. The series of harmonics thus appears, as an audible expression of numbers and proportions, as an image of the cosmic order. The universal creative principle is symbolized by the fundamental frequency in the har:monic order, by the tonic of the modes in the melodic order (all traditional music is of modal essence). In particular, the tonic sol, "sun" in Latin, the central element of the theological and esoteric cryptogram that Jacques Viret discovered in 1978 in the notes of the range (ut, ré, mi, taken from the hymn to Saint John the Baptist Ut queant laxis) and of which Jacques Chailley completed the explanation.[2][3]

The official liturgical chant of the Roman Catholic Church, the Gregorian chant is especially the expression par excellence of tradition for the music of the West. Jacques Viret studies it in this light. He highlights, upstream, the rooting of this corpus in the other musical traditions of the world, especially oriental (and, probably, the ancient celtic music; Downstream, its importance as a breeding ground for European music, both scholarly and - in part - folkloric. This truly traditional approach illuminates Latin liturgical chant in its true light and allows the rediscovering, as far as possible, of its authentic interpretation (cf rhythm) before the year 1000, which is very different from the style instituted in the Nineteenth by the Benedictines of the Abbaye Saint-Pierre de Solesmes. Nevertheless, it benefits from the careful study of neumes by Dom Eugène Cardine [fr] and his pupils ("Gregorian semiotics", musical palaeography). It is a comparativism tributary to ethnomusicology, insofar as it relates to each other the writings of the Middle Ages (noted manuscripts, treaties) and the traditions currently alive. This approach is also illustrated by the work of Hungarian musicologist Benjámin Rajeczky, as well as by the interpretations of Marcel Pérès.[4]

According to the same spirit, the series Diaphonia, created by Jacques Viret in 2000 with the "À Cœur Joie" publishing house in Lyon, provides amateur choristers with a repertoire of medieval songs transcribed in modern musical notation so as to restore all the finenesses of the original notations and add data which are not included therein and come from other sources.[5][6][7]

An integral science of music edit

The work of Jacques Viret is based on a rigorous investigation from sources, as required by scientific musicology. However, they broaden the historicist positivism and music analysis, where it is generally confined to two correlated movements: On the one hand, the musical philology of Jacques Chailley, which elucidates the general laws of musical languages and their perception; On the other hand, the new paradigm [fr], which reconciles modernity and tradition, science and spirituality. Jacques Viret is today one of the very rare musicologists claiming the New Paradigm; In this capacity, he joined the team Contrelittérature [fr] by Alain Santacreu [fr]. His perspective, therefore, is defined as totalizing and holistic: the musical fact is considered not only from the objective and partial angle of ordinary musicology, but from that of the receptive or active subject (his consciousness), beyond the cleavage between the various types of music. Explanation and commentary then restore its legitimate primacy to sound in the face of writing, and closely link the musical meaning to the human being in its threefold constitution of body, soul, spirit. They restore, in a new form, the "musical science" of Pythagorean obedience cultivated in Ancient times and in the Middle Ages: highly rational on one side, in its mathematical slope; Irrationality of the other, in its sensitive, intuitive, even magical (ethos theory, derived from the primitive incantation). In the eyes of the thinkers of German Romanticism also - among others Schopenhauer, admired by Richard Wagner –, music is much better than an art of pleasure: language of the soul, interiority, revelation of the unspeakable, it opens an access to the "Soul of the world" (empathy, Einfühlung according to Herder, correspondances according to Baudelaire).[8]

The anthropological humanist musicology, which is promoted by Jacques Viret, integrates the contributions of Carl Gustav Jung's psychology, Gestalt psychology, analytical psychology, transpersonal psychology, neuropsychology). It ramifies towards aesthetics, acoustics, hermeneutics, symbolism, metaphysics, sociology, music therapy, pedagogy, psycho - pedagogy, and rhetoric, and includes research on the interpretation (Aufführungspraxis) allowing to execute the old repertoires according to their authenticity. It revalues the orality as a living vehicle of traditional practices and knowledge, bearing precious values: vital, human, spiritual (cf. Marcel Jousse). This broad, open, spiritualist conception of musical science confers their originality to the works that Jacques Viret has published since 2004 at éditions Pardès [fr], about gregorian chant, Medieval music, Richard Wagner, musicothérapy, Baroque music, and opera. Among the transverse problems that they expose, one will particularly mention that of singing in relation (vocal, rhythmic, emotional) with the speech, as the most direct expression of the feeling or musical instinct, and this, from the early childhood (spontaneous childish chantings where emerge elementary musical materials, melodic and rhythmic archetypes).[9]

