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Pr&#233;sentationComme toutes les productions artistiques, la musique est aussi et&#160;peut-&#234;tre&#160;d&#8217;abord un travail. Cette id&#233;e prend &#224; rebours la mythologie romantique h&#233;rit&#233;e du XIX&#232;me&#160;si&#232;cle qui fait de l&#8217;activit&#233; artistique le fruit d&#8217;une inspiration transcendante, inaccessible &#224; la rationalisation, et de l&#8217;artiste un &#234;tre d&#8217;exception dont le &#171; talent &#187; serait irr&#233;ductible &#224; l&#8217;analyse sociologique. C&#8217;est&#160;peut-&#234;tre&#160;l&#8217;un des apports fondamentaux des travaux fondateurs de Howard S. Becker aux&#160;Etats-Unis&#160;dans les ann&#233;es 1950, que d&#8217;avoir montr&#233; combien il &#233;tait important de s&#8217;int&#233;resser &#224; ce qui fait le quotidien du travail musical. Loin des repr&#233;sentations &#233;th&#233;r&#233;es du cr&#233;ateur inspir&#233;, il a pratiqu&#233; l&#8217;observation ethnographique du travail exerc&#233; par des individus ni riches ni c&#233;l&#232;bres, les &#171; musiciens de danse &#187;.Soixante ans plus tard, le corpus de la sociologie du travail musical s&#8217;est consid&#233;rablement enrichi. De fait, en 2016, une centaine de chercheurs et chercheuses venu.e.s de tous les continents se sont retrouv&#233;.e.s &#224; Glasgow pour le premier colloque&#160;Working in Music. Le succ&#232;s de cette premi&#232;re &#233;dition a entra&#238;n&#233; la cr&#233;ation d&#8217;un r&#233;seau international de recherche sur le travail musical1&#160;et fait na&#238;tre le d&#233;sir de renouveler l&#8217;exp&#233;rience d&#8217;une rencontre. Deux ans apr&#232;s, c&#8217;est donc &#224; Lausanne que se tiendra le deuxi&#232;me colloque international consacr&#233; au travail dans la musique tel qu&#8217;il peut &#234;tre saisi par les sciences sociales.ProgramThursday 11 January &#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;(Building: G&#233;opolis)   13:00 Welcome, snacks and coffee  13:45 Introduction by Marc Perrenoud &#38; Pierre Bataille (UNIL)14:00 -15:00 Keynote1Martin Cloonan (Univ. Turku) &#38; John Williamson (Univ. Glasgow), &#8220;Musicians as workers in the gig economy&#8221; (Univ. Glasgow; Univ. Turku)15:00 - 16:00 Keynote2Hyacinthe Ravet (Universit&#233; Paris 4), &#8220;The conductor and the band. Interactions and work relations&#8221;16:15 - 18:30 PanelsPanel 1: Inequalities and discrimination: sex, race, class, and musical careersChair: Soline Blanchard (UNIL)Mark Banks - Giving Grace to the Graceful? On Music, Meritocracy and the Social Selection of TalentAnna Bull - Class, control and classical music: the production of inequalities among young people playing classical music in EnglandMojca Pi&#353;kor - Orchestras, women and aging:&#160; reading through the life stories of female orchestral musicians in CroatiaMiki Kaneda - New Music, New Work: How the Creative Labor of Performers Shapes Contemporary MusicPanel 2: Teaching, learning, and transmitting: the music and the tradeChair: Adrien Pegourdie (Universit&#233; de Limoges)Yuiko Asaba - Working as a Tango Musician in Japan: Lineage, Innovation, InstitutionalisationAlice Aterianus-Owanga - "Sabar rek"&#160; ("Only sabar!"). Circulations, transmission and domination in the teaching of sabar in EuropeReguina Hatzipetrou-Andronikou - Learning trajectories, training opportunities and their gendered effects: the process of institutionalisation of Greek traditional musicDimitra Papastavrou - Building improvisation: Music specialization and professional training in an informal learning groupPanel 3: Occupational identity and life style: being