Marc Perrenoud | University of Lausanne (original) (raw)
Papers by Marc Perrenoud
From a methodological perspective, working with the concept of vulnerability represents a double ... more From a methodological perspective, working with the concept of vulnerability represents a double challenge. First, it requires finding the right indicators to capture vulnerable persons and/or the situations that make them vulnerable. Vulnerable populations are often described as 'hard to
Born in 1930 near Tarbes (Hautes-Pyrénées) in the southwest of France, Claude Duscombs worked as ... more Born in 1930 near Tarbes (Hautes-Pyrénées) in the southwest of France, Claude Duscombs worked as an electrician in a small factory of the Bigorre region. He was also a drummer, starting to play as an autodidact in 1952 when a friend who played the accordion in rural festivals in the area proposed forming a duet. At the time, drums were still something new and a bit exotic in the French countryside. It was the symbol of "jass"-the term used by many said to refer to any lively music with drums. A snare drum, a kick drum, and a cymbal were the basic instruments that started to accompany the accordion in playing popular tunes, traditional songs, polkas, tangos, paso doble, waltzes, or javas (threebeat rhythm) in the musette style. During the 1960s, Duscombs added a hi-hat and a pair of toms to his set and played with local orchestras. The Benny Rolls and then the Blue Stars were mixing musette, typique (mambos and chachas), and some pop hits, mainly from the Beatles. The repertoire had to please more or less everyone since there were no specific venues and no specialized audiences. In the mid-1960s, the Blue Stars performed almost every Friday and Saturday and twice on Sundays (afternoon and night gigs), but the fees were too low to imagine making a decent living with music (see figure 1). Duscombs was a husband, about to become a father, and he could not carry on working all day in the factory as well as playing music three or four times each weekend. He had to choose between the music and his steady daytime job, so he stopped playing in 1968. In the rural area where he lived, there was no real labor market that could have permitted some players to earn a living, even though people in the Bigorre in the 1950s and 1960s never had the occasion to hear and see any other live bands than the local ones. This case shows how experiences of musicians could differ from the dominant "professionals" playing in a symphony orchestra or in studio sessions. That makes tackling the issue of "performing for pay" in Europe during the twentieth century quite a challenge. The variety of inferred social realities during the last century on the continent is so vast between "serious" and "popular" music, between national contexts, and between urban and rural areas as well that it could seem impossible to address this variety in a single chapter. To make the task more achievable, I will refer in the following pages to two basic concepts that allow us to better frame our object of study. In this chapter, I will be talking about "ordinary musicians" working in "art worlds." In the work I
HAL (Le Centre pour la Communication Scientifique Directe), 2016
La Vie des idées, Oct 1, 2010
Sociologie Du Travail, May 19, 2009
Le Monde diplomatique en español, 2021
Presses universitaires du Midi eBooks, 2010
HAL (Le Centre pour la Communication Scientifique Directe), Nov 16, 2022
Sociologies, Nov 15, 2018
On the edge of the contemporary transformations of work, artistic professions are often reduced t... more On the edge of the contemporary transformations of work, artistic professions are often reduced to a set of distinctive traits that stress their originality in opposition to traditional wage work, but which tend to hide the internal stratification of these professional spaces and the variability of their structure from one national context to another. In order to show how "creative professions" do not avoid the power relations that structure any world of work, this article shows how the variability of national contexts determines the work of the "ordinary musicians", where people are neither rich nor famous and work mainly in popular music. The links with musical training, performing or teaching activity, but also with the statuses of employment for the musicians on either side of the Franco-Swiss border are analyzed to reveal different ways of being a musician. The analysis of the musicians social characteristics also shows that the different ways of living the musical career are strongly related to gender issues and accumulation of different forms of symbolic capital.
