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La musique et la transe / esquisse d'une theorie generale des relations de la musique et de la possession
Ritual trance has always been closely associated with music—but why, and how? Gilbert Rouget offers and extended analysis of music and trance, concluding that no universal law can explain the relations between music and trance; they vary greatly and depend on the system of meaning of their cultural context.
Rouget rigorously examines a worldwide corpus of data from ethnographic literature, but he also draws on the Bible, his own fieldwork in West Africa, and the writings of Plato, Ghazzali, and Rousseau. To organize this immense store of information, he develops a typology of trance based on symbolism and external manifestations. He outlines the fundamental distinctions between trance and ecstasy, shamanism and spirit possession, and communal and emotional trance. Music is analyzed in terms of performers, practices, instruments, and associations with dance. Each kind of trance draws strength from music in different ways at different points in a ritual, Rouget concludes. In possession trance, music induces the adept to identify himself with his deity and allows him to express this identification through dance.
Forcefully rejecting pseudo-science and reductionism, Rouget demystifies the so-called theory of the neurophysiological effects of drumming on trance. He concludes that music's physiological and emotional effects are inseparable from patterns of collective representations and behavior, and that music and trance are linked in as many ways as there are cultural structures.
Rouget rigorously examines a worldwide corpus of data from ethnographic literature, but he also draws on the Bible, his own fieldwork in West Africa, and the writings of Plato, Ghazzali, and Rousseau. To organize this immense store of information, he develops a typology of trance based on symbolism and external manifestations. He outlines the fundamental distinctions between trance and ecstasy, shamanism and spirit possession, and communal and emotional trance. Music is analyzed in terms of performers, practices, instruments, and associations with dance. Each kind of trance draws strength from music in different ways at different points in a ritual, Rouget concludes. In possession trance, music induces the adept to identify himself with his deity and allows him to express this identification through dance.
Forcefully rejecting pseudo-science and reductionism, Rouget demystifies the so-called theory of the neurophysiological effects of drumming on trance. He concludes that music's physiological and emotional effects are inseparable from patterns of collective representations and behavior, and that music and trance are linked in as many ways as there are cultural structures.
640 pages, Mass Market Paperback
First published January 1, 1980
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Displaying 1 - 4 of 4 reviews
February 4, 2009
Quite simply one of the best books I've ever read. A sterling example of Structuralist anthropological method at its very best, and applied to an intrinsically fascinating subject. Rouget's study sheds light on a subject which heretofore seemed impossible murky and which gave little more than scholarly murk. This is what cultural anthropology should look like.
December 16, 2024
Ottimo manuale! La prima parte molto tecnica e un po'noiosetta ma si fa leggere bene, la seconda parte scorre più veloce. Di tutti i manuali letti e studiati, questo è senza dubbio uno dei migliori. Ben scritto ed interessante.
to-buy-find
March 1, 2017Recommended by Margaret Chardiet/Pharmakon in this amazing interview.
Want to Read
November 18, 2008I got this free from some a self-righteous Emory professor.
Displaying 1 - 4 of 4 reviews




