{"id":3551,"date":"2026-01-29T17:39:59","date_gmt":"2026-01-29T16:39:59","guid":{"rendered":"https:\/\/sites.ac-nancy-metz.fr\/education-musicale\/chant-choral\/?p=3551"},"modified":"2026-04-29T17:41:28","modified_gmt":"2026-04-29T15:41:28","slug":"programme-complementaire-national-pour-lenseignement-optionnel-de-musique-en-classes-de-premiere-et-terminale-des-voies-generale-et-technologique-pour-lannee-scolaire-2026-2027","status":"publish","type":"post","link":"https:\/\/sites.ac-nancy-metz.fr\/education-musicale\/chant-choral\/programme-complementaire-national-pour-lenseignement-optionnel-de-musique-en-classes-de-premiere-et-terminale-des-voies-generale-et-technologique-pour-lannee-scolaire-2026-2027\/","title":{"rendered":"Programme compl\u00e9mentaire national pour l’enseignement optionnel de musique en classes de premi\u00e8re et terminale des voies g\u00e9n\u00e9rale et technologique pour l’ann\u00e9e scolaire 2026-2027"},"content":{"rendered":"

Le programme d\u2019enseignement optionnel de musique au cycle terminal du lyc\u00e9e g\u00e9n\u00e9ral et technologique institue un programme compl\u00e9mentaire publi\u00e9 chaque ann\u00e9e au Bulletin officiel de l\u2019\u00e9ducation nationale. Ce programme compl\u00e9mentaire concerne les \u00e9l\u00e8ves des classes de premi\u00e8re et terminale. Il est constitu\u00e9 d\u2019un corpus d\u2019\u0153uvres de r\u00e9f\u00e9rence et de perspectives de travail relevant des deux champs de questionnement pr\u00e9sent\u00e9s par le programme du cycle terminal.<\/p>\n

Bulletin officiel n\u00b04 du 22 janvier 2026 : https:\/\/www.education.gouv.fr\/bo\/2026\/Hebdo4\/MENE2536492N<\/a><\/p>\n

Pour l\u2019ann\u00e9e scolaire\u00a02026-2027, les perspectives de travail et le corpus d\u2019\u0153uvres de r\u00e9f\u00e9rence sont\u00a0:<\/strong><\/p>\n

Perspectives de travail<\/h3>\n

Pour le champ de questionnement La place de la musique et de ses pratiques dans la soci\u00e9t\u00e9 contemporaine\u00a0<\/em>\u2013 perspectives\u00a0: musique et mondialisation \u2013 authenticit\u00e9, identit\u00e9s, m\u00e9tissage, transformation\u00a0; culture individuelle vs\u00a0<\/em>patrimoine collectif.<\/p>\n

Pour le champ de questionnement La diversit\u00e9 des esth\u00e9tiques, des langages et des techniques de la cr\u00e9ation musicale dans le temps et l\u2019espace<\/em> \u2013 perspective : ancrage historique vs pr\u00e9sence contemporaine.<\/p>\n

Le corpus musical propos\u00e9, g\u00e9ographiquement dispers\u00e9 entre Cara\u00efbes et Pacifique, en passant par l\u2019oc\u00e9an indien, trouve son unit\u00e9 \u2013 outre que par les liens historiques et culturels de la France d\u2019outre-mer \u2013 par la fonction du chant\u00a0: d\u2019une part, porteur de m\u00e9moire collective et de lien avec les anc\u00eatres, leurs langues et leurs rituels\u00a0; d\u2019autre part, vecteur de tension vers des formes d\u2019expression contemporaines et globalis\u00e9es, qui r\u00e9inventent la tradition et t\u00e9moignent de sa vitalit\u00e9. En Polyn\u00e9sie, le himene tarava<\/em> et le haka<\/em> expriment, chacun \u00e0 sa mani\u00e8re, la puissance collective et la dimension rituelle du chant. Aux Antilles, Eug\u00e8ne Mona mobilise l\u2019identit\u00e9 martiniquaise par des marqueurs culturels comme la flute bambou, le chant cr\u00e9ole et les percussions. L\u2019artiste guadeloup\u00e9en Admiral T<\/em> prolonge cet h\u00e9ritage dans le champ des musiques urbaines. \u00c0 La R\u00e9union, le\u00a0maloya<\/em> devient un autre foyer de cette tension f\u00e9conde entre m\u00e9moire et transformation.<\/p>\n