Éditions du Croquant eBooks, May 20, 2021
Biens symboliques, Dec 15, 2022
Les articles de la rubrique « Transmettre » interrogent les conditions de diffusion des acquis et... more Les articles de la rubrique « Transmettre » interrogent les conditions de diffusion des acquis et des méthodes des sciences sociales, en particulier au sujet des biens symboliques. Après avoir évoqué, dans des numéros précédents, des dispositifs spécialement dédiés à cet enjeu et inscrits dans l'enseignement supérieur 1 , nous nous tournons ici vers un tout autre segment de l'institution scolaire : l'école élémentaire. Nous avons choisi d'interroger Matthieu 2 , professeur des écoles dans une vallée pyrénéenne, après avoir appris qu'il initiait ses élèves, du CE1 au CM2, aux méthodes et aux problématiques des sciences sociales. Le riche témoignage qui va suivre interroge donc, à travers le récit des pratiques pédagogiques d'un enseignant, la transmission des savoirs produits par les sciences sociales à des enfants, loin des espaces habituels de production et de discussion de ces disciplines scientifiques.
Presses universitaires de Rennes eBooks, 2015
Bourdieu et le travail Maxime Quijoux (dir.
Sociologie de l'art, 2012
From a methodological perspective, working with the concept of vulnerability represents a double ... more From a methodological perspective, working with the concept of vulnerability represents a double challenge. First, it requires finding the right indicators to capture vulnerable persons and/or the situations that make them vulnerable. Vulnerable populations are often described as 'hard to
From a methodological perspective, working with the concept of vulnerability represents a double ... more From a methodological perspective, working with the concept of vulnerability represents a double challenge. First, it requires finding the right indicators to capture vulnerable persons and/or the situations that make them vulnerable. Vulnerable populations are often described as 'hard to
Born in 1930 near Tarbes (Hautes-Pyrénées) in the southwest of France, Claude Duscombs worked as ... more Born in 1930 near Tarbes (Hautes-Pyrénées) in the southwest of France, Claude Duscombs worked as an electrician in a small factory of the Bigorre region. He was also a drummer, starting to play as an autodidact in 1952 when a friend who played the accordion in rural festivals in the area proposed forming a duet. At the time, drums were still something new and a bit exotic in the French countryside. It was the symbol of "jass"-the term used by many said to refer to any lively music with drums. A snare drum, a kick drum, and a cymbal were the basic instruments that started to accompany the accordion in playing popular tunes, traditional songs, polkas, tangos, paso doble, waltzes, or javas (threebeat rhythm) in the musette style. During the 1960s, Duscombs added a hi-hat and a pair of toms to his set and played with local orchestras. The Benny Rolls and then the Blue Stars were mixing musette, typique (mambos and chachas), and some pop hits, mainly from the Beatles. The repertoire had to please more or less everyone since there were no specific venues and no specialized audiences. In the mid-1960s, the Blue Stars performed almost every Friday and Saturday and twice on Sundays (afternoon and night gigs), but the fees were too low to imagine making a decent living with music (see figure 1). Duscombs was a husband, about to become a father, and he could not carry on working all day in the factory as well as playing music three or four times each weekend. He had to choose between the music and his steady daytime job, so he stopped playing in 1968. In the rural area where he lived, there was no real labor market that could have permitted some players to earn a living, even though people in the Bigorre in the 1950s and 1960s never had the occasion to hear and see any other live bands than the local ones. This case shows how experiences of musicians could differ from the dominant "professionals" playing in a symphony orchestra or in studio sessions. That makes tackling the issue of "performing for pay" in Europe during the twentieth century quite a challenge. The variety of inferred social realities during the last century on the continent is so vast between "serious" and "popular" music, between national contexts, and between urban and rural areas as well that it could seem impossible to address this variety in a single chapter. To make the task more achievable, I will refer in the following pages to two basic concepts that allow us to better frame our object of study. In this chapter, I will be talking about "ordinary musicians" working in "art worlds." In the work I
HAL (Le Centre pour la Communication Scientifique Directe), 2016
La Vie des idées, Oct 1, 2010
Sociologie Du Travail, May 19, 2009
Le Monde diplomatique en español, 2021
Presses universitaires du Midi eBooks, 2010
HAL (Le Centre pour la Communication Scientifique Directe), Nov 16, 2022
Sociologies, Nov 15, 2018
On the edge of the contemporary transformations of work, artistic professions are often reduced t... more On the edge of the contemporary transformations of work, artistic professions are often reduced to a set of distinctive traits that stress their originality in opposition to traditional wage work, but which tend to hide the internal stratification of these professional spaces and the variability of their structure from one national context to another. In order to show how "creative professions" do not avoid the power relations that structure any world of work, this article shows how the variability of national contexts determines the work of the "ordinary musicians", where people are neither rich nor famous and work mainly in popular music. The links with musical training, performing or teaching activity, but also with the statuses of employment for the musicians on either side of the Franco-Swiss border are analyzed to reveal different ways of being a musician. The analysis of the musicians social characteristics also shows that the different ways of living the musical career are strongly related to gender issues and accumulation of different forms of symbolic capital.
