{"id":31660,"date":"2024-04-20T19:00:05","date_gmt":"2024-04-20T17:00:05","guid":{"rendered":"https:\/\/www.sfsic.org\/?p=31660"},"modified":"2024-05-03T11:53:19","modified_gmt":"2024-05-03T09:53:19","slug":"liturgies-amplifiees-les-nouveaux-ecosystemes-musicaux-du-religieux","status":"publish","type":"post","link":"https:\/\/www.sfsic.org\/en\/aac-publication\/liturgies-amplifiees-les-nouveaux-ecosystemes-musicaux-du-religieux\/","title":{"rendered":"Liturgies amplifi\u00e9es. Les nouveaux \u00e9cosyst\u00e8mes musicaux du religieux"},"content":{"rendered":"<p><!-- fxzn:singledetail --><\/p>\n<div class=\"zone zn-singledetail\" id=\"fxzn-singledetail-1\">\n<div class=\"zone-block zn-singledetail-block alignwide va-top\">\n<div class=\"row\">\n<div class=\"columns large-8 large-push-4\">\n<div class=\"zn-singledetail-metabox\">\n<div class=\"zn-singledetail-pubdate pubdate\">\n\t\t\t\t\t<span class=\"pubdate-txt\">Mis en ligne le<\/span><span class=\"doubledot\"><\/span> <time class=\"pubdate-time\" pubdate datetime=\"2024-04-20T19:00:05+02:00\">20 avril 2024<\/time>\t\t\t\t<\/div>\n<p class=\"zn-singledetail-calenda-info\">\n\t\t\t\t\t\tInformations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce <a class=\"calenda-link prettylink\" href=\"https:\/\/calenda.org\/1152423\" target=\"_blank\" rel=\"noopener\"><strong>Calenda<\/strong><\/a>.\t\t\t\t\t<\/p>\n<div class=\"zn-singledetail-thematiques with-sep-comma\">\n<ul class=\"termslist termslist-thematique\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Th\u00e9matiques<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-thematique term-communication-organisations\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/thematiques\/communication-organisations\/\" title=\"Communication et organisations\"><span class=\"termslist-itemname\">Communication et organisations<\/span><\/a><\/li>\n<li class=\"termslist-item tax-thematique term-images-cinema-medias-audiovisuels-et-industries-culturelles\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/thematiques\/images-cinema-medias-audiovisuels-et-industries-culturelles\/\" title=\"Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles\"><span class=\"termslist-itemname\">Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"row\">\n<div class=\"columns large-4\">\n<div class=\"zn-singledetail-sidebar bg-cornersquares\">\n<div class=\"zn-singledetail-infos\">\n<p class=\"zn-singledetail-reponse-date\">\n\t\t\t\t\t\t<span>R\u00e9ponse attendue pour le<\/span><span class=\"doubledot\"><\/span> <strong>30\/06\/2024<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-reponse-type\">\n\t\t\t\t\t<span>Type de r\u00e9ponse<\/span><span class=\"doubledot\"><\/span> <strong>R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-type\">\n\t\t\t\t\t\t\t<span>Type de contribution attendue<\/span><span class=\"doubledot\"><\/span> <strong>Article<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-name\">\n\t\t\t\t\t\t\t<span>Nom de la publication<\/span><span class=\"doubledot\"><\/span> <strong>Archives de sciences sociales des religions <\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-contacts\">\n<h3 class=\"zn-singledetail-section-title\">Contacts<\/h3>\n<ul class=\"zn-singledetail-contacts-list\">\n<li class=\"zn-singledetail-contact\">\n\t\t\t\t\t\t\t<span class=\"zn-singledetail-contact-name\">Marion Paulhac <\/span><span class=\"doubledot\"><\/span><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"zn-singledetail-contact-mail prettylink\" href=\"mailto:marion.paulhac@ehess.fr\">marion.paulhac@ehess.