Clément Canonne
Biographic Data
| ID | 890514 |
|---|---|
| NAME | Clément Canonne |
| GIVEN NAMES | Clément |
| FAMILY NAME | Canonne |
| SIGNATURE | CANONNE C |
| AFFILIATIONS | Centre National de la Recherche Scientifique |
| ORCID | 0000-0003-2617-6971 |
| VERIFIED | Yes |
| TOTAL WORKS | 24 |
| TOTAL CITATIONS | 13 |
| WORKS AS AUTHOR | 24 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
An Exploratory Study of Polytempo Music Performance with Expert Musicians
Polytempo music – where multiple, simultaneous tempi are performed – poses unique challenges for ensemble coordination, yet empirical research on its performance remains scarce. This exploratory study investigates how expert musicians execute different forms of polytempo, comparing temporal stratification (distant tempi) and phasing-like configurations (close tempi) to both a simple polyrhythm condition and a baseline condition (in which all musi…
Audience Members’ Attentional Focus in a Live Concert Setting is Shaped by the Performers’ Sonic and Temporal Relationships
In recent years, several ambitious research programs have investigated the social, bodily, and emotional experiences of audiences in live concert settings. However, despite the central role of collective music-making in many musical practices, no study to date has explored how audience members’ attentional dynamics in such settings relate to the interactions between musicians on stage. To address this gap, we organized a free improvisation concer…
Attentional strategies and ancillary gestures in resisting unintentional synchronization during joint action
Humans exhibit a strong tendency to unintentionally synchronize their movements during joint activities. This poses a challenge in joint action settings when co-agents need to maintain some degree of temporal independence. We conducted two experiments with six expert musicians to investigate mechanisms supporting resistance to unintentional synchronization in complex polytempo music - a type of collective musical performance in which the individu…
Beyond togetherness
International audience
What Is Wrong with Aesthetic Empiricism? An Experimental Study
Does the Phineas Gage effect extend to aesthetic value
In the last 20 years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to…
Disaffiliative humor in improvised musical interactions
Many studies have highlighted the connection between humor and impolite behaviors. In the present paper, we investigate whether such disaffiliative humor extends to the musical case, relying on a previously collected corpus of free improvisations in which duos of musicians took turn in endorsing both affiliative and disaffiliative social attitudes towards one another. Over the course of three studies, we show that improvisations were found to be …
With, against, or without? Familiarity and copresence increase interactional dissensus and relational plasticity in freely improvising duos
International audience
What it is like to improvise together? Investigating the phenomenology of joint action through improvised musical performance
Tracking auditory attention in group performances
While the empirical study of the processes and mechanisms underlying joint musical performance has gained a lot of traction in the past few decades, surprisingly little attention has been paid to the study of musicians’ listening strategies in what remains a mainly audio-centric medium. Yet, understanding how musicians listen to each other is particularly crucial for more open-ended, improvised, or indeterminate musical practices, as it plays a c…
Contrasts of Register Underlie the Perception of Musical Humor
In the psychological literature on musical humor, the emphasis on laughter-inducing music has naturally led researchers to focus on quite uncommon devices, such as stylistic deviations or formal incongruities that strongly violate listeners’ expectations, as the privileged basis for musical humor. But musical humor extends well beyond laughter-inducing music. It is also a kind of semantic content frequently ascribed to music, as attested by the l…
Coordinating free improvisation
Understanding how musicians can coordinate their musical actions when they improvise together remains an important theoretical and empirical challenge. In this article, we suggest a broad theoretical framework, compatible with up-to-date research on joint action, which can account for coordination in collective improvisation, especially in the hard case of so-called collective free improvisation. This framework addresses the limits of an account …
L’orchestre à l’épreuve de l’indétermination
Cet article analyse le travail de collaboration entre l’Orchestre des Nouvelles Créations, Expérimentations et Improvisations Musicales (ONCEIM) — un orchestre d’une trentaine de musicien‧ne‧s spécialisé‧e‧s dans l’improvisation — et le pianiste et improvisateur John Tilbury, le premier ayant passé au second la commande d’une pièce intitulée Sans. Ce processus de création musicale est singulier en ce que tou‧te‧s les participant‧e‧s doivent « com…
An Orchestra Faces the Test of Indeterminacy
