{"id":11237,"date":"2014-12-01T09:32:01","date_gmt":"2014-12-01T08:32:01","guid":{"rendered":"http:\/\/organum.e-marlie.com\/?page_id=11237"},"modified":"2020-01-15T00:21:07","modified_gmt":"2020-01-14T23:21:07","slug":"marcel-peres","status":"publish","type":"page","link":"https:\/\/organumcirma.com\/en_GB\/a-propos\/marcel-peres\/","title":{"rendered":"Marcel P\u00e9r\u00e8s"},"content":{"rendered":"

[spb_row element_name=”Row” wrap_type=”standard-width” row_bg_type=”color” row_bg_color=”#91435c” color_row_height=”content-height” bg_type=”cover” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”standard” bg_video_loop=”yes” parallax_video_height=”window-height” row_top_style=”none” row_bottom_style=”none” parallax_video_overlay=”color” row_overlay_opacity=”0″ remove_element_spacing=”yes” row_col_spacing=”0″ row_col_pos=”center” row_col_content_pos=”center” row_col_equal_heights=”no” row_expanding=”no” row_animation=”none” row_animation_delay=”0″ minimize_row=”no” simplified_controls=”yes” custom_css_percentage=”no” custom_css=”margin-top: 0px;margin-bottom: 0px;” border_styling_global=”default” width=”1\/1″ el_position=”first last”] [spb_column col_animation=”none” col_animation_delay=”0″ col_bg_type=”cover” col_parallax_image_movement=”fixed” col_parallax_image_speed=”0.5″ col_padding=”0″ col_vertical_offset=”0″ col_horizontal_offset=”0″ col_custom_zindex=”0″ col_sm=”6″ simplified_controls=”yes” custom_css_percentage=”yes” padding_vertical=”4″ padding_horizontal=”4″ margin_vertical=”0″ custom_css=”margin-top: 0%;margin-bottom: 0%;padding-top: 4%;padding-left: 4%;padding-right: 4%;padding-bottom: 4%;” border_styling_global=”default” width=”1\/2″ el_position=”first”] [spb_text_block element_name=”Marcel P\u00e9r\u00e8s” animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”12″ padding_horizontal=”12″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 12px;padding-left: 12px;padding-right: 12px;padding-bottom: 12px;” border_size=”0″ border_styling_global=”default” el_class=”.white-style” width=”1\/1″ el_position=”first last”]<\/p>\n

Marcel P\u00e9r\u00e8s<\/h1>\n

Depuis plus de 30 ans Marcel P\u00e9r\u00e8s r\u00e9alise une exploration m\u00e9thodique des r\u00e9pertoires liturgiques m\u00e9di\u00e9vaux avec l’ensemble Organum<\/a> et le CIRMA<\/a><\/p>\n

[\/spb_text_block] [\/spb_column] [spb_column col_animation=”none” col_animation_delay=”0″ col_bg_type=”cover” col_parallax_image_movement=”fixed” col_parallax_image_speed=”0.5″ col_padding=”0″ col_vertical_offset=”0″ col_horizontal_offset=”0″ col_custom_zindex=”0″ col_sm=”6″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”12″ padding_horizontal=”12″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 12px;padding-left: 12px;padding-right: 12px;padding-bottom: 12px;” border_styling_global=”default” width=”1\/2″ el_position=”last”] [spb_image image=”11427″ image_size=”full” frame=”noframe” caption=”Marcel P\u00e9r\u00e8s \u00a9 G.Vivien” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” el_class=”mb0 pb0″ link_target=”_self” lightbox=”no” intro_animation=”fade-in” animation_delay=”200″ width=”1\/1″ el_position=”first last”][\/spb_image] [\/spb_column] [\/spb_row] [spb_row element_name=”Row” wrap_type=”standard-width” row_bg_type=”color” color_row_height=”content-height” bg_type=”cover” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”standard” bg_video_loop=”yes” parallax_video_height=”window-height” row_top_style=”none” row_bottom_style=”none” parallax_video_overlay=”color” row_overlay_opacity=”0″ remove_element_spacing=”yes” row_col_spacing=”0″ row_col_pos=”default” row_col_equal_heights=”no” row_expanding=”no” row_animation=”none” row_animation_delay=”0″ minimize_row=”no” simplified_controls=”yes” custom_css_percentage=”no” custom_css=”margin-top: 0px;margin-bottom: 0px;” border_styling_global=”default” width=”1\/1″ el_position=”first last”] [spb_column col_animation=”none” col_animation_delay=”0″ col_bg_type=”cover” col_parallax_image_movement=”fixed” col_parallax_image_speed=”0.5″ col_padding=”2″ col_sm=”12″ padding_horizontal=”0″ width=”1\/1″ el_position=”first last”] [spb_text_block element_name=”Directeur Artistique” animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”12″ padding_horizontal=”12″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 12px;padding-left: 12px;padding-right: 12px;padding-bottom: 12px;” border_size=”0″ border_styling_global=”default” width=”1\/1″ el_position=”first last”]<\/p>\n

