La thèse en question trace un parcours comparatif sur les approches créatrices et technologiques qui ont été développées au GRM (Groupe de Recherches Musicales) et à l’EMS (Elektronmusikstudion) de 1965 à 1980. Cette recherche vise à étudier les interactions principales entre les concepts musicaux des pionniers des musiques électroacoustiques en France et en Suède, Pierre Schaeffer et Knut Wiggen et l’évolution des directions artistiques au sein de leur institutions. Notre étude sera traitée en fonction de deux approches méthodologiques empruntées par la linguistique, diachronique et synchronique : dans la première partie de la thèse, nous ferons une synthèse historique des genres musicaux qui ont influencé les directions artistiques du GRM et de l’EMS ainsi que la comparaison de leur organisation institutionnelle concernant la création musicale, la recherche technologique et les réflexions de Schaeffer et de Wiggen. Par la suite, la deuxième partie de la thèse porte sur l’analyse musicale des œuvres sélectionnées dans le corpus du GRM et de l’EMS. Cette étude synchronique s’appuie ainsi sur le problème de l’analyse des musiques acousmatiques. En suivant la théorie tripartite de J. Molino développée par J.J. Nattiez et S. Roy concernant les niveaux poïétique-neutre-esthésique d’une œuvre d’art, une reconstruction d’une trace visuelle est réalisée dans le cadre de l’analyse du niveau neutre au moyen des symboles graphiques de Lasse Thoresen inspiré par la typo-morphologie de Schaeffer. Les résultats tirés de cette analyse serviront de justification avec les données poïétiques externes pour la comparaison finale des significations hypothétiques des pièces. En conclusion, le but de cette thèse est d’explorer une méthode d’analyse inspirée par la sémiologie tripartite pour une meilleure compréhension des musiques acousmatiques et d’établir une documentation historique sur le(s) style(s) musicaux qui prédominent majoritairement les années 1960 et 1970 au GRM et à l’EMS en fonction du développement technologique. / The current research is a comparative study investigating the development of creative and technological approaches at GRM (Groupe de Recherches Musicales) and EMS (Elektronmusikstudion) from 1965 to 1980. The thesis examines the main interactions between two pioneers of electroacoustic music in France and in Sweden, namely, Pierre Schaeffer and Knut Wiggen and the evolution of artistic directions within their institutions. The comparative method borrows two main perspectives from linguistics, such as diachronic and synchronic. To this direction, the first part of the thesis evaluates a sort of historical synthesis of musical genres, which lead the artistic directions of those two studios, including their institutional organization, musical creation, technological research as well as Schaeffer’s and Wiggen’s musical concepts. The second part of the thesis focuses on pioneer works analysis in order to explore closely compositional ideas and the problem of acousmatic music analysis. The analysis method is based on Jean Molino’s tripartite theory developed by J.J. Nattiez (poietic/neutral/esthesic level of an art work) and Stéphane Roy, which contributes to analyze the compositional structure, organization and the composer’s style related to technological equipment of the studios. The first step of music analysis reconstructs a sort of transcription within the neutral level analysis by means of Lasse Thoresen’s graphical symbols inspired by Schaeffers’s typo-morphology. The second step seeks to confront the neutral level results with external poietic information in order to explore and to compare some hypothetical significations of analyzed musical pieces. In conclusion, the end goal is to determine a methodology inspired by the tripartite theory for an in-depth understanding of acousmatic music analysis and to establish a historical documentation on French and Swedish electroacoustic music within the development of technology.

Subject of this study is the evolvement of the radical art music scene in Sweden. In this development took the labour movement an active part during the 1960s. The purpose of this study is to examine how the relationship between the radical art music scene and the labour movement was constituted and what this relationship implied for the Swedish radical art music scene during the 1960s. During the 1960s radical music became an influencial part in the Swedish music scene of modern art music. In this development the artists’ society Fylkingen had a central position. In the early 1960s Fylkingen began to incorporate writers, engineers, scientists, sociologists, philosophers, economists, etc. in their work and a number of projects were initiated which interacted with common society. A proposal for a public record company was developed together with KSF (Social Democratic Association for Cultural Workers) and was presented to the Swedish parliament. In collaboration with ABF (Workers’ Educational Association) the first studio for electronic music was build in 1960 and the relationship between the labour movement and the radical art music scene was institutionalized as the Stockholm Electronic Music Studio Foundation. This thesis uses the terminology of Ludwik Fleck to examine the relationship between the radical art music scene and the labour movement. The concepts of Thought collective and Thought-style are used to draw conclusions about common values and objectives within the Thought-style. The radical art music scene and the labour movement are understood to be part of a common Thought collective with a common style of thought. Because of this relationship, projects initiated in the radical music scene came to emphasize the democratic and educational aspects of music. In the latter half of the 1960s it was conceived impossible to achieve these goals under the existing program, leading to the notion within the style of thought that technological advancement was a prerequisite for a democratic music scene.