This article examines the collaboration between ONCEIM—an orchestra made up of about thirty musicians specialised in musical improvisation —and the pianist and improviser John Tilbury, from whom ONCEIM commissioned a piece entitled Sans. This process of musical creation was remarkable in that all participants had to work with a high degree of uncertainty regarding the nature of the project and, therefore, the distribution of roles and creative au…
Floris Schuiling, The Instant Composers Pool and Improvisation Beyond Jazz
Floris Schuiling nous propose ici une plongée passionnante au cœur de l’Instant Composers Pool (ICP), un collectif néerlandais à la croisée du jazz et des musiques improvisées fondé en 1967 par le pianiste Misha Mengelberg, le batteur Han Bennink et le saxophoniste Willem Breuker. Ce faisant, il propose un éclairage inédit sur un pan important du développement du jazz et de la free music en Europe, tout en embrassant un éventail impressionnant de…
Joint Improvisation, Minimalism and Pluralism about Joint action
This paper introduces freely improvised joint actions, a class of joint actions characterized by (i) highly unspecific goals and (ii) the unavailability of shared plans. For example, walking together just for the sake of walking together with no specific destination or path in mind provides an ordinary example of FIJAs, along with examples in the arts, e.g., collective free improvisation in music, improv theater, or contact improvisation in dance…
Introduction. Bienvenue dans le continuum de l’improvisation
International audience
But If It’s Not Music, What Is It? Defining Interstitial Artistic Practices
We often think of art as structured in art worlds. But what lies between art worlds? Do we find spaces of undefined practices, or are interstitial practices also clearly defined? For this text, we interviewed 11 French artists with sound-based practices who situate themselves in the spaces where music overlaps with the visual arts, instrument building, performance art, and poetry. How do these artists define themselves, given that the available l…
À la croisée d’un double continuum ? Retour sur une expérience de co-création entre un compositeur et cinq improvisateurs
L’improvisation musicale est souvent considérée comme se situant à la croisée d’un double continuum mettant en jeu, d’une part, le degré de spontanéité de la création, et, d’autre part, le degré de prédétermination de la performance. Le présent article confronte cette idée d’un « double continuum » de l’improvisation à une étude de cas – l’analyse du processus de création du projet Sillon, une expérience « comprovisatoire » ayant associé un compo…
S’entendre sur le soundpainting
Dans cet entretien, Vincent Lê Quang revient sur sa pratique du soundpainting, et discute en particulier des rapports qu’entretient le soundpainting avec l’improvisation, la composition et la direction d’orchestre
Nouveautés en bref
utilisation que vous pouvez consulter en ligne
Rehearsing Free Improvisation? An Ethnographic Study of Free Improvisers at Work
Free improvisation is often presented as a form of musical creation where preliminary decisions or preexisting plans are kept to a strict minimum. However, long-standing groups and collaborations that span over many years are not uncommon in the free improvisation scene. One might wonder, then, how do these musicians work together? How do they manage to balance the openness, spontaneity, and unpredictability of free improvisation with the unstopp…
Individual Decisions and Perceived Form in Collective Free Improvisation
This paper proposes a first attempt to study quantitatively Collective Free Improvisation (CFI). We report an experiment designed to study the relationship between the improvisers’ individual high-level decisions and the improvisation’s form perceived by external auditors. We recorded 16 trios in which the improvisers used a MIDI-pedal to indicate in real-time a significant change in their own musical production. Expert listeners were later asked…
Improvisation
L’improvisation est couramment définie comme une action qui se déploie dans l’instant, sans préparation. On parle en ce sens d’improvisation pour décrire des situations quotidiennes où un acteur doit s’adapter à des circonstances imprévues, pour « improviser un dîner » ou « une excuse » par exemple. Mais la notion d’improvisation reçoit également un usage spécifique dans le contexte de la création artistique, notamment depuis l’émergence d’expres…
Improvisation
L’improvisation est couramment définie comme une action qui se déploie dans l’instant, sans préparation. On parle en ce sens d’improvisation pour décrire des situations quotidiennes où un acteur doit s’adapter à des circonstances imprévues, pour « improviser un dîner » ou « une excuse » par exemple. Mais la notion d’improvisation reçoit également un usage spécifique dans le contexte de la création artistique, notamment depuis l’émergence d’expres…
Rehearsing Free Improvisation? An Ethnographic Study of Free Improvisers at Work
