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            <title xml:lang="en">The Beatles’ sound</title>
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              <p>The concept of sound is the foundation of the technical concerns of those who “make” rock – sound engineers, of course, but musicians and record producers too. Its apprehension involves notions which were irrelevant to the realm of art music until the late 1940s. Arrangements, sound recording, balance, mixdown, panning, sound treatment: many terms the meaning of which classical musicologists are often ignorant, and yet, as many parameters the musicological study of such a repertoire must take into account. Considering the work of a band whom Greil Marcus states “they were rock ’n’ roll” from this angle, it can be hoped to develop an analytical framework suited to the practical reality of this music while while bringing to light its connections with the recording studio – and, more generally, the phonographic medium.</p>
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              <p>Le concept de son est à la base des préoccupations techniques de ceux qui « font » le rock – techniciens son, bien sûr, mais aussi musiciens et producteurs. Son appréhension fait appel à des notions qui étaient étrangères à la sphère de la musique savante jusqu’à la fin des années 1940. Arrangements, prise de son, balance, mixage, panoramisation, traitement sonore : autant de termes dont le musicologue classique ignore souvent jusqu’au sens, et autant de paramètres dont l’étude musicologique d’un tel répertoire ne peut cependant faire l’économie. En envisageant sous leur angle le travail d'un groupe dont Greil Marcus affirme qu’« ils étaient le rock ’n’ roll », on peut espérer développer un cadre analytique adapté à la réalité de cette musique tout en mettant en évidence le rapport qu’elle entretient au studio d’enregistrement—et, plus généralement, au support phonographique.</p>
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