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International audience ; Based on an interview with the singer of No One Is Innocent, this article explores some of the ethical and political issues of attending concerts and performing music after the terrorist attacks of 13 November 2015 in Paris. The article combines this interview with the testimonies of two survivors of the Bataclan attack concerning the relationship between the rock music of No One Is Innocent and the survivors' healing process. In the days and weeks following the 13 November attacks, performing or attending a music concert was not insignificant. This article shows how sound and music can create networks of resistance; how the ritual of concert can constitute a space of transformation of the sensory experience and collective memory of armed violence. ; Partant d'un entretien avec le chanteur de No One Is Innocent, ce texte explore certains des enjeux éthiques et politiques de l'écoute et de la création musicale après les attentats du 13 novembre 2015 à Paris. Il croise les témoignages de deux rescapés de l'attentat du Bataclan concernant les rapports entre le rock de No One Is Innocent et leur processus de reconstruction. Dans les jours et les semaines qui ont suivi les attentats du 13 novembre, jouer ou assister à un concert de rock n'est pas un acte anodin. Ce texte montre de quelle façon le son et la musique peuvent tisser des réseaux de résistance ; de quelle façon le rituel du concert peut constituer un espace de transformation de l'expérience sensorielle et de la mémoire collective de la violence armée.

International audience ; Based on an interview with the singer of No One Is Innocent, this article explores some of the ethical and political issues of attending concerts and performing music after the terrorist attacks of 13 November 2015 in Paris. The article combines this interview with the testimonies of two survivors of the Bataclan attack concerning the relationship between the rock music of No One Is Innocent and their healing process. In the days and weeks following the 13 November attacks, performing or attending a music concert was not an insignificant act. This article shows how sound and music can create networks of resistance; how the ritual of a concert can constitute a space of transformation of the sensory experience and collective memory of armed violence. ; Partant d'un entretien avec le chanteur de No One Is Innocent, ce texte explore certains des enjeux éthiques et politiques de l'écoute et de la création musicale après les attentats du 13 novembre 2015 à Paris. Il croise les témoignages de deux rescapés de l'attentat du Bataclan concernant les rapports entre le rock de No One Is Innocent et leur processus de reconstruction. Dans les jours et les semaines qui ont suivi les attentats du 13 novembre, jouer ou assister à un concert de rock n'est pas un acte anodin. Ce texte montre de quelle façon le son et la musique peuvent tisser des réseaux de résistance ; de quelle façon le rituel du concert peut constituer un espace de transformation de l'expérience sensorielle et de la mémoire collective de la violence armée.

International audience Based on an interview with the singer of No One Is Innocent, this article explores some of the ethical and political issues of attending concerts and performing music after the terrorist attacks of 13 November 2015 in Paris. The article combines this interview with the testimonies of two survivors of the Bataclan attack concerning the relationship between the rock music of No One Is Innocent and the survivors' healing process. In the days and weeks following the 13 November attacks, performing or attending a music concert was not insignificant. This article shows how sound and music can create networks of resistance; how the ritual of concert can constitute a space of transformation of the sensory experience and collective memory of armed violence. ; Partant d'un entretien avec le chanteur de No One Is Innocent, ce texte explore certains des enjeux éthiques et politiques de l'écoute et de la création musicale après les attentats du 13 novembre 2015 à Paris. Il croise les témoignages de deux rescapés de l'attentat du Bataclan concernant les rapports entre le rock de No One Is Innocent et leur processus de reconstruction. Dans les jours et les semaines qui ont suivi les attentats du 13 novembre, jouer ou assister à un concert de rock n'est pas un acte anodin. Ce texte montre de quelle façon le son et la musique peuvent tisser des réseaux de résistance ; de quelle façon le rituel du concert peut constituer un espace de transformation de l'expérience sensorielle et de la mémoire collective de la violence armée.

International audience ; Quels sont les enjeux symboliques et politiques de la mobilisation de la musique au sein des dispositifs diplomatiques ? De quels pouvoirs est investie la musique pour qu'elle soit inlassablement utilisée comme métaphore ou donnée comme modèle des relations internationales ? Lecture critique de Rebekah Ahrendt, Mark Ferraguto, Damien Mahiet (eds.), Music and Diplomacy from the Early Modern Era to the Present, New York, Palgrave Macmillan, 2014, 291 p. ; et Todd H. Hall, Emotional Diplomacy. Official emotion on the international stage, Ithaca, Cornell University Press, 2015, 248 p.

