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PrésentationComme toutes les productions artistiques, la musique est aussi et peut-être d’abord un travail. Cette idée prend à rebours la mythologie romantique héritée du XIXème siècle qui fait de l’activité artistique le fruit d’une inspiration transcendante, inaccessible à la rationalisation, et de l’artiste un être d’exception dont le « talent » serait irréductible à l’analyse sociologique. C’est peut-être l’un des apports fondamentaux des travaux fondateurs de Howard S. Becker aux Etats-Unis dans les années 1950, que d’avoir montré combien il était important de s’intéresser à ce qui fait le quotidien du travail musical. Loin des représentations éthérées du créateur inspiré, il a pratiqué l’observation ethnographique du travail exercé par des individus ni riches ni célèbres, les « musiciens de danse ».Soixante ans plus tard, le corpus de la sociologie du travail musical s’est considérablement enrichi. De fait, en 2016, une centaine de chercheurs et chercheuses venu.e.s de tous les continents se sont retrouvé.e.s à Glasgow pour le premier colloque Working in Music. Le succès de cette première édition a entraîné la création d’un réseau international de recherche sur le travail musical1 et fait naître le désir de renouveler l’expérience d’une rencontre. Deux ans après, c’est donc à Lausanne que se tiendra le deuxième colloque international consacré au travail dans la musique tel qu’il peut être saisi par les sciences sociales.ProgramThursday 11 January(Building: Géopolis)13:00 Welcome, snacks and coffee13:45 Introduction by Marc Perrenoud &#38; Pierre Bataille (UNIL)14:00 -15:00 Keynote1 Martin Cloonan (Univ. Turku) &#38; John Williamson (Univ. Glasgow), “Musicians as workers in the gig economy” (Univ. Glasgow; Univ. Turku)15:00 - 16:00 Keynote2 Hyacinthe Ravet (Université Paris 4), “The conductor and the band. Interactions and work relations”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 Talent Anna Bull - Class, control and classical music: the production of inequalities among young people playing classical music in England Mojca Piškor - Orchestras, women and aging:  reading through the life stories of female orchestral musicians in Croatia Miki 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 (Université de Limoges) Yuiko Asaba - Working as a Tango Musician in Japan: Lineage, Innovation, Institutionalisation Alice Aterianus-Owanga - "Sabar rek"  ("Only sabar!"). Circulations, transmission and domination in the teaching of sabar in Europe Reguina Hatzipetrou-Andronikou - Learning trajectories, training opportunities and their gendered effects: the process of institutionalisation of Greek traditional music Dimitra Papastavrou - Building improvisation: Music specialization and professional training in an informal learning groupPanel 3: Occupational identity and life style: being a musicianChair: Pierre Raboud (Université de Lausanne) Loïc Riom - "The stupid guy who wants to make music all the time" : Negotiation and circulation of the identity of indie rock musician in Switzerland Lee Marshall - Are musicians entrepreneurs? Reflections on musicians’ views Frédéric Trottier - Being a techno musician in Detroit Jérémy Sinigaglia - De la bohème à l’organisation scientifique du travail. Le rapport au temps comme révélateur des transformations de l’identité professionnelle des musicien-ne-sFriday 12 January(Building: Géopolis)9:00 - 12:00 PanelsPanel 4: Inequalities and discrimination: sex, race, class, and musical careersChair: Isabel Boni-Le Goff (Université de Lausanne) Véronique Clette-Gakuba - Migrations postcoloniales et transformation de la rumba congolaise au départ de la Belgique francophone Paula Guera &#38; Ana Oliveira - Rebel Girl! Punk, gender and difference in Portugal since 1970’s Mohamed Oubenal - From the discrimination against amazigh music to its emancipation Lucas Preite - Bello Figo and Baba Uslender: musical (online-)reflections on discrimination Pierre Bataille &#38; Marc Perrenoud:“One for the money”? 