Directeur Artistique<\/h3>\n

De l’orgue \u00e0 la direction de ch\u0153urs<\/h2>\n

Le parcours musical de Marcel P\u00e9r\u00e8s d\u00e9bute par des \u00e9tudes d’orgue et de composition au conservatoire de Nice, puis en Grande Bretagne et au Canada. De retour en Europe il se sp\u00e9cialise dans la musique m\u00e9di\u00e9vale et fonde, en 1982, l’ensemble vocal Organum avec lequel il entreprend une exploration m\u00e9thodique des r\u00e9pertoires liturgiques m\u00e9di\u00e9vaux.<\/p>\n

[\/spb_text_block] [\/spb_column] [\/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” row_bg_type=”color” row_bg_color=”#640048″ color_row_height=”content-height” bg_type=”cover” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ remove_element_spacing=”yes” row_col_pos=”default” row_expanding=”no” row_animation=”none” row_animation_delay=”0″ width=”1\/1″ el_position=”first last”] [spb_text_block element_name=”citation” animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”12″ padding_horizontal=”12″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 12px;padding-left: 12px;padding-right: 12px;padding-bottom: 12px;” border_size=”0″ border_styling_global=”default” el_class=”white-style” width=”1\/1″ el_position=”first last”]<\/p>\n

[blockquote3]\u00a0 [icon image=”fa-quote-left” character=”” size=”small” cont=”no” float=”left” color=”#91435C”]Les textes anciens sont ce qu\u2019ils sont. Ils expriment les r\u00e9alit\u00e9s musicales d\u2019autrefois en des termes qui ne nous sont pas familiers. Il nous faut apprendre le langage musical des hommes du pass\u00e9, mais aussi, leur mani\u00e8re globale de s\u2019exprimer, leur imaginaire, leur quotidien et se repr\u00e9senter comment eux-m\u00eames se situaient dans un processus de m\u00e9moire. Il ne s\u2019agit pas seulement de prendre une partition et de la jouer, il faut comprendre aussi le monde auquel cette musique fait r\u00e9f\u00e9rence[\/blockquote3]<\/p>\n

Marcel P\u00e9r\u00e8s; “Le chant de la m\u00e9moire”<\/p>\n

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Diriger des programmes de recherche sur l’interpr\u00e9tation des r\u00e9pertoires anciens<\/h2>\n

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1984 \u2013 1999<\/h4>\n

Le CERIMM, \u00e0 la Fondation Royaumont<\/h3>\n

 <\/p>\n

[\/spb_text_block] [spb_text_block element_name=”Pendant 15 ans, cr\u00e9\u00e9 et dirig\u00e9 par Marcel P\u00e9r\u00e8s” animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”12″ padding_horizontal=”12″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 12px;padding-left: 12px;padding-right: 12px;padding-bottom: 12px;” border_size=”0″ border_styling_global=”default” el_class=”.rubrique-description” width=”1\/1″ el_position=”first last”]<\/p>\n

Pendant 15 ans, cr\u00e9\u00e9 et dirig\u00e9 par Marcel P\u00e9r\u00e8s, le Centre Europ\u00e9en pour la Recherche sur l’Interpr\u00e9tation des Musiques M\u00e9di\u00e9vales (CERIMM) m\u00e8ne un grand programme de recherche sur l’interpr\u00e9tation des musiques m\u00e9di\u00e9vales, \u00e0 l’abbaye de Royaumont<\/p>\n