Bibliography edit

  • 1981: Aloÿs Fornerod, ou le musicien et le pays, Lausanne, Cahiers de la Renaissance Vaudoise
  • 1986: Le Chant grégorien, musique de la parole sacrée, Lausanne, Éditions L'Âge d'Homme
  • 1987: La Modalité grégorienne, un langage pour quel message ?, Lyon, À Cœur Joie [fr], augmented reissue in 1996.
  • 1988: Le Symbolisme de la gamme – L'hymne UT QUEANT LAXIS et ses quatre cryptogrammes (in collaboration with Jacques Chailley), Paris, in La Revue Musicale
  • 1990–1992. La musique d'orgue du XVIe et son interprétation, five articles, L'Orgue francophone
  • 1992: Regards sur la musique vocale de la Renaissance italienne, Lyon, À Cœur Joie
  • 1993–1994: Aux sources de l’expression musicale : la créativité mélodique enfantine, three articles, L’Éducation musicale
  • 2000: Les Premières Polyphonies, 800–1100, Lyon, À Cœur Joie, (Diaphonia 1)
  • 2001: Le Chant grégorien et la tradition grégorienne, Lausanne, L'Âge d'Homme
  • 2001: Approches herméneutiques de la musique (dir. J. Viret), Presses universitaires de Strasbourg [fr]
  • 2001: L’École de Notre-Dame et ses conduits polyphoniques, Lyon, à Cœur Joie, (Diaphonia 2).
  • 2004: B.A.-BA du chant grégorien, éditions Pardès
  • 2005: B.A.-BA de la musique médiévale, éditions Pardès
  • 2005: Le « Libre Vermell » de Montserrat, Lyon, À Cœur Joie, (Diaphonia 3).
  • 2005: Métamorphoses de l’harmonie : la musique occidentale et la Tradition, in Les Pouvoirs de la musique, à l’écoute du sacré, dossier de la revue Connaissance des Religions, Paris, Éditions Dervy [fr]
  • 2006: Qui suis-je ? Wagner, éditions Pardès, 2006.
  • 2006: De la Musique et des Vaudois, itinéraire photographique 1905-2005, Lausanne, Bibliothèque Cantonale et Universitaire
  • 2007: B.A.-BA de la musicothérapie,[10] éditions Pardès
  • 2008: B.A.-BA de la musique baroque, éditions Pardès
  • 2009: B.A.-BA de l'opéra, éditions Pardès
  • 2012: Le chant grégorien,[11]Eyrolles [fr], 206 p. (CD audio inserted: 75 min).
  • 2012: Philologie musicale et modes grégoriens : de la théorie à l’instinct in Musurgia, vol. XIX/1-3 (hommage to Jacques Chailley), (pp. 103–121)
  • 2017: Les deux chemins, Dialogue sur la musique, (in collaboration with Aurelio Porfiri), Hong Kong, Chorabooks

References edit

  1. ^ A Different Musical Understanding on ifcm.net
  2. ^ Cf. Viret 1986, 1987, 2001 (Le Chant grégorien…), 2004 ; Viret/Chailley 1988.
  3. ^ Jacques Viret sur l’harmonie, ou la musique du monde on philitt.fr
  4. ^ « La musique contre le nihilisme » on Le Figaro
  5. ^ . Archived from the original on 2017-03-20. Retrieved 2017-07-04.
  6. ^ Revue Ultreia
  7. ^ La galerie.com
  8. ^ Jacques Viret et Jean-Baptiste Mersiol, le chant grégorien retrouvé de Solesmes on L'Alsace
  9. ^ Cf. Viret 2001 (Le Chant grégorien…).
  10. ^ B.A.-BA de la musicothérapie
  11. ^ Le chant grégorien

External links edit

  • Jacques Viret on Babelio
  • on Gream
  • Jacques Viret on Eyrolles
  • Jacques Viret on Ultreïa !