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-weblinks\">\n<h3 class=\"zn-singledetail-section-title\">Sites internet de r\u00e9f\u00e9rence<\/h3>\n<ul class=\"zn-singledetail-weblinks-list\">\n<li>\n\t\t\t\t\t\t\t<a class=\"prettylink chainlink\" href=\"https:\/\/journals.openedition.org\/assr\/\" title=\"Site de la revue \" target=\"_blank\" rel=\"noopener\">Site de la revue<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"columns large-8\">\n<div class=\"zn-singledetail-contentbox\">\n<div class=\"zn-singledetail-annonce wig-content\">\n<div id=\"annonce-1152423-fr\" class=\"tabContent\" lang=\"fr\" xml:lang=\"fr\">\n<p>La revue Archives de sciences sociales des religions lance un appel \u00e0 article sur les \u00ab&#160;Liturgies amplifi\u00e9es. Les nouveaux \u00e9cosyst\u00e8mes musicaux du religieux&#160;\u00bb.<\/p>\n<h2><strong>Argumentaire<\/strong><\/h2>\n<p>\u00c9l\u00e9ment constitutif des rituels et autres manifestations religieuses (ou \u00e0 leur fronti\u00e8re), la musique, dans son acception consensuelle de pratique performative chant\u00e9e et\/ou instrumentale, impr\u00e8gne la pratique religieuse. \u00ab&#160;Croire en actes&#160;\u00bb (Aubin-Boltanski, Lamine, Luca, 2014) ou geste de d\u00e9votion, elle permet la coparticipation \u00e0 un script qui transcende les situations particuli\u00e8res et participe de l\u2019incorporation d\u2019un ensemble de croyances et de dispositions religieuses. Dans la plupart des traditions liturgiques, entendues comme l\u2019ensemble des textes utilis\u00e9s et des c\u00e9r\u00e9monies men\u00e9es en contexte religieux, la ritualit\u00e9 prend appui sur l\u2019expression rythmique et\/ou m\u00e9lodique des temps et des corps, suivant diverses modalit\u00e9s&#160;: dans l\u2019islam, la cantillation du Coran, qui suit des r\u00e8gles rigoureuses, introduit une forme de musicalit\u00e9 qui contribue \u00e0 rendre les versets accessibles \u00e0 tous (Nelson, 2001&#160;: XIV-XV)&#160;; dans le christianisme, musique et chant constituent une \u00ab&#160;forme superlative de la louange et de la pri\u00e8re&#160;\u00bb (Delpech, 2011&#160;: 399).<\/p>\n<p>Au-del\u00e0 de leur r\u00f4le rituel, ces musiques associ\u00e9es au religieux sont d\u00e9sormais massivement soumises \u00e0 des processus engageant des techniques d\u2019amplification sonore. Cette transformation affecte tant le r\u00f4le cultuel des r\u00e9pertoires musicaux que le d\u00e9ploiement de performances paraliturgiques. L\u2019amplification sonore d\u00e9signe le proc\u00e9d\u00e9 de transformation du son en un signal \u00e9lectrique. Pour rendre compte de ce proc\u00e9d\u00e9 et de son implication au sein des productions musicales contemporaines, le sociologue fran\u00e7ais Marc Touch\u00e9 propose, en 1994, la notion de \u00ab&#160;musiques amplifi\u00e9es&#160;\u00bb (Touch\u00e9, 1994). Il d\u00e9signe par-l\u00e0 les musiques dont la production, la composition, la transmission ou encore, la diffusion, sont li\u00e9es \u00e0 l\u2019\u00e9lectricit\u00e9 