Improvisation, culture, audiotactility
Vincenzo CAPORALETTI

The meeting of the three texts appearing in French today in this volume aims for at least three objectives. The first is to explore in depth historical recordings for more than one reason. The second is epistemological: it consists in testing a theoretical body (that of the audiotactile formativity) by putting it to the test of confrontation with a given musical material. Finally, the theory and the resulting method (in constant evolution) help to overcome a cleavage that proves every day more problematic in the musicology of jazz today, the one that the English academy has somehow institutionalized with the distinction between music theory and musicology .
The first would be the analysis of musical material while the second would be devoted to the extraction of meaning (the famous meaning of which English literature is so fond). Now, and this is the meaning of the title that has been given to this volume, the company initiated by Vincenzo Caporaletti, illustrating in this a more global project of what might be called a continental musicology, aims on the contrary to bring together two shots and to place them in a situation of interaction. The three texts and the two transcripts thus illustrate the plurality of this approach.