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Université Jean Moulin-Lyon Université Jean Moulin Lyon 3 Ecole doctorale : Lettres, langues, linguistique et arts (LLLA) Institut d'études transtextuelles et transculturelles L’industrie musicale en Chine au début e du XXI siècle par Christophe HISQUIN Thèse de doctorat d’études de l'Asie et ses diasporas sous la direction de Gregory B. LEE soutenue le 27 octobre 2008 Composition du jury : Gregory B. LEE, professeur à l’université Jean Moulin Lyon 3 Siyan JIN, professeure à l’université d'Artois Andreas STEEN, professeur à l’université d'Aarhus (Danemark) Remerciements Mes remerciements vont tout d'abord à Gregory B. Lee qui m'a encouragé et orienté tout au long de mes travaux. Gratitude aussi à Taoxin, professeur au conservatoire de musique de Shanghai, qui, par son ouverture d'esprit et son perfectionnisme, m'a apporté des avis précieux pour mieux comprendre la pensée chinoise. Merci à mes amis artistes de France et de Chine Populaire pour m'avoir éclairé sur quelques aspects du monde musical. Je n'oublie pas non plus l'aide technique que m'a apportée Mélanie Hisquin lors de la rédaction et la relecture de ma thèse. Enfin, merci à ces deux champs d'études que sont la Musique et la Chine pour m'avoir donné et me donner encore tant de plaisir et de beaux projets d'avenir. 2 已有的事，后必再有。已行的事，后必再行。日光之下，并无新事 。 Ce qui est arrivé arrivera encore. Ce qui a été fait se fera encore, rien de nouveau ne se produit sur la terre. La Bible, Traduite de l'hébreu et du grec en français courant avec les Livres Deutérocanoniques de la Traduction Œcuménique de la Bible (TOB) « Livre de l’Ecclésiaste », Chapitre 1, verset 9. 3 Avertissements Les guillemets français (« … ») sont utilisés pour reprendre des phrases ou expressions d'auteurs cités textuellement dans la thèse. Les guillemets anglais ("…") sont employés pour les expressions ayant un sens particulier dans le contexte. L'italique est utilisé pour les mots et expressions traduites (la transcription pinyin du chinois ainsi que les mots anglais). 4 Table des matières L’INDUSTRIE MUSICALE EN CHINE AU DEBUT DU XXIEME SIECLE ....................................1 REMERCIEMENTS ............................................................................................................2 AVERTISSEMENTS............................................................................................................4 TABLE DES MATIERES ......................................................................................................5 PREFACE .........................................................................................................................9 INTRODUCTION ............................................................................................................11 I. LE SON ET SON SENS EN CHINE AU XXIEME SIECLE.............................................................14 1. LE SON, LA SITUATION ECONOMIQUE ET L’INFLUENCE CULTURELLE.........................................14 2. LE FORMAT MUSICAL INTERNATIONAL ET LE PARTICULARISME SONORE CHINOIS......................26 3. LA LANGUE CHINOISE ET SON SENS DANS LE SON .................................................................42 4. L’INFLUENCE DE LA LANGUE ANGLAISE DANS LE SON CHINOIS..............................................43 5. L’INFLUENCE DE HONG-KONG,TAIWAN ET MACAO DANS LE SON CHINOIS.........................46 II. LIEN ENTRE LE DEVELOPPEMENT ECONOMIQUE ET L’EVOLUTION DE L’INDUSTRIE MUSICALE.......50 1. STRUCTURE ECONOMIQUE DE L’INDUSTRIE MUSICALE CHINOISE ............................................50 2. LE CLIP VIDEO....................................................................................................................69 3. INDUSTRIE MUSICALE, CLIP VIDEO ET JEUNESSE CHINOISE.......................................................80 4. STRUCTURE DE LA TELEVISION EN CHINE. ..............................................................................88 5. LE MESSAGE DE LA TELEVISION EN CHINE, ET LA MUSIQUE .....................................................92 6. ARTISTES ET TELEVISION ......................................................................................................104 7. LA LITTERATURE DE L’INDUSTRIE MUSICALE...........................................................................112 5 8. INDUSTRIE MUSICALE ET MONDE DE LA NUIT ........................................................................119 9. INDUSTRIE MUSICALE ET ROMANTISME ................................................................................127 III. LA NOTORIETE .........................................................................................................131 1. HISTORIQUE ......................................................................................................................132 2. SOCIOLOGIE DE LA NOTORIETE..........................................................................................142 3. PSYCHOLOGIE DE LA NOTORIETE .......................................................................................147 4. LA NOTORIETE EN CHINE ...................................................................................................156 5. L’HOMME BLANC ET LA NOTORIETE EN CHINE ....................................................................174 IV. LA MUSIQUE EST-ELLE PROPHETIQUE SUR LE PLAN SOCIOPOLITIQUE EN CHINE ? ................178 1. LA METHODE D’ANALYSE. .................................................................................................178 2. LA MUSIQUE CHINOISE ET SES PERIODES HISTORIQUES TRADITIONNELLES...............................182 3. LA MUSIQUE ET LE SACRIFICE EN CHINE..............................................................................185 a. La fonction première de la musique ......................................................................185 b. Le moment historique et le son chinois ..................................................................190 c. Conclusion....................................................................................................................202 4. LA MUSIQUE ET LA REPRESENTATION ...................................................................................204 a. Développement historique, sociologique et culturel..........................................204 b. Conclusion....................................................................................................................221 5. LA MUSIQUE ET LA REPETITION ............................................................................................222 6. LA MUSIQUE ET LA COMPOSITION ......................................................................................227 a. Développement..........................................................................................................227 b. Conclusion....................................................................................................................251 V. CONCLUSION GENERALE...........................................................................................252 VI. ANNEXES ...............................................................................................................255 1. ANNEXE NUMERO UN........................................................................................................255 2. ANNEXE NUMERO DEUX ....................................................................................................266 6 3. ANNEXE NUMERO TROIS ....................................................................................................269 4. ANNEXE NUMERO QUATRE ................................................................................................272 5. ANNEXE NUMERO CINQ....................................................................................................273 6. ANNEXE NUMERO SIX ........................................................................................................276 7. ANNEXE NUMERO SEPT......................................................................................................279 8. ANNEXE NUMERO HUIT ......................................................................................................283 9. ANNEXE NUMERO NEUF.....................................................................................................287 10. ANNEXE NUMERO DIX .....................................................................................................291 11. ANNEXE NUMERO ONZE ..................................................................................................292 12. ANNEXE NUMERO DOUZE ................................................................................................297 13. ANNEXE NUMERO TREIZE .................................................................................................298 14. ANNEXE NUMERO QUATORZE ..........................................................................................304 15. ANNEXE NUMERO QUINZE ...............................................................................................306 16. ANNEXE NUMERO SEIZE ...................................................................................................308 17. ANNEXE NUMERO DIX-SEPT..............................................................................................309 18. ANNEXE NUMERO DIX-HUIT..............................................................................................311 19. ANNEXE NUMERO DIX-NEUF.............................................................................................314 20. ANNEXE NUMERO VINGT .................................................................................................315
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