Ce corpus, n\u00e9cessairement s\u00e9lectif, ne cherche pas l\u2019exhaustivit\u00e9 stylistique, culturelle ou g\u00e9ographique\u00a0; il propose quelques entr\u00e9es, parmi d\u2019autres possibles, dans la richesse et la diversit\u00e9 des pratiques vocales des territoires ultramarins, et constitue une invitation \u00e0 poursuivre la d\u00e9couverte au-del\u00e0 des \u0153uvres \u00e9tudi\u00e9es. Ces approches diversifi\u00e9es permettront d\u2019exp\u00e9rimenter, de cr\u00e9er, de d\u00e9velopper des pratiques musicales en tissant un lien avec d\u2019autres \u0153uvres, d\u2019\u00e9poques et d\u2019espaces g\u00e9ographiques diff\u00e9rents.<\/p>\n

\u0152uvres de r\u00e9f\u00e9rence<\/h3>\n

Antilles<\/p>\n

    \n
  • Eug\u00e8ne Mona, \u00ab\u00a0Ti Milo\u00a0\u00bb, Clip original,1978\u00a0;<\/li>\n
  • Admiral T, \u00ab\u00a0Ti Milo\u00a0\u00bb, L\u00e9ritaj Mona\u00a02,<\/em> Aztec Music, 2011.<\/li>\n<\/ul>\n

    Polyn\u00e9sie<\/p>\n

      \n
    • \u00ab\u00a0Him\u00e9n\u00e9 tarava\u00a0\u00bb, Le Juillet polyn\u00e9sien,<\/em> Arion music, 1989\u00a0;<\/li>\n
    • \u00ab\u00a0Haka Enana\u00a0\u00bb, Pupu himene no Porinetia<\/em>, Manuiti Records, 2010.<\/li>\n<\/ul>\n

      La R\u00e9union<\/p>\n

        \n
      • Danyel Waro, \u00ab\u00a0Laviyon\u00a0\u00bb, Batarsit\u00e9<\/em>, Piros, 1994\u00a0;<\/li>\n
      • Wati Watia Zorey Band, \u00ab\u00a0Rest\u2019 l\u00e0 Maloya\u00a0\u00bb, Zanz in lanf\u00e8r,<\/em> Air Rytmo, 2016.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

        Le programme d\u2019enseignement optionnel de musique au cycle terminal du lyc\u00e9e g\u00e9n\u00e9ral et technologique institue un programme compl\u00e9mentaire publi\u00e9 chaque ann\u00e9e au Bulletin officiel de l\u2019\u00e9ducation nationale. Ce programme compl\u00e9mentaire concerne les \u00e9l\u00e8ves des classes de premi\u00e8re et terminale. Il est constitu\u00e9 d\u2019un corpus d\u2019\u0153uvres de r\u00e9f\u00e9rence et de perspectives de travail relevant des deux […]<\/p>\n","protected":false},"author":3,"featured_media":3540,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[31,21],"class_list":["post-3551","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-breves","tag-baccalaureat","tag-lycee"],"yoast_head":"\nProgramme compl\u00e9mentaire national pour l'enseignement optionnel de musique en classes de premi\u00e8re et terminale des voies g\u00e9n\u00e9rale et technologique pour l'ann\u00e9e scolaire 2026-2027 - Education musicale et chant choral<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.ac-nancy-metz.fr\/education-musicale\/chant-choral\/programme-complementaire-national-pour-lenseignement-optionnel-de-musique-en-classes-de-premiere-et-terminale-des-voies-generale-et-technologique-pour-lannee-scolaire-2026-2027\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Programme compl\u00e9mentaire national pour l'enseignement optionnel de musique en classes de premi\u00e8re et terminale des voies g\u00e9n\u00e9rale et technologique pour l'ann\u00e9e scolaire 2026-2027 - Education musicale et chant choral\" \/>\n<meta property=\"og:description\" content=\"Le programme d\u2019enseignement optionnel de musique au cycle terminal du lyc\u00e9e g\u00e9n\u00e9ral et technologique institue un programme compl\u00e9mentaire publi\u00e9 chaque ann\u00e9e au Bulletin officiel de l\u2019\u00e9ducation nationale. 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