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Depuis 2001<\/h4>\n

Cr\u00e9ation et direction du CIRMA \u00e0 l’ancienne Abbaye de Moissac<\/h3>\n

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En 2001, l’ensemble Organum \u00e9migre vers l\u2019ancienne abbaye de Moissac o\u00f9 Marcel P\u00e9r\u00e8s cr\u00e9e une nouvelle structure de recherche, le Centre Itin\u00e9rant de Recherche sur les Musiques Anciennes (CIRMA), avec comme objectifs :
\n\u2022\u00a0\u00a0 La \u00a0mise en valeur de la circulation des hommes, de leurs pens\u00e9es et de leurs savoir-faire au cours des si\u00e8cles,\u00a0 via la musique
\n\u2022\u00a0\u00a0 Le d\u00e9veloppement des approches compl\u00e9mentaires entre les traditions vivantes, l’arch\u00e9ologie musicale et les sciences de la m\u00e9moire.<\/p>\n

[\/spb_text_block] [spb_button button_text=”D\u00e9couvrir les activit\u00e9s du CIRMA” button_size=”large” button_colour=”transparent-dark” button_type=”standard” rounded=”no” button_dropshadow=”no” button_link=”https:\/\/organumcirma.com\/pedagogie\/le-cirma\/” button_target=”_self” align=”center” animation=”none” animation_delay=”0″ el_class=”.bouton” width=”1\/1″ el_position=”first last”] [\/spb_column] [spb_column col_animation=”none” col_animation_delay=”0″ col_bg_type=”cover” col_parallax_image_movement=”fixed” col_parallax_image_speed=”0.5″ col_padding=”0″ col_sm=”6″ padding_horizontal=”0″ width=”1\/2″ el_position=”last”] [spb_image element_name=”Abbatiale et clo\u00eetre de Moissac” image=”14483″ image_size=”full” frame=”noframe” caption=”Abbatiale et clo\u00eetre de Moissac \u00a9 D.Viet” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1\/1″ el_position=”first last”][\/spb_image] [\/spb_column] [\/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” row_bg_type=”color” row_bg_color=”#640048″ color_row_height=”content-height” bg_type=”cover” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”none” row_overlay_opacity=”0″ remove_element_spacing=”yes” row_col_pos=”default” row_expanding=”no” row_animation=”none” row_animation_delay=”0″ width=”1\/1″ el_position=”first last”] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”2″ padding_horizontal=”0″ margin_vertical=”0″ border_size=”0″ border_styling_global=”default” el_class=”white-style” width=”1\/1″ el_position=”first last”]<\/p>\n

[blockquote3] [icon image=”fa-quote-left” character=”” size=”small” cont=”no” float=”left” color=”#91435C”]La p\u00e9riode du tout vernaculaire a enferm\u00e9 les \u00e9glises nationales dans des ghettos linguistiques et les a coup\u00e9es de leurs patrimoines, mais aujourd\u2019hui, l\u2019ouverture au monde et la circulation de plus en plus dense des individus, appellent un juste r\u00e9\u00e9quilibrage de l\u2019usage des langues et des m\u00e9moires liturgiques. Je serais, donc, tr\u00e8s heureux si mon travail permettait d\u2019aider les catholiques \u00e0 renouer avec la grande tradition du chant eccl\u00e9siastique. Et pour tous les autres, de les aider \u00e0 d\u00e9couvrir, par la musique, la qualit\u00e9 esth\u00e9tique, m\u00e9taphysique et humaine de ceux qui nous ont pr\u00e9c\u00e9d\u00e9[\/blockquote3]<\/p>\n

Marcel P\u00e9r\u00e8s<\/p>\n

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Prix et distinctions<\/h2>\n

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Une action internationalement reconnue<\/h3>\n

L’ensemble de l’activit\u00e9 de Marcel P\u00e9r\u00e8s en faveur de l’interpr\u00e9tation et la diffusion des musiques anciennes est r\u00e9guli\u00e8rement distingu\u00e9e<\/h4>\n

 <\/p>\n

[\/spb_text_block] [spb_text_block element_name=”Prix L\u00e9onard de Vinci du Secr\u00e9tariat d’\u00c9tat fran\u00e7ais aux relations culturelles internationales” animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”12″ padding_horizontal=”12″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 12px;padding-left: 12px;padding-right: 12px;padding-bottom: 12px;” border_size=”0″ border_styling_global=”default” el_class=”.rubrique-description” width=”1\/1″ el_position=”first last”]<\/p>\n

