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Hans Zimmer – Un nouvel Holywood sonore et musical ?

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Date / Heure
Date(s) - 25/04/2017 - 26/04/2017
9:30 - 16:00

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Université de Rouen - Maison de l'Université

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Colloque international organisé autour de l’œuvre de Hans Zimmer, en l’honneur des 60 ans du compositeur, à l’Université de Rouen, par Cécile CARAYOL, Pierre-Albert CASTANET, Henning LOHNER et Pierre DUMAS.

Argumentaire

Hans Zimmer (*1957) is generally acknowledged as one of the most influential contemporary composers bar none, his work having been heard by hundreds of millions of people around the globe, yet to this date no serious academic appreciation of his musical catalog has ever been undertaken. With a huge following in France – to the point that Zimmer in 2016 has dedicated more than 12 concerts to an audience of over 100.000 people all over France, the German-born, English-raised composer makes a well-defined case for a European idea of music understanding that has spread to the United States and through the venue of film throughout the entire world.

In Hans Zimmer we find a composer who recognized early in his development that sound synthesis and the application of filters is the key to a new form of music in which any musical source, form, or genre, can coexist in one space harmoniously at the same time, based on oscillatory proximity. This happens through understanding the constituents of how a tone is produced and how tone colors persist in a self-similar way in any medium, finding their corresponding colors in other media, thus building a unified sonic experience. Where Zappa has wandered the between the worlds of different genre’s thereby resolving them, now Zimmer combines it all into one space/time experience, where – again – genre doesn’t matter. Beyond that, Zimmer has produced both iconic pieces and a distinct personal style sonic investigations to the concert hall in a completely new form of unification in which orchestra, choir, electric band, samples, and synthesizers co-exist to forge one music that is not pinnable to any one expressive form, and at the same time revives the concert hall into one new, as yet unheard-of, completely new expressive form.

Hans Zimmer’s music functions at a pivotal turning point in our awareness of what “quality” in music is, what we will take with us into the future from what we know of our past. We will be redefining the history of music, particularly in the 2nd half of the 20th century, in entirely new terms. The odd gap in Western music between 1920 and 1950 will be filled by George Gerschwin, Bernard Herrmann, and others. We will be including the likes of John Barry and Ennio Morricone, George Delarue and Prince into the pantheon of signifcant composers of the post war era. And, we will acknowledge composers, musicians, sound-makers, sound-“designers” and sound-reproducers, from around the documented world who deliver profound quality, regardless of where they come from.

The University at Rouen has made a pledge to support the most contemporary of modern music that is heard around the globe, not just in France. At Rouen, a place of musical research exists, not just of the history of music, but much more the future of it.

The purpose of this symposium is to establish the first serious academic look at the work this composer has provided us.

Programme

Télécharger le programme en pdf

Mardi 25 avril

9h30 – Café d’accueil

10h – Introduction (Cécile CARAYOL, Pierre Albert CASTANET, Henning LOHNER)

10h30-12h00 – Henning LOHNER (Keynote) : Composing in the Age of expanded boundaries – Hans Zimmer’s music and their sonic spaces
(This paper is a survey of the composer’s body of work, from the early 1980s to today, with focus on the diverse and unifying elements of style particular to the composer’s expressionand development).

12h15 – Déjeuner

Hans Zimmer – Influences et comparaisons
Modérateur : Pierre Albert CASTANET

14h15 – Pierre FUNCK : Renaissance and Baroque Harmonic Schemata in the Music of Ennio Morricone and Hans Zimmer (Formules harmoniques de la Renaissance et du Baroque dans la musique d’Ennio Morricone et de Hans Zimmer)

14h45 – Jason JULLIOT : De Gladiator à Imaginaerum : l’influence de Hans Zimmer dans le metal symphonique (From Gladiator to Imaginaerum : the influence of Hans Zimmer on the symphonic metal scene)

15h15 – Questions et pause

15h45 – Jérôme ROSSI : Batman, de Danny Elfman à Hans Zimmer : permanences et reconfigurations du topic superhéroïque (Batman, from Danny Elfman to Hans Zimmer : permanences and reconfigurations of superheroïc topic)

16h15 – Questions

16h30-18h30 – Table ronde (animée par Sharon KANACH et Vivien LEJEUNE) : Composer la musique de film aujourd’hui à Hollywood et en France
Invités : Nathan BARR, Rupert GREGSON-WILLIAMS, Lorne BALFE et Matt MARGESON (visio-conférence), Sylvain MORIZET, (Philippe ROMBI, Bruno COULAIS – à confirmer)

18h30 – Cocktail (participants au colloque)

20h – Ciné-Concert – Musiques de Hans Zimmer (Étudiants du département de musicologie / Chœur Leonor – Université de Rouen), programme sur place (Cinéma L’Ariel, Place Colbert, Mont Saint Aignan)


Mercredi 26 avril

Hans Zimmer – Une autre temporalité du langage musical à l’image
Modérateur : Jérôme ROSSI

10h00 – Cécile CARAYOL : La musique de Hans Zimmer : genèse d’un ‘nouvel Hollywood’ électro-minimaliste et contemplatif, exemples de La Ligne rouge (Malick, 1998), Hannibal (Scott, 2001) et Da Vinci Code (Howard, 2006) (Hans Zimmer’s music : genesis of a new Hollywood electro-minimalist and contemplative, examples of The Thin Red Line, Hannibal and Da Vinci Code)

10h30 – Emmanuelle BOBÉE : Inception : une exploration musicale du temps (Inception : A Musical Exploration of Time)

11h – Questions et pause

Hans Zimmer et Sound Design
Modérateur : Henning LOHNER

11h30 – Chloé HUVET : Au-delà des étoiles : musique et liens humains dans Interstellar (Nolan, 2014). Pour une autre approche de l’esthétique zimmerienne (Beyond the Stars : Music and Human Bonds in Interstellar (Nolan, 2014). For Another Approach of Hans Zimmer’s Aesthetic)

12h00 – Christian ALTEN : Do Computers dream of Electronic Instruments ? Hans Zimmer and technology as musical instrument (Faire des ordinateurs le rêve des instruments électroniques ? Hans Zimmer et la technologie comme instrument musical)

12h30 – Questions

12h45 – Déjeuner

Hans Zimmer : la place du compositeur
Modérateur : Cécile CARAYOL

14h30 – Michel CHION : Exister comme compositeur au milieu d’une compilation de titres empruntés : le cas de Rain Man, 1988 (Barry Levinson) dans son époque.

15h00 – Jérémy MICHOT : Pour la redéfinition du statut de compositeur de musique de film (For the redefinition of the status of composer of music of films).

15h30 – Questions et conclusion du colloque

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