January 01, 1970
jacques, viret, other, uses, viret, born, october, 1943, contemporary, french, musicologist, swiss, origin, 2014born19, october, 1943lausanneoccupation, musicologistmusic, educator, contents, life, gregorian, chant, medieval, music, integral, science, music, b. For other uses see Viret Jacques Viret born 19 October 1943 is a contemporary French musicologist of Swiss origin Jacques ViretJacques Viret in May 2014Born19 October 1943LausanneOccupation s MusicologistMusic educator Contents 1 Life 2 Gregorian chant and medieval music 3 An integral science of music 4 Bibliography 5 References 6 External linksLife editBorn in Lausanne Viret is a pianist and organist graduated in classic literature from the University of Lausanne habilitated for the teaching of music theory Societe suisse de pedagogie musicale Jacques Viret perfected his studies in musicology at the Paris Sorbonne University with Jacques Chailley who conducted his Ph D thesis on gregorian chant 1981 Since 1972 Jacques Viret has been teaching musicology at the university of Strasbourg as an assistant and then lecturer and professor emeritus since 2009 1 Gregorian chant and medieval music editThe research and reflection of Jacques Viret refer essentially to the notion of tradition as defined by Rene Guenon in the line of the perennialism or Gnosis Not as the preservation of a fixed legacy more or less ancient but as the manifestation diversified according to cultures epochs and disciplines of a sacred universal and timeless truth a fruitful source of inspiration and creativity in perpetual becoming and renewal For music Pythagoras remains in this respect a permanent reference The series of harmonics thus appears as an audible expression of numbers and proportions as an image of the cosmic order The universal creative principle is symbolized by the fundamental frequency in the har monic order by the tonic of the modes in the melodic order all traditional music is of modal essence In particular the tonic sol sun in Latin the central element of the theological and esoteric cryptogram that Jacques Viret discovered in 1978 in the notes of the range ut re mi taken from the hymn to Saint John the Baptist Ut queant laxis and of which Jacques Chailley completed the explanation 2 3 The official liturgical chant of the Roman Catholic Church the Gregorian chant is especially the expression par excellence of tradition for the music of the West Jacques Viret studies it in this light He highlights upstream the rooting of this corpus in the other musical traditions of the world especially oriental and probably the ancient celtic music Downstream its importance as a breeding ground for European music both scholarly and in part folkloric This truly traditional approach illuminates Latin liturgical chant in its true light and allows the rediscovering as far as possible of its authentic interpretation cf rhythm before the year 1000 which is very different from the style instituted in the Nineteenth by the Benedictines of the Abbaye Saint Pierre de Solesmes Nevertheless it benefits from the careful study of neumes by Dom Eugene Cardine fr and his pupils Gregorian semiotics musical palaeography It is a comparativism tributary to ethnomusicology insofar as it relates to each other the writings of the Middle Ages noted manuscripts treaties and the traditions currently alive This approach is also illustrated by the work of Hungarian musicologist Benjamin Rajeczky as well as by the interpretations of Marcel Peres 4 According to the same spirit the series Diaphonia created by Jacques Viret in 2000 with the A Cœur Joie publishing house in Lyon provides amateur choristers with a repertoire of medieval songs transcribed in modern musical notation so as to restore all the finenesses of the original notations and add data which are not included therein and come from other sources 5 6 7 An integral science of music editThe work of Jacques Viret is based on a rigorous investigation from sources as required by scientific musicology However they broaden the historicist positivism and music analysis where it is generally confined to two correlated movements On the one hand the musical philology of Jacques Chailley which elucidates the general laws of musical languages and their perception On the other hand the new paradigm fr which reconciles modernity and tradition science and spirituality Jacques Viret is today one of the very rare musicologists claiming the New Paradigm In this capacity he joined the team Contrelitterature fr by Alain Santacreu fr His perspective therefore is defined as totalizing and holistic the musical fact is considered not only from the objective and partial angle of ordinary musicology but from that of the receptive or active subject his consciousness beyond the cleavage between the various types of music Explanation and commentary then restore its legitimate primacy