a musicianChair: Pierre Raboud (Universit&#233; de Lausanne)Lo&#239;c Riom - "The stupid guy who wants to make music all the time" :&#160;Negotiation and circulation of the identity of indie rock musician in SwitzerlandLee Marshall - Are musicians entrepreneurs? Reflections on musicians&#8217; viewsFr&#233;d&#233;ric Trottier - Being a techno musician in DetroitJ&#233;r&#233;my Sinigaglia - De la boh&#232;me &#224; l&#8217;organisation scientifique du travail. Le rapport au temps comme r&#233;v&#233;lateur des transformations de l&#8217;identit&#233; professionnelle des musicien-ne-sFriday 12 January &#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;(Building: G&#233;opolis)  9:00 - 12:00 PanelsPanel 4: Inequalities and discrimination: sex, race, class, and musical careers &#160;Chair: Isabel Boni-Le Goff (Universit&#233; de Lausanne)V&#233;ronique Clette-Gakuba - Migrations postcoloniales et transformation de la rumba congolaise au d&#233;part de la Belgique francophonePaula Guera &#38; Ana Oliveira - Rebel Girl! Punk, gender and difference in Portugal since 1970&#8217;sMohamed Oubenal -&#160;From the discrimination against amazigh music to its emancipationLucas Preite - Bello Figo and Baba Uslender: musical (online-)reflections on discriminationPierre Bataille &#38; Marc Perrenoud:&#8220;One for the money&#8221;? The digitalization and "disk crisis" impact on the incomes of ordinary musicians in French-speaking SwitzerlandPanel 5: Collective action, unions and social struggleChair: Martin Cloonan (University of Glasgow)Ananay Aguilar - PPL: the management of performers&#8217; rightsEileen Karmy - Musicians as workers: popular and classical musicians in conflict during the music institutionalisation process of the 1940s in ChileMartin Lussier - A music industries association&#8217;s board of directors as a cultural workplace: the case of ADISQ in Qu&#233;becHenry Stobart &#38; Michelle Bigenho - Heritage politics and indigenous singer-songwriter organizations in BoliviaPanel 6: Support personnel, gatekeepers, and intermediariesChair:&#160;Matt Stahl (University of Western Ontario)Larain Porter - A game of hare and hounds with one small terrier puffing well in the rear&#8217; the work of the Musical Director in British Silent CinemaJo&#235;l Gir&#232;s - La Loudness War&#160;: l&#8217;incertitude de l&#8217;emploi &#224; la source de processus mim&#233;tiques et inflationnistes dans le monde du disqueCharles Umney - Online intermediaries in the labour market for function musicians: problems created and possible responsesJelka Vukobratovic - The Infrastructural Frame of Village Fests in Croatia and Its Role in Providing Work for Local MusiciansMyrtille Picaud - &#8220;The biggest rule here is that nobody who is involved earns money&#8221;: booking in music venues in Paris and Berlin14:00 - 16:00 PanelsPanel 7: Occupational identity and lifestyle: being a musicianChair: Miriam Odoni (Universit&#233; de Gen&#232;ve)Olivia Gable - &#8216;Emerging&#8217; Popular Musicians Working in England and the Value of Public FundingSofiane Bouhdiba - Darbouka and Deafness: the Morbidity of Percussionists in TunisiaMatt Stahl - Kesha vs. Dr. Luke, Particularism vs. Abstraction: The Atavistic Politics of Occupational Music MakingRichard Sutherland - The Role of Government Programs in Defining Professional Recording ArtistsPanel 8: Teaching, learning, and transmitting: the music and the tradeChair: Najate Zouggari (Universit&#233; de Lausane)Aur&#233;lien Poidevin &#38; Sabine Emad - Devenir et &#234;tre musicien.ne d&#8217;orchestre&#160;: de l&#8217;&#233;cole aux m&#233;tiersAndrea Giesch - To be a musician in a social and cultural school