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Ethnomusicologie## Et#Histoire# Du#Chant#Diphonique## Mongol # )THÈSE)/UNIVERSITÉ)RENNES)2) présentée#par# sous,le,sceau,de,l’Université,européenne,de,Bretagne, pour#obtenir#le#titre#de# ,Johanni#Curtet# DOCTEUR)DE)L’UNIVERSITÉ)RENNES)2) Équipe#d’accueil#n°1279# École)doctorale)Arts)Lettres)Langues Histoire#et#critique#des#arts# Mention,:,Musicologie, Université#Rennes#2# Soutenance):)12)novembre)2013) La#transmission#du#höömij,# devant#le#jury#composé#de#:# Hervé)LACOMBE) un#art#du#timbre#vocal#:# Professeur,#Université#Rennes#2#/#directeur,de,thèse# ) Alain)DESJACQUES) ethnomusicologie## Maître#de#conférences,#Université#Lille#3#/#co0directeur,de,thèse# ) Susanne)FÜRNISS) Directrice#de#recherche#CNRS,#UMR#7206,#MNHN#/,rapporteur) et#histoire# ) Luc)CHARLESHDOMINIQUE) Professeur,#Université#NiceLSophiaLAntipolis#/#rapporteur, du#chant#diphonique## ) Sabine)TREBINJAC) Chargée#de#recherche#CNRS,#UMR#7186,#LESC,## mongol# Université#Paris#OuestLNanterreLLa#Défense#/#examinateur, ) Jacques)LEGRAND) ## Professeur,#INALCO#/#examinateur# # # ! Sous le sceau de l’Université européenne de Bretagne Université Rennes 2 École Doctorale Arts Lettres Langues EA 1279 Histoire et Critique des Arts La transmission du höömij, un art du timbre vocal : ethnomusicologie et histoire du chant diphonique mongol Thèse de doctorat Discipline : Musicologie Présentée par Johanni CURTET Directeurs de thèse : Hervé LACOMBE (Professeur, Université Rennes 2) et Alain DESJACQUES (Maître de conférences, Université Lille 3) Soutenance : 12 novembre 2013 Jury : Susanne FÜRNISS, Directrice de recherche CNRS, UMR 7206, MNHN (rapporteur) Luc CHARLES-DOMINIQUE, Professeur, Université Nice-Sophia-Antipolis (rapporteur) Sabine TREBINJAC, Chargée de recherche CNRS, UMR 7186, LESC, Université Paris Ouest-Nanterre-La Défense, (examinateur) Jacques LEGRAND, Professeur, INALCO, (examinateur) ! 2 ! 3 « Il est bon de franchir chaque jour une étape Comme l’eau vive qui ne stagne pas. Hier s’est enfui, l’histoire d’hier elle aussi est passée Il convient aujourd’hui de conter une histoire nouvelle. » Djalâl ad-Dîn Muhammad Rûmî (XIIIe siècle). Photo de couverture : Sans titre. Sur la route entre Ulaan davaa et Duut, province de Hovd, Mongolie, septembre 2010. Olivier Gassies, Licence Creative Commons BY-NC-ND. ! 4 ! 5 Remerciements La constitution de cette recherche, mon apprentissage et l’ensemble de ma démarche ont été possibles à différents niveaux grâce à de nombreuses personnes que je tiens à remercier chaleureusement. Ma reconnaissance va tout d’abord à mes directeurs de recherche : Hervé Lacombe pour sa disponibilité, sa méthodologie de travail et un regard sur la forme de mon travail d’une grande efficacité, Alain Desjacques, pour ses échanges passionnants et un regard de fond sur la musique mongole des plus pertinents. Une pensée particulière va à Trân Quang Hai qui, depuis son accompagnement en Master m’a toujours soutenu et su être de bon conseil diphonique. Je remercie également l’Université Rennes 2 et le personnel du pôle recherche, notamment Joëlle Bisson et l’équipe d’accueil EA1279 Histoire et critique des arts. Cette recherche n’aurait été réalisable sans les institutions qui m’ont aidées financièrement : le Ministère des Affaires étrangères pour une bourse Egide (séjour en Mongolie à l’université d’art et de culture d’Ulaanbaatar, de novembre 2006 à mai 2007), l’École doctorale ALL de l’université Rennes 2 pour une bourse Aires Culturelles (séjour en Mongolie accueillit par l’Institut de langue et de littérature de l’Académie des sciences d’Ulaanbaatar, de juillet à octobre 2009), la Fondation Internationale Nadia et Lili Boulanger pour une bourse d’étude (année universitaire 2009-2010), le Collège Doctoral International de l’université européenne de Bretagne pour une bourse de mobilité (séjour en Mongolie accueillit par l’École des relations internationales de l’université nationale, de décembre 2009 à février 2010), la Société Française d’Ethnomusicologie pour une Aide au terrain (séjour en Mongolie de 4 mois en été 2010), l’American Center for Mongolian Studies pour une