et au renforcement sonore \u00e9lectroacoustique. Les \u00ab&#160;musiques amplifi\u00e9es&#160;\u00bb sont ainsi associ\u00e9es \u00e0 des pratiques de stockage, de captation et de diffusion (a)synchrone, \u00e0 des modalit\u00e9s d\u2019apprentissage ainsi qu\u2019\u00e0 des techniques et moyens logistiques sp\u00e9cifiques \u2013\u00a0autant de technologies mises au service de la c\u00e9l\u00e9bration et des pratiques religieuses. Partant, que l\u2019on pense aux <em>dhikr<\/em> nocturnes des confr\u00e9ries soufies (Frishkopf, 1999 et 2000&#160;; Puig, 2017&#160;; Harris, 2020&#160;; Ha, 2022), aux vid\u00e9os de commentaires de rabbins sur fond de rock FM (Mayer-Thibault, Tank-Storper, \u00e0 para\u00eetre), aux louanges en milieu charismatique (Gabry-Thienpont, 2015&#160;; Gonzalez, 2008 et 2014) ou encore aux usages du <em>sound system<\/em> par une communaut\u00e9 monastique d\u2019un temple bouddhiste (Prouteau, 2021), force est de constater que les \u00e9volutions techniques li\u00e9es \u00e0 la \u00ab&#160;modernit\u00e9 sonore&#160;\u00bb (Sterne, 2015) et \u00e0 l\u2019amplification font partie int\u00e9grante de l\u2019exercice religieux et de son expression musicale.<\/p>\n<p>Ce dossier th\u00e9matique conduira \u00e0 analyser, \u00e0 partir de terrains empiriques et en mobilisant les outils des sciences sociales, les recours \u00e0 l\u2019amplification sonore et \u00e0 ses soutiens (enceintes, \u00e9crans, vid\u00e9oprojecteurs, tables de mixage, stations audionum\u00e9riques, architecture des lieux de culte [Guillebaud, Lavandier, 2020], etc.), afin d\u2019en cerner les modalit\u00e9s. Comment agissent la musique et son amplification sur les liturgies, sur les participants, ainsi que sur les formes d\u2019exp\u00e9rience, de socialisation et d\u2019autorit\u00e9&#160;?<\/p>\n<p>De nouvelles productions aux sonorit\u00e9s pop rock et \u00e9lectroniques s\u2019imposent comme pi\u00e8ce ma\u00eetresse des expressions religieuses qui ont \u00e9merg\u00e9 tout au long du xx<sup>e<\/sup>\u00a0si\u00e8cle (Fath, 2008&#160;; Stokes, 2016&#160;; Ramzy, 2016). Capables de susciter l\u2019\u00ab&#160;adh\u00e9sion \u00e0 des modalit\u00e9s exp\u00e9rientielles et \u00e0 des genres performatifs communs&#160;\u00bb (Csordas, 2009&#160;: 82), ces productions peuvent tenir lieu d\u2019agent f\u00e9d\u00e9rateur entre les croyants. \u00c0 l\u2019oppos\u00e9, elles deviennent dans de nombreux contextes un facteur de conflictualit\u00e9, autour de la place du corps, des normes de l\u2019expression de soi et d\u2019un \u00e9thos communautaire. Ces nouvelles productions impliquent par ailleurs l\u2019existence de savoir-faire sp\u00e9cifiques et l\u2019\u00e9mergence de nouveaux m\u00e9tiers (producteurs, youtubeurs, arrangeurs\u2026), avec le d\u00e9ploiement de palettes de connaissances dans le domaine de l\u2019ing\u00e9nierie sonore et informatique (qui sont le fait de professionnels, mais aussi, et de plus en plus, d\u2019amateurs, clercs comme la\u00efcs)(sur les nouveaux m\u00e9tiers relatifs aux productions musicales actuelles, voir Olivier, 2022). Studios d\u2019enregistrement ou <em>home studio<\/em>, cha\u00eenes YouTube, pratiques relatives aux usages du <em>Do It Yourself<\/em> (<em>DIY<\/em>)\u2026 sont autant d\u2019\u00e9l\u00e9ments concourant \u00e0 l\u2019av\u00e8nement de productions musicales amplifi\u00e9es au service du religieux. Quels sont ces savoir-faire, par qui sont-ils d\u00e9velopp\u00e9s et valoris\u00e9s, et dans quel but&#160;?