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’ rights Eileen Karmy - Musicians as workers: popular and classical musicians in conflict during the music institutionalisation process of the 1940s in Chile Martin Lussier - A music industries association’s board of directors as a cultural workplace: the case of ADISQ in Québec Henry Stobart &#38; Michelle Bigenho - Heritage politics and indigenous singer-songwriter organizations in BoliviaPanel 6: Support personnel, gatekeepers, and intermediariesChair: Matt Stahl (University of Western Ontario) Larain Porter - A game of hare and hounds with one small terrier puffing well in the rear’ the work of the Musical Director in British Silent Cinema Joël Girès - La Loudness War : l’incertitude de l’emploi à la source de processus mimétiques et inflationnistes dans le monde du disque Charles Umney - Online intermediaries in the labour market for function musicians: problems created and possible responses Jelka Vukobratovic - The Infrastructural Frame of Village Fests in Croatia and Its Role in Providing Work for Local Musicians Myrtille Picaud - “The biggest rule here is that nobody who is involved earns money”: booking in music venues in Paris and Berlin14:00 - 16:00 PanelsPanel 7: Occupational identity and lifestyle: being a musicianChair: Miriam Odoni (Université de Genève) Olivia Gable - ‘Emerging’ Popular Musicians Working in England and the Value of Public Funding Sofiane Bouhdiba - Darbouka and Deafness: the Morbidity of Percussionists in Tunisia Matt Stahl - Kesha vs. Dr. Luke, Particularism vs. Abstraction: The Atavistic Politics of Occupational Music Making Richard Sutherland - The Role of Government Programs in Defining Professional Recording ArtistsPanel 8: Teaching, learning, and transmitting: the music and the tradeChair: Najate Zouggari (Université de Lausane) Aurélien Poidevin &#38; Sabine Emad - Devenir et être musicien.ne d’orchestre : de l’école aux métiers Andrea Giesch - To be a musician in a social and cultural school project. Case study of the Geneva « classroom orchestra » Rémy Deslyper - The professional musician of the french schools of "musiques actuelles": the emergence of a new attitude to musical practice Yvon 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 (Université de Lausanne) Battentier Andy - Technical work in music : towards a new category of actors in musical worlds Gérôme Guibert, Hyacinthe Chateigné &#38; Vera Bezsonoff - Entre singularité et normalisation. Les salariés des lieux de musiques actuelles en France Gabrielle Kielich - More Work than Sibilance? Understanding Representations of Road Crews’ Labour Helen Reddington - Gender Mediation in Popular Music Production: pathways for women producers and engineers in popular music16:30 - 18:00 Debate (in French): “Vivre de la musique ?” (Building: Grange de Dorigny)Chairs: Marc Perrenoud et Pierre Bataille Anne Papilloud (Syndicat suisse romand du spectacle) Leïla Kramis (Syndicat musical suisse) Julien Feltin (EJMA – Ecole de jazz et de musique actuelle) Yann Riou (Service de la culture, Ville de Lausanne)Saturday 13 January(Building: Géopolis)9:30 - 10:30 Keynote3 Marie Buscatto (Univ. Paris 1), “Unravel the threads of musical careers through intersectionality. Ways and reasons”10:45 - 12:45 PanelsPanel 10: New trends and new topicsChair: Gérôme Guibert (Université Paris 3 Sorbonne Nouvelle) Marta Casals-Balaguer - The jazz collective in Barcelona and Boston. The role of the collaborative circles in the music scenes Mathieu Feryn - From times of listening to sharing our musical tastes. A test of musical work in Avignon Sandrine Bubendorff - Crowdfunding: a way to access a professional artist status or a degradation of work conditions? Nuné 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 (Université 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 Lisbon Olivier Voirol - Le travail de ‘valuation’ musicale Philippe 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 Committee Pierre Bataille (Université Libre de Bruxelles – Centre METICES) Fabiana Carrer-Joliat (Université de Lausanne – LACCUS) Camila Moyano (Universté de Lausanne – LACCUS) Nuné Nikoghosyan (Université de Genève – IRS) Marc Perrenoud (Université de Lausanne – LACCUS) Loïc Riom (Mines Paris Tech - CSI) Najate Zouggari (Université de Lausanne – LACCUS)Scientific Committee Pierre Bataille (Université Libre de Bruxelles – Centre METICES) Howard S. Becker (Independant researcher) Marie Buscatto (Université Paris Panthéon-Sorbonne - ISST) Martin Cloonan (University of Glasgow – Coll. of Arts) Marc Perrenoud (Université de Lausanne – LACCUS) Hyacinthe Ravet (Université Paris-Sorbonne – IREMUS) Jérémy Sinigaglia (Institut d’études politiques de Strasbourg - CRESPPA) John Williamson (University of Glasgow – Coll. of Arts)