Free improvisation is often presented as a form of musical creation where preliminary decisions or preexisting plans are kept to a strict minimum. However, long-standing groups and collaborations that span over many years are not uncommon in the free improvisation scene. One might wonder, then, how do these musicians work together? How do they manage to balance the openness, spontaneity, and unpredictability of free improvisation with the unstopp…
Individual Decisions and Perceived Form in Collective Free Improvisation
This paper proposes a first attempt to study quantitatively Collective Free Improvisation (CFI). We report an experiment designed to study the relationship between the improvisers’ individual high-level decisions and the improvisation’s form perceived by external auditors. We recorded 16 trios in which the improvisers used a MIDI-pedal to indicate in real-time a significant change in their own musical production. Expert listeners were later asked…
Improvisation
L’improvisation est couramment définie comme une action qui se déploie dans l’instant, sans préparation. On parle en ce sens d’improvisation pour décrire des situations quotidiennes où un acteur doit s’adapter à des circonstances imprévues, pour « improviser un dîner » ou « une excuse » par exemple. Mais la notion d’improvisation reçoit également un usage spécifique dans le contexte de la création artistique, notamment depuis l’émergence d’expres…
Individual Decisions and Perceived Form in Collective Free Improvisation
This paper proposes a first attempt to study quantitatively Collective Free Improvisation (CFI). We report an experiment designed to study the relationship between the improvisers’ individual high-level decisions and the improvisation’s form perceived by external auditors. We recorded 16 trios in which the improvisers used a MIDI-pedal to indicate in real-time a significant change in their own musical production. Expert listeners were later asked…
Rehearsing Free Improvisation? An Ethnographic Study of Free Improvisers at Work
Free improvisation is often presented as a form of musical creation where preliminary decisions or preexisting plans are kept to a strict minimum. However, long-standing groups and collaborations that span over many years are not uncommon in the free improvisation scene. One might wonder, then, how do these musicians work together? How do they manage to balance the openness, spontaneity, and unpredictability of free improvisation with the unstopp…
Introduction. Bienvenue dans le continuum de l’improvisation
International audience
But If It’s Not Music, What Is It? Defining Interstitial Artistic Practices
We often think of art as structured in art worlds. But what lies between art worlds? Do we find spaces of undefined practices, or are interstitial practices also clearly defined? For this text, we interviewed 11 French artists with sound-based practices who situate themselves in the spaces where music overlaps with the visual arts, instrument building, performance art, and poetry. How do these artists define themselves, given that the available l…
À la croisée d’un double continuum ? Retour sur une expérience de co-création entre un compositeur et cinq improvisateurs
L’improvisation musicale est souvent considérée comme se situant à la croisée d’un double continuum mettant en jeu, d’une part, le degré de spontanéité de la création, et, d’autre part, le degré de prédétermination de la performance. Le présent article confronte cette idée d’un « double continuum » de l’improvisation à une étude de cas – l’analyse du processus de création du projet Sillon, une expérience « comprovisatoire » ayant associé un compo…
S’entendre sur le soundpainting
Dans cet entretien, Vincent Lê Quang revient sur sa pratique du soundpainting, et discute en particulier des rapports qu’entretient le soundpainting avec l’improvisation, la composition et la direction d’orchestre
Nouveautés en bref
utilisation que vous pouvez consulter en ligne
L’orchestre à l’épreuve de l’indétermination
Cet article analyse le travail de collaboration entre l’Orchestre des Nouvelles Créations, Expérimentations et Improvisations Musicales (ONCEIM) — un orchestre d’une trentaine de musicien‧ne‧s spécialisé‧e‧s dans l’improvisation — et le pianiste et improvisateur John Tilbury, le premier ayant passé au second la commande d’une pièce intitulée Sans. Ce processus de création musicale est singulier en ce que tou‧te‧s les participant‧e‧s doivent « com…
An Orchestra Faces the Test of Indeterminacy
This article examines the collaboration between ONCEIM—an orchestra made up of about thirty musicians specialised in musical improvisation —and the pianist and improviser John Tilbury, from whom ONCEIM commissioned a piece entitled Sans. This process of musical creation was remarkable in that all participants had to work with a high degree of uncertainty regarding the nature of the project and, therefore, the distribution of roles and creative au…
Floris Schuiling, The Instant Composers Pool and Improvisation Beyond Jazz
Floris Schuiling nous propose ici une plongée passionnante au cœur de l’Instant Composers Pool (ICP), un collectif néerlandais à la croisée du jazz et des musiques improvisées fondé en 1967 par le pianiste Misha Mengelberg, le batteur Han Bennink et le saxophoniste Willem Breuker. Ce faisant, il propose un éclairage inédit sur un pan important du développement du jazz et de la free music en Europe, tout en embrassant un éventail impressionnant de…