    \n
  • Prix L\u00e9onard de Vinci du Secr\u00e9tariat d’\u00c9tat fran\u00e7ais aux relations culturelles internationales (1990), en reconnaissance de son action internationale<\/li>\n
  • Chevalier (1996), puis Officier\u00a0 de l’Ordre des Arts et des Lettres (2013)<\/li>\n
  • Parrain de la cloche “Marcel”, construite en 2012 et b\u00e9nie le 2 f\u00e9vrier 2013 \u00e0 l’occasion du jubil\u00e9 des 850 ans de Notre-Dame de Paris<\/li>\n
  • Citoyen d’honneur de la ville de Jaroslav (2013)<\/li>\n
  • Axion Estin Foundation Award (New York), distinction honorifique pour ses recherches sur les origines du chant byzantin et du chant romain (2014)<\/li>\n<\/ul>\n

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    DISCOGRAPHIE<\/h2>\n

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    Une quarantaine d’enregistrements avec l’ensemble Organum<\/h3>\n

     <\/p>\n

    [\/spb_text_block] [spb_text_block element_name=”Avec l’ensemble Organum, Marcel P\u00e9r\u00e8s a r\u00e9alis\u00e9 une quarantaine d\u2019enregistrements discographiques” animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”12″ padding_horizontal=”12″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 12px;padding-left: 12px;padding-right: 12px;padding-bottom: 12px;” border_size=”0″ border_styling_global=”default” el_class=”.rubrique-description” width=”1\/1″ el_position=”first last”]<\/p>\n

    Avec l’ensemble Organum, Marcel P\u00e9r\u00e8s a r\u00e9alis\u00e9 une quarantaine d\u2019enregistrements discographiques dont la plupart ont re\u00e7u les plus hautes distinctions : Diapason d’or, Classical Awards, Choc de l’ann\u00e9e du Monde de la Musique, New York Times\u2019 essential records of the 20th century.<\/p>\n

    [\/spb_text_block] [spb_text_block element_name=”Marcel P\u00e9r\u00e8s, compositeur” animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”12″ padding_horizontal=”12″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 12px;padding-left: 12px;padding-right: 12px;padding-bottom: 12px;” border_size=”0″ border_styling_global=”default” width=”1\/1″ el_position=”first last”]<\/p>\n

    Marcel P\u00e9r\u00e8s, compositeur<\/h3>\n

     <\/p>\n

    [\/spb_text_block] [spb_text_block element_name=”\u00c9galement compositeur, Marcel P\u00e9r\u00e8s a cr\u00e9\u00e9 une trentaine d\u2019\u0153uvres” animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”12″ padding_horizontal=”12″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 12px;padding-left: 12px;padding-right: 12px;padding-bottom: 12px;” border_size=”0″ border_styling_global=”default” el_class=”.rubrique-description” width=”1\/1″ el_position=”first last”]<\/p>\n

    \u00c9galement compositeur, Marcel P\u00e9r\u00e8s a cr\u00e9\u00e9 une trentaine d\u2019\u0153uvres parmi lesquelles :
    \n\u2022\u00a0\u00a0\u00a0 Mysteria Apocalypsis , cr\u00e9\u00e9e en 2000
    \n\u2022\u00a0\u00a0\u00a0 Contemplation, paraphrase musicale du Livre des Morts des anciens \u00c9gyptiens, enregistr\u00e9 en 2008
    \n\u2022\u00a0\u00a0\u00a0 La musique de la pi\u00e8ce de th\u00e9\u00e2tre Ordet de Kaj Munk cr\u00e9\u00e9e au festival d\u2019Avignon en 2008
    \n\u2022\u00a0\u00a0\u00a0 Le Cr\u00e9puscule Transfigur\u00e9, cr\u00e9\u00e9 \u00e0 Moissac en 2011
    \n\u2022\u00a0\u00a0\u00a0 Missa ex Tempore cr\u00e9\u00e9e \u00e0 Katowice en mai 2015<\/p>\n

