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Grunge, Genre Et Style Analyse D’Un Phénomène Du Rock Américain Des Années 1990

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Grunge, Genre Et Style Analyse D’Un Phénomène Du Rock Américain Des Années 1990 Université de Montréal Grunge, genre et style Analyse d’un phénomène du rock américain des années 1990. par Maxime Munier Faculté de Musique Mémoire présenté en vue de l’obtention du grade de Maitre en musicologie option avec mémoire (2-600-11) Décembre 2016 © Maxime Munier, 2016. Résumé En 1991, le monde découvre le grunge grâce à la popularité surprise de Nirvana et de son single « Smells Like Teen Spirit ». Pendant près de la moitié de la décennie 1990, la musique populaire américaine va changer de visage et le grunge va apparaitre comme le porte-étendard de toute une génération. Rock à guitares énervées, prétendument nihilistes, le grunge s’incarne au travers d’une imagerie forte et autour de la ville de Seattle, dans l’État de Washington. Soundgarden, Pearl Jam et Alice in Chains embarqueront dans le succès du grunge, mais est il possible de véritablement définir ce qui apparait comme un genre particulièrement populaire, sous des considérations stylistiques ? Ce travail propose d’abord de reconsidérer le grunge dans ses aspects relevant du genre, pour ensuite tenter de décoder son éventuelle unité stylistique. Le grunge se popularisant, au début des années 1990, en plein requestionnement des modes de consommation et de production de la musique populaire avec la démocratisation des technologies audionumérique, en quoi ces changements ont pu influer, et même conditionner l’émergence et la popularisation de ce style ? Mots-clés : Grunge, musique populaire, musique alternative, musique enregistrée, Nirvana, Pearl Jam, Alice In Chains, Soundgarden, rock, punk, Seattle, Moore, genre, style, production, analyse, audionumérique. i Abstract The world discovered grunge in 1991 thanks to the popularity of Nirvana’s « Smells Like Teen Spirit ». During almost half of a decade, the American popular music changed profoundly and grunge appeared to be the standard bearer of an entire generation. With heavy guitars and an alleged nihilism, grunge was embodied through strong imagery and around the city of Seattle, Washington. Soundgarden, Pearl Jam and Alice in Chains joined the success of grunge, but is it really possible to define what appears to be a « genre » trough stylistic considerations ? This work suggests, at first, reconsidering grunge in its aspects of « genre », to try then to decode its possible stylistic unit. Grunge popularizing, at the beggining of the 1990’s, in a era of great call into question about music consumption and production because of democratization of audio digital technologies. Do these changes were able to influence, and even to condition the emergence and the popularization of that new style ? Keywords : Grunge, popular music, alternative music, recorded music, Nirvana, Pearl Jam, Alice In Chains, Soundgarden, rock, punk, Seattle, Moore, genre, style, production, analysis, digital audio. ii Table des matières Résumé ......................................................................................................................................... i! Abstract ....................................................................................................................................... ii! Table des matières ...................................................................................................................... iii! Liste des tableaux ........................................................................................................................ v! Liste des figures ......................................................................................................................... vi! Liste des sigles .......................................................................................................................... vii! Remerciements ........................................................................................................................... ix! CHAPITRE I. Introduction ......................................................................................................... 2! I.1 Présentation du sujet. ......................................................................................................... 2! I.2 Revue de documentation. .................................................................................................. 4! I.3 Méthodologie et objectifs. ................................................................................................. 6! I.3.1 Le genre et le style, deux pôles de réflexion. ............................................................. 7! I.3.2 Méthodologie générale. .............................................................................................. 8! I.3.3 Le genre vers le style. ............................................................................................... 10! I.3.4 Analyse du « genre grunge », méthodologie. ........................................................... 11! I.3.5 Analyse du « style grunge », méthodologie. ............................................................ 14! I.4 Choix du corpus et terminologie. ................................................................................... 17! I.4.1 Choix du corpus. ....................................................................................................... 17! I.4.2 Choix de notations .................................................................................................... 18! I.5 Résumé des chapitres. ...................................................................................................... 19! CHAPITRE II. Le genre grunge. .............................................................................................. 21! II.1 Notice du genre grunge. ................................................................................................. 21! II.1.1 Définitions ............................................................................................................... 21! II.1.2 Effectif(s) du genre grunge. .................................................................................... 25! II.1.3 Définition du grunge. .............................................................................................. 26! II.1.4 Situation historique. ................................................................................................ 26! II.1.5!L’appellation « grunge ». ........................................................................................ 29! II.1.6 Histoire du genre. .................................................................................................... 31! iii II.2 Méthode du « prototype supposé du grunge ». .............................................................. 44! II.2.1 Nirvana. ................................................................................................................... 44! II.2.2 Pearl Jam. ................................................................................................................ 46! II.2.3 Soundgarden. ........................................................................................................... 49! II.2.4 Alice in Chains. ....................................................................................................... 50! II.2.5 Élaboration d’un prototype. ..................................................................................... 51! II.3 Méthode du « prototype idéal ». ..................................................................................... 53! II.3.1 La scène locale de Seattle. ....................................................................................... 53! II.3.2 Sub Pop Records. .................................................................................................... 57! II.3.3 Le rôle du producteur dans le grunge. ..................................................................... 65! II.3.4 Vidéoclips et mythes du grunge. ............................................................................. 74! CHAPITRE III. Le style grunge. .............................................................................................. 78! III.1 analyse du style. ............................................................................................................ 78! III.1.1 Aspect formel des chansons grunge. ...................................................................... 78! III.1.2 Analyse des données transcriptibles. .................................................................... 82! III.1.3 Aspects technologiques. ......................................................................................... 97! III.1.4 Arrangements et interprétations. .......................................................................... 103! III.2 Enregistrement, ontologie et authenticité. .................................................................. 107! III.2.1 Nature de l’œuvre rock et ontologie de l’enregistrement .................................... 108! III.2.2 Véridicité de l’enregistrement. ............................................................................. 111! III.2.3. Véridicité des enregistrements chez Nirvana. ..................................................... 114! III.2.4. Le « son » grunge et la question de l’authenticité .............................................. 118! CHAPITRE IV. Conclusions. ................................................................................................. 123! Bibliographie ................................................................................................................................ i! Vidéographie .............................................................................................................................
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