Music-ripping: des pratiques qui provoquent la musicologie

TL;DR

This paper explores how emerging human-computer music systems, termed 'music-ripping', challenge traditional musicology by merging listening, composition, and transmission, thus questioning established categories and models.

Contribution

It introduces a minimal set of categories for computer-assisted music and examines how 'music-ripping' practices disrupt conventional musicological frameworks.

Findings

Music-ripping practices challenge traditional musicology.

Existing categories are insufficient to explain these new practices.

Reduction of human-computer systems to traditional models is limited.

Abstract

Out of the scope of the usual positions of computing in the field of music and musicology, one notices the emergence of human-computer systems that do exist by breaking off. Though these singular systems take effect in the usual fields of expansion of music, they do not make any systematic reference to known musicological categories. On the contrary, they make possible experiments that open uses where listening, composition and musical transmission get merged in a gesture sometimes named as ?music-ripping?. We will show in which way the music-ripping practices provoke traditional musicology, whose canonical categories happen to be ineffectual to explain here. To achieve that purpose, we shall need: - to make explicit a minimal set of categories that is sufficient to underlie the usual models of computer assisted music;- to do the same for human-computer systems (anti-musicological?) that disturb us; - to examine the possibility conditions of reduction of the second set to the first; - to conclude on the nature of music-ripping.