<\/p>\n<p>Les contributions retenues permettront d\u2019identifier de fa\u00e7on concomitante (et \u00e9ventuellement, corr\u00e9l\u00e9e) les soubassements technologiques, esth\u00e9tiques et anthropologiques des musiques aff\u00e9rentes au religieux. Elles analyseront les logiques de distinction sociale et\/ou genr\u00e9e induites ou g\u00e9n\u00e9r\u00e9es par l\u2019amplification, de m\u00eame que les rapports de domination exerc\u00e9s par le son, pour appr\u00e9hender les enjeux relatifs \u00e0 la production, \u00e0 la composition et \u00e0 la diffusion de ces musiques. Depuis l\u2019av\u00e8nement de l\u2019amplification sonore, l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 formelle des moyens mobilis\u00e9s pour composer, produire et sonoriser l\u2019expression musicale religieuse a contribu\u00e9 \u00e0 renouveler les \u00ab&#160;\u00e9cosyst\u00e8mes musicaux&#160;\u00bb (Olivier, 2022&#160;: 10) des expressions et des espaces du religieux. Quels enjeux sociaux, culturels, esth\u00e9tiques, politiques\u2026 se d\u00e9gagent de ces \u00e9cosyst\u00e8mes, et \u00e0 quelles strat\u00e9gies religieuses et confessionnelles r\u00e9pondent-ils&#160;?<\/p>\n<h2>Modalit\u00e9s de soumission<\/h2>\n<ul>\n<li>Les autrices et auteurs devront adresser \u00e0 l\u2019\u00e9ditrice un titre et une proposition de contribution de 500 \u00e0 1000 mots maximum le 30\u00a0juin 2024 au plus tard.<\/li>\n<li>Les r\u00e9ponses aux propositions de contribution seront communiqu\u00e9es au plus tard le <strong>31\u00a0juillet 2024<\/strong>.<\/li>\n<li>Les articles originaux, enti\u00e8rement r\u00e9dig\u00e9s, devront \u00eatre envoy\u00e9s \u00e0 l\u2019\u00e9ditrice le <strong>28\u00a0f\u00e9vrier 2025<\/strong> au plus tard.<\/li>\n<li>Conform\u00e9ment \u00e0 la politique \u00e9ditoriale de la revue, ils seront pr\u00e9alablement examin\u00e9s par les coordinatrices et coordinateurs du dossier, puis soumis \u00e0 l\u2019\u00e9valuation doublement anonyme de trois relecteurs fran\u00e7ais ou \u00e9trangers. La publication du num\u00e9ro est pr\u00e9vue pour <strong>fin\u00a02025<\/strong>.<\/li>\n<li>Les propositions de contribution sont \u00e0 envoyer \u00e0 Marion Paulhac, \u00e9ditrice, avec en objet du message \u00ab&#160;proposition de contribution \u2013\u00a0num\u00e9ro \u201cLiturgies amplifi\u00e9es\u201d&#160;\u00bb&#160;: <strong>marion.paulhac@ehess.fr<\/strong><\/li>\n<\/ul>\n<h2>Coordination scientifique<\/h2>\n<ul>\n<li>Yannick Fer (CMH-CNRS)<\/li>\n<li>S\u00e9verine Gabry-Thienpont (IDEAS-CNRS)<\/li>\n<li>Philippe Gonzalez (CEMS-EHESS)<\/li>\n<\/ul>\n<h2><strong>Bibliographie s\u00e9lective<\/strong><\/h2>\n<ul>\n<li>Aubin-Boltanski Emma, Lamine Anne-Sophie et Luca Nathalie (dir.), 2014, <em>Croire en actes<\/em>. <em>Distance, intensit\u00e9 ou exc\u00e8s<\/em>\u00a0<em>&#160;?<\/em>, Paris, L\u2019Harmattan.<\/li>\n<li>Csordas Thomas J., 2009, \u00ab&#160;Global religion and the re-enchantment of the world&#160;: The case of the Catholic charismatic renewal&#160;\u00bb, <em>in<\/em> T. J. Csordas (dir.), <em>Transnational transcendence&#160;: Essays on religion and globalization<\/em>, Berkeley, University of California Press, p. 73-96.