7 octobre 1946
Conservatoire national supérieur de musique
Conservatoire national de musique
CNSMDP
Conservatoire national supérieur de musique et de danse de Paris (Paris ; 1946-....)
Loi n° 46-2154 du 7 octobre 1946 portant ouverture et annulation de crédits sur l'exercice de 1946 scindant l'établissement en deux : le Conservatoire national de musique de Paris et Conservatoire national d’art dramatique (JO 08-10-1946 p. 8514)
Décret du 23 mars 1957 modifiant le nom du Conservatoire national de musique (JO 29-03-1957 p. 3280 : https://www.legifrance.gouv.fr/jo_pdf.do?cidTexte=JPDF2903195700003280&categorieLien=id)
Décret n° 67-462 du 16 juin 1967 fixant la composition du Conseil supérieur de l'enseignement du Conservatoire national supérieur de musique (JO 18-06-1967 p. 6020 : https://www.legifrance.gouv.fr/jo_pdf.do?cidTexte=JPDF1806196700006020&categorieLien=id)
Décret n° 73-835 du 20 août 1973 portant création du diplôme d'études musicales supérieures du Conservatoire national supérieur de musique (JO 25-08-1973 p. 9230 : https://www.legifrance.gouv.fr/jo_pdf.do?cidTexte=JPDF2508197300009230&categorieLien=id)
Décret n° 80-154 du 18 février 1980 portant statut des conservatoires nationaux supérieurs de musique de Paris et de Lyon (JO 20-02-1980 p. 548 : https://www.legifrance.gouv.fr/jo_pdf.do?id=JORFTEXT000000702515)
Décret n° 2009-201 du 18 février 2009 portant statut des conservatoires nationaux supérieurs de musique et de danse de Paris et de Lyon (https://www.legifrance.gouv.fr/affichTexte.do?cidTexte=JORFTEXT000020284141&categorieLien=id)
Diversification et internationalisation des enseignements
La loi du 7 octobre 1946 scinde le Conservatoire national de musique et d'art dramatique en deux institutions distinctes, le Conservatoire national de musique et le Conservatoire national d'art dramatique. Le Conservatoire national de Musique continue à faire évoluer l'éventail des disciplines proposées et, la même année, propose un nouvel enseignement avec l'ouverture d'une classe de cours élémentaire d’histoire de la musique puis, en 1948, un séminaire d’histoire de la musique. Dans ce contexte, des instruments anciens acquièrent comme le clavecin en 1950 une classe d'enseignement. Ces créations prouvent l’importance accordée, en plus de l'apprentissage pratique, à la théorie et à l’histoire de la musique dans le processus de formation des élèves. Ce processus d'ouverture à la musique ancienne se poursuit et s'accélère puisqu'un département spécifiquement dédié à la musique ancienne voit le jour en 1984 ; l’année suivante c’est une classe de chant grégorien, puis en 1989 une classe de polyphonies de la Renaissance.
L'institution intègre des enseignements complémentaires et en 1947, ce n’est pas moins de cinq nouvelles classes qui sont créées : percussions, pédagogie, culture générale et esthétique, danse pour les garçons, classe supérieure de musique de chambre. En 1957, le Conservatoire prend le titre de Conservatoire national supérieur de musique et entre résolument dans l’ère électronique avec la création en 1968 d’une classe d’ondes confiée à Maurice Martenot. En parallèle de l'élaboration d'un parcours dédié à la musique ancienne s'affirme également une orientation vers les nouvelles technologies avec la création d’une classe éponyme en 1984, un département de sons et d’études chorégraphiques en 1989, un département de jazz et musiques improvisées en 1991 et enfin, en 1992, une classe d’écriture du XXe siècle et une classe d’improvisation générative. Une classe d'ethnomusicologie est créée en 1994.
Un renforcement des activités pédagogiques s'opère avec la création lors de l'année scolaire 1966-1967 d'un cycle de perfectionnement caractéristique d'une volonté de s'imposer comme un lieu d'enseignement de haut niveau d'excellence. Dans le but de promouvoir les jeunes talents et de faciliter leur insertion dans la vie professionnelle, les manifestations publiques des élèves se multiplient. En 1970, la section spéciale des étudiants étrangers disparaît et l'augmentation du nombre d'étudiants étrangers par classe vient conforter la vocation internationale de cet établissement national supérieur.
Depuis sa création, le Conservatoire compte bon nombre de professeurs illustres mais les années 1940 et 1950 marquent une nouvelle période de faste avec des personnalités comme Pierre Fournier et André Navarra (violoncelle, 1941 et 1949), Norbert Dufourcq (Histoire de la musique, 1941), Lucette Descaves (piano, 1941), Olivier Messiaen (analyse, 1942), Marcel Beaufils et Roland-Manuel (Esthétique, 1947), Darius Milhaud (composition, 1948), Lily Laskine (harpe, 1948), Charles Panzéra (chant, 1951) et Yvonne Lefébure (piano, 1952). Les décennies qui suivent marquent une refonte profonde du statut du personnel enseignant au Conservatoire et ceci s'accompagne d'un remodelage des instances de décision, notamment avec l'éclatement du Conseil Supérieur de l'enseignement, par le décret du 11 juillet 1955, en plusieurs conseils (conseil de gestion, conseil provisoire de nomination).
Autonomisation et translation à la Cité de la musique de La Villette
Par le décret du 18 février 1980, la danse est reconnue en 1980 comme un véritable parcours disciplinaire au cœur d'une institution qui prend le titre de Conservatoire national supérieur de musique et de danse de Paris. Ce même décret instaure à Lyon un second conservatoire national supérieur de musique et de danse, dont les archives ont vocation à être conservées aux archives départementales du Rhône. En même temps, ce texte réglementaire dote les deux établissements d'une relative autonomie pédagogique, administrative, mais également financière, en leur conférant le statut d'établissement public national à caractère administratif. Cette émancipation est renforcée en parallèle par un projet de Cité de la musique lancé en 1984 par la présidence Mitterrand. Face à la vétusté et au manque de place des locaux de la rue de Madrid, de nombreux projets de reconstruction comme celui de l'ensemble culturel du Rond-Point de la Défense en discussion jusque dans les années 1970 avaient entretenu l'attente. L'installation du Conservatoire à la Cité musicale de la Villette s'accorde donc avec la volonté politique d'accorder les moyens pour permettre l'avènement d'un enseignement musical de haut niveau, dont Claude Delvincourt avait jeté les bases dès les années 1940. Marc Bleuse, directeur entre 1984 et 1986, se voit confier la préparation et la direction du projet. En prenant sa suite en 1986, Alain Louvier voit l'achèvement de cet ambitieux projet dont l’inauguration a lieu le 7 décembre 1990.
Le Conservatoire se veut également un lieu de formation de futurs enseignements et, à cet effet, un département dédié à la pédagogie est créé en 1992 ; finalement un diplôme de formation supérieure est mis en place en 1994. Sous la direction d’Alain Poirier (2000-2009), le Conservatoire a fait face à l’introduction du cycle LMD ainsi qu'à un changement de statut en établissement public culturel et artistique sous la tutelle du ministère de la Culture et de la Communication. Depuis 2010, Bruno Mantovani assure la direction de cet établissement.
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