Abstracts
Résumé
Cet article retrace l’histoire d’une industrie musicale prolifique, mais culturellement négligée et marginalisée – celle de la library music ou musique d’illustration – dans les années 1960 et 1970. Elle interroge ses modes de production, de médiation et de circulation, examinant différents aspects et moments de créativité partagée ou relayée. Il s’agit de mettre en évidence un réseau de médiateurs, de supports, d’infrastructures, de compositeurs et de musiciens restés anonymes et invisibles. La librairie musicale pourrait être considérée comme une incarnation spécifique, mais historiquement dévalorisée, de la musique populaire – une forme que l’on pourrait qualifier de musique parallèle ou « paramusique ». Cet article se propose non seulement d’en restituer le mode de fonctionnement méconnu, mais aussi de repenser les interrelations unissant créativité, expérimentation et standardisation, originalité et emprunt, art et commerce – plus largement, il s’agit aussi de reconsidérer l’influence de ces catégories sur la formation des objets d’étude et canons de la musique populaire.
Mots-clés :
- film,
- library music,
- phonographie,
- remédiation,
- télévision
Abstract
This article retraces the history of a prolific, yet culturally neglected and marginalized music industry—that of library music of the 1960s and 1970s. It questions its modes of production, mediation, and distribution, examining different aspects and moments of shared or relayed creativity. In doing so, it highlights a network of mediators, objects, infrastructures, composers, and musicians that have hitherto remained anonymous and invisible. Library music could be viewed as a specific but historically undervalued embodiment of popular music—a form that could be described as parallel music or “paramusic.” This article aims not only to reconstruct its little-known modus operandi, but also to reconsider the ways in which creativity, experimentation and standardization, originality and borrowing, and art and commerce are interrelated. More broadly, it seeks to reassess how these categories influence the shaping of objects of study and canons within popular music.
Keywords:
- film,
- library music,
- phonography,
- remediation,
- television
Appendices
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