project. Case study of the&#160;Geneva &#171;&#160;classroom orchestra&#160;&#187;R&#233;my Deslyper - The professional musician of the french schools of "musiques actuelles": the emergence of a new attitude to musical practiceYvon Lamy &#38; Adrien Pegourdie - To deal with teaching. Inequalities in french classic musical labor market and requalification of teaching praticePanel 9: Support personnel, gatekeepers, and intermediariesChair: Olivier Moeschler (Universit&#233; de Lausanne)Battentier Andy - Technical work in music : towards a new category of actors in musical worldsG&#233;r&#244;me Guibert, Hyacinthe Chateign&#233; &#38; Vera Bezsonoff - Entre singularit&#233; et normalisation. Les salari&#233;s des lieux de musiques actuelles en FranceGabrielle Kielich - More Work than Sibilance? Understanding Representations of Road Crews&#8217; LabourHelen Reddington - Gender Mediation in Popular Music Production: pathways for women producers and engineers in popular music16:30 - 18:00 Debate (in French): &#8220;Vivre de la musique ?&#8221;&#160;(Building: Grange de Dorigny)Chairs: Marc Perrenoud et Pierre BatailleAnne Papilloud (Syndicat suisse romand du spectacle)Le&#239;la Kramis (Syndicat musical suisse)Julien Feltin (EJMA &#8211; Ecole de jazz et de musique actuelle)Yann Riou (Service de la culture, Ville de Lausanne)Saturday 13 January &#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;&#160; &#160;&#160;(Building: G&#233;opolis)  9:30 - 10:30 Keynote3Marie Buscatto (Univ. Paris 1), &#8220;Unravel the threads of musical careers through intersectionality. Ways and reasons&#8221;10:45 - 12:45 Panels Panel 10: New trends and new topicsChair: G&#233;r&#244;me Guibert (Universit&#233; Paris 3 Sorbonne Nouvelle)Marta Casals-Balaguer - The jazz collective in Barcelona and Boston. The role of the collaborative circles in the music scenesMathieu Feryn - From times of listening to sharing our musical tastes. A test of musical work in AvignonSandrine Bubendorff - Crowdfunding: a way to access a professional artist status or a degradation of work conditions?Nun&#233; Nikoghosyan - Imitate, copy or pay tribute? How conventions shape identities and practices in the world of tribute bandsPanel 11: New trends and new topicsChair: Hyacinthe Ravet (Universit&#233; Paris 4)Ana Oliveira, Paula Guera &#38; Costa Pedro - DIWO! The role of networks and collaborative practices in building musical careers in the independent musical scene of LisbonOlivier Voirol - Le travail de &#8216;valuation&#8217; musicalePhilippe Blache - Emergence and diffusion of DIY communities. The artist-entrepeneur, a cultural actor at the crossroads13:00 - 13:15 Closing Speech, Marc Perrenoud &#38; Pierre BatailleOrganising CommitteePierre Bataille (Universit&#233; Libre de Bruxelles &#8211; Centre METICES)Fabiana Carrer-Joliat (Universit&#233; de Lausanne &#8211; LACCUS)Camila Moyano (Universt&#233; de Lausanne &#8211; LACCUS)Nun&#233; Nikoghosyan (Universit&#233; de Gen&#232;ve &#8211; IRS)Marc Perrenoud (Universit&#233; de Lausanne &#8211; LACCUS)Lo&#239;c Riom (Mines Paris Tech - CSI)Najate Zouggari (Universit&#233; de Lausanne &#8211; LACCUS)Scientific CommitteePierre Bataille (Universit&#233; Libre de Bruxelles &#8211; Centre METICES)Howard S. Becker (Independant researcher)Marie Buscatto (Universit&#233; Paris Panth&#233;on-Sorbonne - ISST)Martin Cloonan (University of Glasgow &#8211; Coll. of Arts)Marc Perrenoud (Universit&#233; de Lausanne &#8211; LACCUS)Hyacinthe Ravet (Universit&#233; Paris-Sorbonne &#8211; IREMUS)J&#233;r&#233;my Sinigaglia (Institut d&#8217;&#233;tudes politiques de Strasbourg - CRESPPA)John Williamson (University of Glasgow &#8211; Coll. of Arts)