<\/li>\n<li>Delpech Louis, 2011 \u00ab&#160;Musique religieuse&#160;\u00bb, <em>in<\/em> Ch. Accaoui (dir.), \u00c9l\u00e9ments d\u2019esth\u00e9tique musicale. Notions, formes et styles en musique, Arles, Actes Sud\/Cit\u00e9 de la musique, p.\u00a0398-409.<\/li>\n<li>Eisenlohr Patrick, 2018, <em>Sounding Islam Voice, Media, and Sonic Atmospheres in an Indian Ocean World<\/em>, Berkeley, University of California Press.<\/li>\n<li>Audio \u2014, \u00ab&#160;Sound as Affect&#160;? Encorporation and Movement in Vocal Performance&#160;\u00bb, <em>in<\/em> P. Eisenlohr, <em>Sounding Islam Voice, Media, and Sonic Atmospheres in an Indian Ocean World<\/em>, Berkeley, University of California Press. URL&#160;: <a href=\"http:\/\/doi.org\/10.1525\/luminos.53.7\" name=\"SMASHVisited\">http:\/\/doi.org\/10.1525\/luminos.53.7<\/a><a class=\"smash-link\" href=\"https:\/\/sh2hh6qx2e.search.serialssolutions.com\/?rft_id=info:doi\/10.1525\/luminos.53.7&amp;sid=lama-browser-addon\" target=\"_blank\" rel=\"noopener\" name=\"SMASHLink\"> SMASH<\/a>.<\/li>\n<li>Fath S\u00e9bastien, 2008, <em>Dieu XXL. La r\u00e9volution des megachurches<\/em>, Paris, \u00c9ditions Autrement.<\/li>\n<li>Fer Yannick, 2023, \u00ab&#160;Quand les Pentec\u00f4tistes dansent la hula&#160;\u00bb, <em>Corps<\/em>, 21\u00a0p.\u00a049-61.<\/li>\n<li>Frishkopf Michael, 1999, <em>Sufism, Ritual, and Modernity in Egypt&#160;: Language Performance as an Adaptive Strategy<\/em>, th\u00e8se de doctorat, UCLA.<\/li>\n<li>\u2014, 2000, \u00ab&#160;<em>Inshad Dini<\/em> and <em>Aghani Diniyya<\/em> in 20th century Egypt&#160;: A Review of Styles, Genres, and Available Recordings&#160;\u00bb, <em>Bulletin of the Middle East Studies Association<\/em>, 34, p. 167-183.<\/li>\n<li>Gabry-Thienpont S\u00e9verine, 2015, \u00ab&#160;Musiques et charismes chez les chr\u00e9tiens en \u00c9gypte au d\u00e9but du XXI<sup>e<\/sup>\u00a0si\u00e8cle. L\u2019exemple catholique&#160;\u00bb, <em>ASSR, <\/em>171, p.\u00a0187-207.<\/li>\n<li>Gonzalez Philippe, 2008, \u00ab&#160;Lutter contre l\u2019emprise d\u00e9moniaque. Les politiques du combat spirituel \u00e9vang\u00e9lique&#160;\u00bb, <em>Terrain<\/em>, 50, p.\u00a044-61.<\/li>\n<li>\u2014, 2014, <em>Que ton r\u00e8gne vienne. Des \u00e9vang\u00e9liques tent\u00e9s par le pouvoir absolu<\/em>, Gen\u00e8ve, Labor et Fides.<\/li>\n<li>Guillebaud Christine et Lavandier Catherine (dir.), 2020, <em>Worship sound spaces. Architecture, Acoustics and Anthropology<\/em>, Londres, New York, Routledge.<\/li>\n<li>Mayer-Thibault Ashley et Tank-Storper S\u00e9bastien, \u00ab&#160;<em>Kirouv<\/em> 2.0. Une n\u00e9buleuse interstitielle&#160;\u00bb, <em>in<\/em>K.\u00a0Boissevain, M.-L.\u00a0Boursin, S.\u00a0Gabry-Thienpont et N.\u00a0Neveu (dir.), <em>Les autorit\u00e9s religieuses en mouvement<\/em>\u00a0<em>&#160;: circulation, transmission et mat\u00e9rialit\u00e9 (christianisme, juda\u00efsme, islam &#8211; XX<\/em><em><sup>e<\/sup>-XXI<\/em><em><sup>e<\/sup> si\u00e8cle)<\/em>, Marseille, \u00c9ditions Diacritiques, \u00e0 para\u00eetre.<\/li>\n<li>Ha Guangtian, 2022, <em>The Sound of Salvation. Voice, Gender, and the Sufi Mediascape in China<\/em>, Columbia University Press.