    [\/spb_text_block] [spb_button button_text=”VOIR SA DISCOGRAPHIE COMPLETE” button_size=”large” button_colour=”transparent-dark” button_type=”standard” rounded=”no” button_dropshadow=”no” button_link=”https:\/\/organumcirma.com\/a-propos\/discographie\/” button_target=”_self” align=”center” animation=”none” animation_delay=”0″ el_class=”.bouton” width=”1\/1″ el_position=”first last”] [\/spb_column] [spb_column col_animation=”none” col_animation_delay=”0″ col_bg_type=”cover” col_parallax_image_movement=”fixed” col_parallax_image_speed=”0.5″ col_padding=”0″ col_sm=”6″ padding_horizontal=”0″ width=”1\/2″ el_position=”last”] [spb_image image=”11439″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1\/1″ el_position=”first last”][\/spb_image] [\/spb_column] [\/spb_row] [spb_row element_name=”Row” wrap_type=”content-width” row_bg_type=”color” color_row_height=”content-height” bg_type=”cover” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”0.5″ bg_video_loop=”yes” parallax_video_height=”window-height” parallax_video_overlay=”color” row_overlay_opacity=”0″ remove_element_spacing=”yes” row_col_pos=”default” row_expanding=”no” row_animation=”none” row_animation_delay=”0″ width=”1\/1″ el_position=”first last”] [spb_column col_sm=”12″ padding_horizontal=”0″ width=”1\/1″ el_position=”first last”] [spb_text_block element_name=”BIBLIOGRAPHIE” animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”3″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 3px;padding-bottom: 3px;” border_size=”0″ border_styling_global=”default” width=”1\/1″ el_position=”first last”]<\/p>\n

    BIBLIOGRAPHIE<\/h2>\n

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      \n
    • M. P\u00e9r\u00e8s,\u00a0 Les limites de la pal\u00e9ographie et de la s\u00e9miologie<\/em>, Cahiers de civilisation m\u00e9di\u00e9vale, ann\u00e9e XXXI, n\u00ba 2, Avril-Juin 1988, p. 169-178.<\/li>\n
    • M. P\u00e9r\u00e8s, Voix de femmes ressuscit\u00e9es, musiques m\u00e9di\u00e9vales et domaine du masculin<\/em>, Nervure -revue psychiatrique –\u00a0 d\u00e9cembre 1990.<\/li>\n
    • M. P\u00e9r\u00e8s, Pour une r\u00e9\u00e9ducation du sens liturgique<\/em>,\u00a0 Catholica n\u00b046 hiver 1994.<\/li>\n
    • M. P\u00e9r\u00e8s, Reprendre \u00e0 frais nouveaux la r\u00e9flexion sur les traditions liturgiques<\/em>, Reconstruire la liturgie\u00a0 ouvrage collectif, Claude barthe, Jean Robert Armogathe, Godfried Danneels, Ren\u00e9 Girard, Michel Lelong, Ashraf Sadek,\u00a0 ed. F.X. de Guibert, Paris, 1997.<\/li>\n
    • M. P\u00e9r\u00e8s, A different sense of time ; on plainchant ; Inside early music<\/em>, ed B.D. Shermann,\u00a0 Oxford University Press, 1997.<\/li>\n
    • M. P\u00e9r\u00e8s, J. Cheyronnaud, Les voix du Plain-chant<\/em>,\u00a0 Descl\u00e9e de Brouwer, Paris 2001<\/li>\n
    • M. P\u00e9r\u00e8s et X. Lacavalerie, Le chant de la m\u00e9moire, ensemble Organum 1982-2002<\/em>, Descl\u00e9e de Brouwer, 2002.<\/li>\n
    • M. P\u00e9r\u00e8s, La interpretaci\u00f3n de las m\u00fasicas antiguas y la necesaria reevaluaci\u00f3n de las herramientas historiogr\u00e1ficas. Los \u00faltimos diez a\u00f1os de la investigaci\u00f3n musical<\/em>, Universidad de Valladolid, 2002.<\/li>\n
    • M. P\u00e9r\u00e8s, L\u2019\u00c9glise et la m\u00e9moire de ses traditions cantorales, in : Revista de Musicolog\u00eda<\/em>, vol. XXVII,\u00a0 2004, n\u00ba 1: Actas del Simposio Internacional “El motu proprio de San P\u00edo X y la m\u00fasica (1903-2003)”, Barcelona, 2003.<\/li>\n
    • M.P\u00e9r\u00e8s & Bernhard Groebler, Le chant gr\u00e9gorien est-il \u0153cum\u00e9nique ?<\/em>\u00a0 Catholica n\u00b082 hiver 2003<\/li>\n
    • M. P\u00e9r\u00e8s, Reconstruire une m\u00e9moire liturgique<\/em>, La Nef n\u00b0183 de Juin 2007<\/li>\n
    • M. P\u00e9r\u00e8s, J\u00e9r\u00f4me de Moravie (XIIIe si\u00e8cle) et les origines du plain-chant figur\u00e9,\u00a0 La misa Solemne Popular en lat\u00edn en la tradici\u00f3n Salmantina<\/em> ; Coordinaci\u00f3n: Miguel Manzano Alonso, Centro de Cultura Tradicional \u201cAngel Carril\u201d, Diputaci\u00f3n de Salamanca 2008.<\/li>\n
    • M. P\u00e9r\u00e8s, Utopie \u00ab gr\u00e9gorienne \u00bb<\/em>\u00a0 in Arts sacr\u00e9s, N\u00b0 2 (nov.-d\u00e9c. 2009)<\/li>\n
    • M. P\u00e9r\u00e8s,\u00a0 L\u2019improvisation et la Providence<\/em>,\u00a0 Revue Pastel Mai 2010<\/li>\n
    • M. P\u00e9r\u00e8s, Le cr\u00e9puscule transfigur\u00e9. Une autre approche du p\u00e8lerinage vers Compostelle<\/em>, in Arts sacr\u00e9s, N\u00b0 23 (mai-juin 2013)<\/li>\n
    • M. P\u00e9r\u00e8s, La parole, le chant, et l’espace rituel,\u00a0 Arts sacr\u00e9s, N\u00b0 27 (Janvier \u2013 f\u00e9vrier 2014)<\/li>\n
    • M. P\u00e9r\u00e8s, Le chant vieux romain : Nouveaux horizons pour la compr\u00e9hension du chant gr\u00e9gorien et des r\u00e9pertoires des \u00c9glises orientales. Atti del Congresso Internazionale di Musica Sacra svoltosi in occasione del centenario di fondazione del PIMS<\/em>, in Roma, tra il 26 maggio ed il 1 giugno 2011 ; Roma, Pontificio Istituto di Musica Sacra 2014.<\/li>\n
    • M.P\u00e9r\u00e8s, Le chant vieux romain r\u00e9v\u00e8lerait-il le \u00ab Corpus de l\u2019oralit\u00e9 \u00bb du chant gr\u00e9gorien<\/em> ?
      \nActes du colloque IRCAM-Universit\u00e9 de Strasbourg : \u201cLes Corpus de l\u2019oralit\u00e9\u201c Paris 2014<\/li>\n
    • M.P\u00e9r\u00e8s, Que pourrait-\u00eatre une herm\u00e9neutique du chant \u00e9ccl\u00e9siastique?\u00a0<\/em>in : Le chant liturgique aujourd’hui et la tradition gr\u00e9gorienne; actes du colloque.\u00a0 Beat F\u00f6llmi, Jacques Viret (dir.); ed. Hermann 2016<\/li>\n<\/ul>\n