Éditions du Croquant eBooks, May 20, 2021
Biens symboliques, Dec 15, 2022
Les articles de la rubrique « Transmettre » interrogent les conditions de diffusion des acquis et... more Les articles de la rubrique « Transmettre » interrogent les conditions de diffusion des acquis et des méthodes des sciences sociales, en particulier au sujet des biens symboliques. Après avoir évoqué, dans des numéros précédents, des dispositifs spécialement dédiés à cet enjeu et inscrits dans l'enseignement supérieur 1 , nous nous tournons ici vers un tout autre segment de l'institution scolaire : l'école élémentaire. Nous avons choisi d'interroger Matthieu 2 , professeur des écoles dans une vallée pyrénéenne, après avoir appris qu'il initiait ses élèves, du CE1 au CM2, aux méthodes et aux problématiques des sciences sociales. Le riche témoignage qui va suivre interroge donc, à travers le récit des pratiques pédagogiques d'un enseignant, la transmission des savoirs produits par les sciences sociales à des enfants, loin des espaces habituels de production et de discussion de ces disciplines scientifiques.
Presses universitaires de Rennes eBooks, 2015
Bourdieu et le travail Maxime Quijoux (dir.
Sociologie de l'art, 2012
From a methodological perspective, working with the concept of vulnerability represents a double ... more From a methodological perspective, working with the concept of vulnerability represents a double challenge. First, it requires finding the right indicators to capture vulnerable persons and/or the situations that make them vulnerable. Vulnerable populations are often described as 'hard to
Il existe encore peu de recherches en sciences sociales sur la musique en Suisse. Pourtant, la vi... more Il existe encore peu de recherches en sciences sociales sur la musique en Suisse. Pourtant, la vie musicale helvétique est riche et diversifiée. Les données de l'Office Fédéral de la Statistique témoignent d'une consommation musicale importante parmi la population suisse et, plus encore, d'un taux de pratique particulièrement élevé. Sur le plan institutionnel, on compte de nombreux festivals et de salles de concert à travers le pays. Et depuis une quinzaine d'années, différentes institutions visant à soutenir la création musicale ont vu le jour avec, parfois, l'ambition de faire rayonner les musiciens suisses à l'étranger. Dans ce contexte, il semble nécessaire de développer un regard propre aux sciences sociales sur la musique en Suisse. Cet ouvrage répond à ce besoin en esquissant un premier panorama des mondes de la musique helvétique et en réunissant des contributions traitant de différents aspects de la musique en Suisse : histoire des musiques populaires, liens entre musique et immigration, marché de l'emploi musical et pratiques de fréquentation des institutions culturelles. Ces contributions mettent en évidence certaines particularités de la Suisse, mais soulignent également son insertion dans une histoire globale de la musique.