International audience ; The musical activism of the Italian composer Luigi Nono (1924-1990) is one of the most fascinating examples of the relationship between music and politics in the second half of the twentieth century. A member of the Italian Communist Party (PCI) from 1952, he considered music as a tool for the establishment of socialist hegemony. In this article, I firstly examine how concepts from Antonio Gramsci underlie Nono's political thought, the relationship between his conception of social justice struggles and violence, and the ethic behind his compositional practice. Secondly, I analyse how Nono addressed his political and ethical commitment in his last work for magnetic tape, Für Paul Dessau (1974). This article aims to contribute to the discussion on Nono's appropriation of Gramsci's ideas, shedding light on how Nono addressed the memory of antifascism, Cold War politics, and Third World international liberation struggles in works from the 1950s to the early 1970s.

International audience ; This article explores how an artistic work can produce knowledge that is complementary to social sciences research on humanitarianism. Through the examination of the creative process and rationality behind the video installation "Reflections on Music and Propaganda", presented as a part of an exhibition on contemporary propaganda at the Lenbachhaus (Munich), this article deconstructs the emotional dimension of humanitarian songs and media narratives which accompanied them.

International audience ; Introduction to the issue "Sound commitments: ethics and politics" of the journal Circuit, musiques contemporaines (vol. 28, no 3). This issue aims to explore the links between ethics and politics in musical creation in the 20th and 21st centuries.3 Its objective is to examine the political dimension of the situations in which musical action takes place, as well as the way in which composers, musicians and listeners mobilise ethical reflection within events that force them to think in a new way about their relationship to the world. ; Introduction au numéro "Engagements sonores : éthique et politique" de la revue Circuit, musiques contemporaines (vol. 28, no 3). Ce numéro se propose d'explorer les liens entre éthique et politique dans la création musicale des XXe et XXIe siècles. Son objectif est d'examiner la dimension politique des situations dans lesquelles l'action musicale a lieu ainsi que la façon dont les compositeur·rice·s, les musicien·ne·s et les auditeur·rice·s mobilisent une réflexion éthique au sein d'événements qui les obligent à penser d'une façon nouvelle leur rapport au monde.

International audience ; In general, the concept of propaganda refers to a method as well as the symbolic object mobilized by it. Propaganda equally constitutes a particular type of communication that involves not only the mobilization of objects, but also of discourse, places, acts, and rituals. This essay employs the writings of Max Weber, Paul Ricoeur, Jacques Ellul, and Jacques Rancière to analyze propaganda as a particular type of symbolic political dispositif linked to a specific performance and utterance context. I examine humanitarian songs as a propagandatool in democracy, and show the conditions and the limits of their mobilization through their contextualization. I argue that the link between music and propaganda could be defined as the willingness of a particular power or organized opposition to control the symbolic and emotional dimension of musical works. Through giving the music a meaning in this way, they try to impose a certain social order or to invalidate other possible political configurations of reality. I discuss the contradiction between the specific polysemy of musical works and the fictional construction of reality produced by propaganda, and conclude that the political dimension of music should not necessarily be reduced to the propaganda dispositif. These musical works require consideration of the possibilities offered through fiction in contexts of specific representation, as well as the political dimension of collaborative musical practices.

International audience ; During the series of simultaneous terrorist attacks that took place in Paris on Friday 13 November 2015, three Islamic State fighters stormed the Bataclan concert hall which was holding a rock concert. This article analyses the relationship between the symbolic significance of this attack, the Salafist discourse on music, and the importance of chanting in the Islamic State jihadist propaganda. It shows how the use of nasheed "Avance, avance" in the audio statement claiming responsibility for the attacks, ritualises propaganda, legitimises violence, motivates its fighters, and demoralises the enemy. By examining the issue of musical practices and their mobilisation within the Islamic State propaganda dispositif, this text aims to further a better understanding of the ideology of this jihadist organization. ; Lors de la série d'attaques terroristes simultanées qui ont eu lieu à Paris le vendredi 13 novembre 2015, trois combattants de l'État islamique prennent d'assaut la salle de concert du Bataclan où se tenait un concert de rock. Cet article propose une analyse du rapport entre la portée symbolique de cette attaque, le discours salafiste sur la musique et l'importance que l'État islamique donne au chant dans sa propagande djihadiste. Il montre de quelle façon l'utilisation du nasheed « Avance, avance » dans le communiqué audio de revendication des attentats, vise à ritualiser sa propagande, légitimer la violence, encourager ses combattants et démoraliser son ennemi. Par l'examen des enjeux des pratiques musicales au sein du dispositif de propagande de l'État islamique, ce texte se donne pour objectif de contribuer à une meilleure compréhension de la mécanique idéologique mobilisée par cette organisation djihadiste.