      [\/spb_text_block] [\/spb_column] [spb_column col_animation=”none” col_animation_delay=”0″ col_bg_color=”#ffffff” col_bg_type=”cover” col_parallax_image_movement=”fixed” col_parallax_image_speed=”0.5″ col_padding=”4″ col_sm=”6″ padding_horizontal=”0″ width=”1\/2″ el_position=”last”] [spb_text_block element_name=”\u00c9ditions musicales” animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”12″ padding_horizontal=”12″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;padding-top: 12px;padding-left: 12px;padding-right: 12px;padding-bottom: 12px;” border_size=”0″ border_styling_global=”default” width=”1\/1″ el_position=”first last”]<\/p>\n

      \u00c9ditions musicales<\/h3>\n
        \n
      • M. P\u00e9r\u00e8s, M. Bothwell, Les Offices de Saint Jacques de Compostelle (Codex Calixtinus XIIe si\u00e8cle)<\/em>, CIRMA, collection Scriptorium, Moissac 2002,<\/li>\n
      • M. P\u00e9r\u00e8s, M.Bothwell,\u00a0 Les Messes de Saint Jacques de Compostelle (Codex Calixtinus XIIe si\u00e8cle)<\/em>, CIRMA, collection Scriptorium,\u00a0 Moissac 2003.<\/li>\n
      • M. P\u00e9r\u00e8s, M.Bothwell, La messe de Guillaume de Machaut\u00a0 (XIVe si\u00e8cle)<\/em> , CIRMA, collection Scriptorium, Moissac 2005<\/li>\n
      • M. P\u00e9r\u00e8s, M.Bothwell, Cantilena romana (XIe si\u00e8cle)<\/em>, CIRMA, collection Scriptorium, ed. Fragiles Moissac 2010<\/li>\n<\/ul>\n

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