to sound in the face of writing and closely link the musical meaning to the human being in its threefold constitution of body soul spirit They restore in a new form the musical science of Pythagorean obedience cultivated in Ancient times and in the Middle Ages highly rational on one side in its mathematical slope Irrationality of the other in its sensitive intuitive even magical ethos theory derived from the primitive incantation In the eyes of the thinkers of German Romanticism also among others Schopenhauer admired by Richard Wagner music is much better than an art of pleasure language of the soul interiority revelation of the unspeakable it opens an access to the Soul of the world empathy Einfuhlung according to Herder correspondances according to Baudelaire 8 The anthropological humanist musicology which is promoted by Jacques Viret integrates the contributions of Carl Gustav Jung s psychology Gestalt psychology analytical psychology transpersonal psychology neuropsychology It ramifies towards aesthetics acoustics hermeneutics symbolism metaphysics sociology music therapy pedagogy psycho pedagogy and rhetoric and includes research on the interpretation Auffuhrungspraxis allowing to execute the old repertoires according to their authenticity It revalues the orality as a living vehicle of traditional practices and knowledge bearing precious values vital human spiritual cf Marcel Jousse This broad open spiritualist conception of musical science confers their originality to the works that Jacques Viret has published since 2004 at editions Pardes fr about gregorian chant Medieval music Richard Wagner musicotherapy Baroque music and opera Among the transverse problems that they expose one will particularly mention that of singing in relation vocal rhythmic emotional with the speech as the most direct expression of the feeling or musical instinct and this from the early childhood spontaneous childish chantings where emerge elementary musical materials melodic and rhythmic archetypes 9 Bibliography edit1981 Aloys Fornerod ou le musicien et le pays Lausanne Cahiers de la Renaissance Vaudoise 1986 Le Chant gregorien musique de la parole sacree Lausanne Editions L Age d Homme 1987 La Modalite gregorienne un langage pour quel message Lyon A Cœur Joie fr augmented reissue in 1996 1988 Le Symbolisme de la gamme L hymne UT QUEANT LAXIS et ses quatre cryptogrammes in collaboration with Jacques Chailley Paris in La Revue Musicale 1990 1992 La musique d orgue du XVIe et son interpretation five articles L Orgue francophone 1992 Regards sur la musique vocale de la Renaissance italienne Lyon A Cœur Joie 1993 1994 Aux sources de l expression musicale la creativite melodique enfantine three articles L Education musicale 2000 Les Premieres Polyphonies 800 1100 Lyon A Cœur Joie Diaphonia 1 2001 Le Chant gregorien et la tradition gregorienne Lausanne L Age d Homme 2001 Approches hermeneutiques de la musique dir J Viret Presses universitaires de Strasbourg fr 2001 L Ecole de Notre Dame et ses conduits polyphoniques Lyon a Cœur Joie Diaphonia 2 2004 B A BA du chant gregorien editions Pardes 2005 B A BA de la musique medievale editions Pardes 2005 Le Libre Vermell de Montserrat Lyon A Cœur Joie Diaphonia 3 2005 Metamorphoses de l harmonie la musique occidentale et la Tradition in Les Pouvoirs de la musique a l ecoute du sacre dossier de la revue Connaissance des Religions Paris Editions Dervy fr 2006 Qui suis je Wagner editions Pardes 2006 2006 De la Musique et des Vaudois itineraire photographique 1905 2005 Lausanne Bibliotheque Cantonale et Universitaire 2007 B A BA de la musicotherapie 10 editions Pardes 2008 B A BA de la musique baroque editions Pardes 2009 B A BA de l opera editions Pardes 2012 Le chant gregorien 11 Eyrolles fr 206 p CD audio inserted 75 min 2012 Philologie musicale et modes gregoriens de la theorie a l instinct in Musurgia vol XIX 1 3 hommage to Jacques Chailley pp 103 121 2017 Les deux chemins Dialogue sur la musique in collaboration with Aurelio Porfiri Hong Kong ChorabooksReferences edit A Different Musical Understanding on ifcm net Cf Viret 1986 1987 2001 Le Chant gregorien 2004 Viret Chailley 1988 Jacques Viret sur l harmonie ou la musique du monde on philitt fr La musique contre le nihilisme on Le Figaro Gream unistra Biographie Archived from the original on 2017 03 20 Retrieved 2017 07 04 Revue Ultreia La galerie com Jacques Viret et Jean Baptiste Mersiol le chant gregorien retrouve de Solesmes on L Alsace Cf Viret 2001 Le Chant gregorien B A BA de la musicotherapie Le chant gregorienExternal links editJacques Viret on Babelio Jacques Viret on Gream Jacques Viret on Eyrolles Jacques Viret on Ultreia Portals nbsp classical music nbsp France Retrieved from https en wikipedia org w index php title Jacques Viret amp oldid 1167624337, wikipedia, wiki, book, books, library,

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