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L'analyse Des Paramètres Narrato-Musicologiques Dans L'élaboration Du Récit Phonographique Transgressif

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L'analyse Des Paramètres Narrato-Musicologiques Dans L'élaboration Du Récit Phonographique Transgressif L’analyse des paramètres narrato-musicologiques dans l’élaboration du récit phonographique transgressif : Le cas du metal extrême Mémoire Méi-Ra St-Laurent Maîtrise en musique - musicologie Maître en musique (M. Mus.) Québec, Canada © Méi-Ra St-Laurent, 2013 Résumé Le metal extrême, tiré du heavy metal, demeure souvent pointé du doigt en raison de la musique et des sujets transgressifs le caractérisant et qui, a priori, ne communiquent qu‟une violence décousue. Or, ces dernières années, plusieurs musicologues se sont intéressés au potentiel de la narratologie pour l‟analyse de la musique populaire; la chanson est alors considérée comme un véritable récit, où les musiciens transmettent leur propre vision du monde. Dans ce mémoire, je propose donc une analyse musicologique et narratologique de quatre chansons dites transgressives tirées du metal extrême, soit « Mad Architect » (Septicflesh), « Her Ghost in the Fog » (Cradle of Filth), « When the Joyful Dead are Dancing » (Unexpect) et « Puritania » (Dimmu Borgir). Ces analyses permettront donc de mieux comprendre la structure narrative et musicale interne, ainsi que les différents codes esthétiques régissant ce répertoire. iii Summary Extreme metal, derived from heavy metal, remains often singled out because of the music and subjects viewed as transgressive and which, a priori, communicate a disjointed violence. However, in recent years, several musicologists have been interested in the potiential of narratology for the analysis of popular music; the song is then considered as a true narrative, where musicians communicate their own conception of the world. In this thesis, I propose to perform a musicological and narratological analysis of four songs known as transgressive and derived from extreme metal, namely “Mad Architect” (Septicflesh), “Her Ghost in the Fog” (Cradle of Filth) “When the Joyful Dead are Dancing” (Unexpect) and “Puritania” (Dimmu Borgir). These analyses will enable a better understanding of the internal musical structure and narrative, and the different aesthetic codes governing this repertoire. v Table des matières Résumé .................................................................................................................................. iii Summary ................................................................................................................................ v Liste des exemples musicaux ................................................................................................ ix Liste des tableaux .................................................................................................................. xi Liste des abréviations .......................................................................................................... xiii Remerciements ..................................................................................................................... xv Avant-propos ...................................................................................................................... xvii 1. Introduction ........................................................................................................................ 1 0.1 Présentation du sujet ............................................................................................. 1 0.2 État de la recherche ............................................................................................... 3 0.3 Problématique et objectifs ..................................................................................... 8 0.4 Cadre théorique ..................................................................................................... 9 0.4.1 Le cadre théorique littéraire : La narratologie de Gérard Genette ............... 10 0.4.2 Le cadre théorique musicologique : l‟adaptation de la narratologie à la musique populaire par Lacasse ................................................................................... 14 0.4.3 Le cadre théorique sociologique: Le concept de la transgression dans la musique metal ............................................................................................................. 18 0.4.4 Le cadre théorique sémiologique ................................................................ 20 0.5. Méthodologie ........................................................................................................... 21 0.5.1 Le corpus ..................................................................................................... 21 0.5.2 Procédure ..................................................................................................... 23 0.5.3 Contenu ....................................................................................................... 24 Chapitre 1 : Les différences inhérentes entre le heavy metal et le metal extrême : le rôle des transgressions sonores et thématiques dans la construction du langage musical ................. 25 1. Introduction ...................................................................................................................... 25 1.1 La mise en contexte socioculturelle .................................................................... 25 1.2 La formation d‟un genre transgressif : 1er période (1970-1978) ......................... 27 1.3 Le pop metal et la NWOBHM : la 2e période (1979-1985) ................................ 30 1.4 Le courant fondamentaliste : la 3e période (1986-1995) ..................................... 31 1.5 Le metal extrême : la 4e période (1996-aujourd‟hui) .......................................... 33 1.5.1 La transgression sonore du metal extrême .................................................. 36 1.5.2 La transgression thématique du metal extrême ........................................... 42 1.6 Sommaire du chapitre 1....................................................................................... 45 Chapitre 2 : Les mécanismes suscitant lʼaliénation dans « Mad Architect » de Septicflesh 47 2. Introduction ...................................................................................................................... 47 2.1 L‟analyse des paramètres abstraits ...................................................................... 48 2.2 L‟analyse des paramètres narrato-musicologiques .............................................. 56 2.2.1 Le temps du récit ......................................................................................... 56 2.2.2 Le mode et la voix du récit .......................................................................... 59 2.3. La place de l‟aliénation dans le récit de « Mad Architect » ................................ 62 2.4 Sommaire de l‟analyse « Mad Architect » .......................................................... 64 Chapitre 3 : Les mécanismes narratifs gothiques dans la chanson « Her Ghost in the Fog » de Cradle of Filth ................................................................................................................. 65 3. Introduction ...................................................................................................................... 65 3.1 L‟analyse des paramètres abstraits ...................................................................... 67 3.2 L‟analyse des paramètres narrato-musicologiques .............................................. 73 vii 3.2.1 Le temps du récit ......................................................................................... 74 3.2.2 Le mode et la voix du récit .......................................................................... 78 3.3 « Her Ghost in the Fog »: Une fable gothique ..................................................... 84 3.4 Sommaire de l‟analyse de « Her Ghost in the Fog » ........................................... 86 Chapitre 4 : L‟utilisation de l‟humour noir et de la dérision dans « When the Joyful Dead are Dancing » de Unexpect.................................................................................................. 89 4. Introduction ..................................................................................................................... 89 4.1 L‟analyse des paramètres abstraits ...................................................................... 90 4.2 L‟analyse des paramètres narrato-musicologiques .............................................. 96 4.2.1 Le temps du récit ......................................................................................... 97 4.2.2 Le mode et la voix du récit ........................................................................ 100 4.3 Quand la mort devient esthétique : une comparaison entre les mondes de Tim Burton et de Unexpect ................................................................................................... 105 4.4 Sommaire de l‟analyse « When the Joyful are Dancing » ................................. 107 Chapitre 5: La construction de la puissance et de l‟oppression dans la chanson « Puritania » de Dimmu Borgir ............................................................................................................... 109 5. Introduction ................................................................................................................... 109 5.1 L‟analyse des paramètres abstraits .................................................................... 111 5.2 L‟analyse des paramètres narrato-musicologiques ............................................ 117 5.2.1 La voix et le mode du récit .......................................................................
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