{"id":1912,"date":"2026-06-14T18:05:52","date_gmt":"2026-06-14T17:05:52","guid":{"rendered":"https:\/\/rpc-revue.org\/?page_id=1912"},"modified":"2026-06-26T10:51:00","modified_gmt":"2026-06-26T09:51:00","slug":"recherche-pedagogie-et-culture-n65-66-musiques-dafrique-et-de-locean-indien-janvier-avril-juin-1984","status":"publish","type":"page","link":"https:\/\/rpc-revue.org\/?page_id=1912","title":{"rendered":"Recherche, P\u00e9dagogie et Culture n\u00b065-66-Musiques d\u2019afrique et de l\u2019oc\u00e9an indien-Janvier-Avril-Juin 1984"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-page-de-couverture.pdf\">Page de couverture<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>SOMMAIRE<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-sommaire-avant-propos_ocred.pdf\">Sommaire- Avant-propos, page2<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art1_ocred.pdf\">Table ronde, p7<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art2_ocred.pdf\">Comprendre la musique des autres, S.Arom, p 23<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art3_ocred.pdf\">Rencontres avec des objets remarquables&nbsp;: les instruments de musique d\u2019Afrique&nbsp; noire, G.Dournon, p 29<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art4_ocred.pdf\">L\u2019ethnomusicologie dans les pays africains&nbsp;: enqu\u00eate de Recherche, P\u00e9dagogie et Culture, p 43<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art5_ocred.pdf\">La musique africaine \u00e0 l\u2019Institut national des arts d\u2019Abidjan, P.Augier, p55<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art6_ocred.pdf\">La recherche ethnomusicologique en Afrique centrale&nbsp;: le cas du Cameroun, P.C. Ngumu, p 65<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art7_ocred.pdf\">Ethnomusicologie chez les touaregs du Niger, F.Borel, p71<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art8_ocred.pdf\">Musique traditionnelle malgache&nbsp;: de la recherche \u00e0 l\u2019action culturelle, M.Domeninichini-Ramiaramanana, p77<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art9_ocred.pdf\">Quelques instruments africains aux Antilles n\u00e9erlandaises, J.Gansemans, p83<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art10_ocred.pdf\">L\u2019ethnomusicologie et l\u2019Agence de coop\u00e9ration culturelle et technique-Erpamao, Emac, P.Augier &#8211; P.C Ngumu, p91<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art11_ocred.pdf\">La musique et la transe&nbsp;: entretien avec Gilbert Rouget, p99<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-art12_ocred.pdf\">Voyage \u00e0 travers les instruments de musique du Mus\u00e9e de l\u2019homme, G.Dournon, p109<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-bibliographie_ocred.pdf\">Bibliographie, discographie et filmographie, V.Dehoux et A.M Despringre, p110<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-en-direct_ocred.pdf\">En direct&nbsp;:<\/a><\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>D\u2019Amsterdam&nbsp;: Anthropologie de l\u2019\u00e9ducation-Colloque, p 118<\/li>\n\n\n\n<li>De C\u00f4te-d\u2019Ivoire&nbsp;: dessinez votre \u00e9cole, p 123<\/li>\n\n\n\n<li>Du Maroc&nbsp;: Le milieu scolaire des \u00e9l\u00e8ves de Marrakech, p 126<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-dun-livre_ocred.pdf\">D\u2019un livre \u00e0 l\u2019autre&nbsp;:<\/a><\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>L\u2019origine des instruments de musique, p 129<\/li>\n\n\n\n<li>Les fantaisies du voyageur, p130<\/li>\n\n\n\n<li>Aux sources du reggae, p131<\/li>\n\n\n\n<li>Le sanglot de l\u2019homme blanc, p132<\/li>\n\n\n\n<li>L\u2019invention du racisme, p 133<\/li>\n\n\n\n<li>Le statut des ind\u00e9pendances africaines dans le roman n\u00e9gro-africain, p133<\/li>\n\n\n\n<li>Dictionnaire des \u0153uvres litt\u00e9raires n\u00e9gro-africaines d\u2019expression fran\u00e7aise, p 137<\/li>\n\n\n\n<li>L\u2019exp\u00e9rience religieuse \u00e0 l\u2019\u00e9cole&nbsp;: nouvelles exp\u00e9riences en Afrique anglophone, p138<\/li>\n\n\n\n<li>La recherche exp\u00e9rimentale en \u00e9ducation, p139<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/rpc-revue.org\/wp-content\/uploads\/2026\/06\/N65-66-informations_ocred.pdf\"><strong>Informations audio-scripto-visuelle,<\/strong> p140<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Recherche, P\u00e9dagogie et Culture<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Directeur de publication, R\u00e9dacteur en Chef: Denyse de Saivre<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pr\u00e9sident du Comit\u00e9 de coordination&nbsp;: Claude Wauthier<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Conseiller technique&nbsp;: Bernard Clergerie<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Secr\u00e9tariat de r\u00e9daction&nbsp;: Elisabeth Rouzy<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; AUDECAM, 100, rue de l\u2019Universit\u00e9, 75700 Paris<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Les articles publi\u00e9s dans cette revue n&rsquo;engagent que la responsabilit\u00e9 de leurs auteurs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Page de couverture SOMMAIRE Sommaire- Avant-propos, page2 Table ronde, p7 Comprendre la musique des autres, S.Arom, p 23 Rencontres avec des objets remarquables&nbsp;: les instruments de musique d\u2019Afrique&nbsp; noire, G.Dournon, p 29 L\u2019ethnomusicologie dans les pays africains&nbsp;: enqu\u00eate de Recherche, P\u00e9dagogie et Culture, p 43 La musique africaine \u00e0 l\u2019Institut national des arts d\u2019Abidjan, P.Augier, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1912","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/rpc-revue.org\/index.php?rest_route=\/wp\/v2\/pages\/1912","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rpc-revue.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/rpc-revue.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/rpc-revue.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rpc-revue.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1912"}],"version-history":[{"count":23,"href":"https:\/\/rpc-revue.org\/index.php?rest_route=\/wp\/v2\/pages\/1912\/revisions"}],"predecessor-version":[{"id":2094,"href":"https:\/\/rpc-revue.org\/index.php?rest_route=\/wp\/v2\/pages\/1912\/revisions\/2094"}],"wp:attachment":[{"href":"https:\/\/rpc-revue.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1912"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}