<\/li>\n<li>Harris Rachel, 2020, <em>Soundscapes of Uyghur Islam<\/em>, Bloomington, Indiana University Press.<\/li>\n<li>Olivier Emmanuelle, \u00ab&#160;Pr\u00e9face&#160;: Les localit\u00e9s d\u2019une technologie globale. Pratiquer l\u2019ethnomusicologie en r\u00e9gime num\u00e9rique&#160;\u00bb, <em>Cahiers d\u2019ethnomusicologie<\/em>, 35, p.\u00a09-24.<\/li>\n<li>Nelson Kristina, 2001 [1985], <em>The Art of Reciting the Qur\u2019an<\/em>, Le Caire, AUC.<\/li>\n<li>Prouteau Pierre, 2021, <em>Bouddhisme, corps et machine\u00a0\u2013\u00a0les sound systems de Tha\u00eflande (Phetchabun\u00a02016-2019)<\/em>, th\u00e8se de doctorat en Anthropologie, Universit\u00e9 Paris Nanterre.<\/li>\n<li>Puig Nicolas, 2017, \u00ab&#160;La ville amplifi\u00e9e&#160;: synth\u00e9tiseurs, sonorisation et effets \u00e9lectro-acoustiques dans les rituels urbains au Caire&#160;\u00bb, <em>Techniques et culture,<\/em> 67, p.\u00a0212-215. URL&#160;: <a href=\"http:\/\/journals.openedition.org\/tc\/8533\">http:\/\/journals.openedition.org\/tc\/8533<\/a>.<\/li>\n<li>Ramzy Carolyn, 2016, \u00ab&#160;Autotuned Belonging&#160;: Coptic Popular Song and the Politics of Neo-Pentecostal Pedagogies&#160;\u00bb, <em>Ethnomusicology<\/em>, 60\/3, p. 434-458.<\/li>\n<li>Sterne Jonathan, 2015,<em> Une histoire de la modernit\u00e9 sonore<\/em>, Paris, La D\u00e9couverte, coll. \u00ab&#160;Culture sonore&#160;\u00bb.<\/li>\n<li>Stokes Martin, 2016, \u00ab&#160;Islamic popular music aesthetics in Turkey&#160;\u00bb, <em>in<\/em> K. Van Nieuwkerk, M. Levine et M. Stokes (dir.), <em>Islam and popular culture<\/em>, Austin, University of Texas press, p.\u00a041-57.<\/li>\n<li>Touch\u00e9 Marc, 1994, <em>Connaissance de l\u2019environnement sonore urbain, l\u2019exemple des lieux de r\u00e9p\u00e9tition&#160;; faiseurs de bruits&#160;? Faiseurs de sons&#160;? Question de point de vue<\/em>, rapport de recherche CRIV-CNRS, Vaucresson.<\/li>\n<\/ul>\n<\/div><\/div>\n<div class=\"zn-singledetail-keywords\">\n<h3 class=\"zn-singledetail-section-title\">Mots-cl\u00e9s<\/h3>\n<ul class=\"termslist termslist-post_tag\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Mots-cl\u00e9s<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-post_tag term-musique\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/musique\/\" title=\"Musique\"><span class=\"termslist-itemname\">Musique<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-religieux\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/religieux\/\" title=\"Religieux\"><span class=\"termslist-itemname\">Religieux<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p><!-- \/fxzn:singledetail --><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mis en ligne le 20 avril 2024 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Communication et organisations Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 30\/06\/2024 [&hellip;]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[327,542],"thematique":[37,35],"sfsic":[],"class_list":["post-31660","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-musique","tag-religieux","thematique-communication-organisations","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Liturgies amplifi\u00e9es. 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