Joint Improvisation, Minimalism and Pluralism about Joint action
This paper introduces freely improvised joint actions, a class of joint actions characterized by (i) highly unspecific goals and (ii) the unavailability of shared plans. For example, walking together just for the sake of walking together with no specific destination or path in mind provides an ordinary example of FIJAs, along with examples in the arts, e.g., collective free improvisation in music, improv theater, or contact improvisation in dance…
Coordinating free improvisation
Understanding how musicians can coordinate their musical actions when they improvise together remains an important theoretical and empirical challenge. In this article, we suggest a broad theoretical framework, compatible with up-to-date research on joint action, which can account for coordination in collective improvisation, especially in the hard case of so-called collective free improvisation. This framework addresses the limits of an account …
Contrasts of Register Underlie the Perception of Musical Humor
In the psychological literature on musical humor, the emphasis on laughter-inducing music has naturally led researchers to focus on quite uncommon devices, such as stylistic deviations or formal incongruities that strongly violate listeners’ expectations, as the privileged basis for musical humor. But musical humor extends well beyond laughter-inducing music. It is also a kind of semantic content frequently ascribed to music, as attested by the l…
With, against, or without? Familiarity and copresence increase interactional dissensus and relational plasticity in freely improvising duos
International audience
What it is like to improvise together? Investigating the phenomenology of joint action through improvised musical performance
Tracking auditory attention in group performances
While the empirical study of the processes and mechanisms underlying joint musical performance has gained a lot of traction in the past few decades, surprisingly little attention has been paid to the study of musicians’ listening strategies in what remains a mainly audio-centric medium. Yet, understanding how musicians listen to each other is particularly crucial for more open-ended, improvised, or indeterminate musical practices, as it plays a c…
Beyond togetherness
International audience
What Is Wrong with Aesthetic Empiricism? An Experimental Study
Does the Phineas Gage effect extend to aesthetic value
In the last 20 years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to…
Disaffiliative humor in improvised musical interactions
Many studies have highlighted the connection between humor and impolite behaviors. In the present paper, we investigate whether such disaffiliative humor extends to the musical case, relying on a previously collected corpus of free improvisations in which duos of musicians took turn in endorsing both affiliative and disaffiliative social attitudes towards one another. Over the course of three studies, we show that improvisations were found to be …
An Exploratory Study of Polytempo Music Performance with Expert Musicians
Polytempo music – where multiple, simultaneous tempi are performed – poses unique challenges for ensemble coordination, yet empirical research on its performance remains scarce. This exploratory study investigates how expert musicians execute different forms of polytempo, comparing temporal stratification (distant tempi) and phasing-like configurations (close tempi) to both a simple polyrhythm condition and a baseline condition (in which all musi…
Audience Members’ Attentional Focus in a Live Concert Setting is Shaped by the Performers’ Sonic and Temporal Relationships
In recent years, several ambitious research programs have investigated the social, bodily, and emotional experiences of audiences in live concert settings. However, despite the central role of collective music-making in many musical practices, no study to date has explored how audience members’ attentional dynamics in such settings relate to the interactions between musicians on stage. To address this gap, we organized a free improvisation concer…
Attentional strategies and ancillary gestures in resisting unintentional synchronization during joint action
Humans exhibit a strong tendency to unintentionally synchronize their movements during joint activities. This poses a challenge in joint action settings when co-agents need to maintain some degree of temporal independence. We conducted two experiments with six expert musicians to investigate mechanisms supporting resistance to unintentional synchronization in complex polytempo music - a type of collective musical performance in which the individu…
Art (16 works) · Psychology (14 works) · Visual arts (13 works) · Improvisation (11 works) · Philosophy (11 works) · Neuroscience and Music Perception (10 works) · Musical (9 works) · Aesthetics (7 works) · Cognitive psychology (7 works) · Epistemology (7 works)