bourse linguistique « Intensive Mongolian Language Program » (du 13 juin au 14 août 2010), enfin, le Festival du film de chercheur de Nancy pour le prix Coup de pouce 2013 (partagé avec Jean-François Castell pour notre collaboration scientifique autour de son film Maîtres de chant diphonique). Ma gratitude va également aux institutions mongoles qui m’ont accueillies à Ulaanbaatar : l’Université d’Art et de Culture pour une année scolaire en cours de chant diphonique (2006-2007), le département d’anthropologie de l’Université nationale de Mongolie et D. Bum-Očir pour m’avoir aimablement aidé dans l’obtention d’un visa de chercheur, l’Institut de langue et de littérature de l’Académie des Sciences de Mongolie et ma ! 6 tutrice Ajušžavyn Alimaa pour m’avoir fait accéder aux archives sonores (2010), la Radio nationale de Mongolie et tout le personnel de ses archives sonores (2011). Une pensée va à mes professeurs de mongol, Lhamsürengijn Doržderem et Dašlhagvagyn Ganbold grâce à qui je peux à présent être autonome (ou presque) sur le terrain. Mes remerciements les plus sincères vont à mes relecteurs, Raphaël Blanchier, Laurent Legrain, Nomindar’ Šagdarsüren, Laura Nikolov, Charlotte Marchina, Jacques Curtet (mon père), pour leur temps, leurs remarques et commentaires avisées. Je tiens à remercier plusieurs chercheurs pour m’avoir donné accès à certains documents ou travaux et pour certains, avoir accepté un entretien en toute confiance : Trân Quang Hai, Hervé Lacombe, Alain Desjacques, Carole Pegg, Valentina Süzükei, Ceden-Iš Altangerel, Luc Charles- Dominique, Pierre Bois, Andrew Colwell, Cecencolmon Baatarnaran, Laura Nikolov, Sunmin Yoon, Amarsanaa Altan, Charlotte d’Evelyn, Yves Defrance. Une pensée va à Roberte Hamayon pour m’avoir soutenu dans mes recherches de financements. Merci également à mes ami(e)s et collègues ethnomusicologues mongolisants pour de passionnantes discussions autour de nos thèmes de recherche, Andrew Colwell, Sunmin Yoon, Laurent Legrain, Rebekah Plueckhahn, E. Žindalaj, B. Cecencolmon, Karen Nioche, Marcelo Costa. Sans la présence de mes proches, certains problèmes techniques rencontré n’auraient pas été résolus : Marc Alaux pour ses conseils de mise en page, Benj Binks pour avoir sauvé mes données, Antoine Pinçon et Milad Pasta pour des questions de logiciels, Olivier Gassies pour la photographie et la couverture de thèse. Sans les cours et stages de chant diphonique donnés en France pendant toute la durée de ma thèse, je ne serai pas parvenu à financer mes études. Que soient remerciés ici ceux qui ont eu la passion du chant diphonique et qui m’ont invité à intervenir pour parler de ma recherche et transmettre ce que j’avais appris : Gilles Delebarre et Lucianna Penna-Diaw (Cité de la musique) les premiers à m’avoir mis sur la piste pédagogique, puis Hervé Lacombe pour m’avoir proposé d’animer un atelier à l’université Rennes 2, enfin Christian Robert, Gérard Bertin, Bernard Poulelaouen (CPFI) pour m’avoir encouragé à continuer dans cette voie. Mes activités associatives m’ont donné un cadre parallèle me permettant un contact régulier avec les musiciens mongols. Je remercie les membres de l’association Routes Nomades, Cécile Greffet (ma mère), Marylène Jarossay (une amie) et Otgonbaatar Cend-Očir (un compagnon de route inséparable) pour leur énergie, leur temps, leur patience dans le montage des tournées et l’organisation générale de nos projets. Une pensée va également aux ! 7 membres de l’association Otasie avec qui nous avons partagé l’expérience formidable, la première pour ma part, d’organiser le colloque Espace et patrimoines mongols au sein de la Semaine de la Mongolie à Paris, en mai 2012, dans les murs de l’INALCO, l’ENS et l’université de Paris 71. Je tiens à remercier le réalisateur Jean-François Castell qui, dès les débuts de ma recherche en 2003, a eu l’envie de raconter ma passion pour le höömij à travers le film documentaire Maîtres de chant diphonique (2010). Il m’a suivit comme un journaliste certes, mais aussi comme un ami. Merci à Véronique Puybaret qui a accepté de coproduire ce film et de croire au projet de Jean-François. Ih bajarlalaa (grand merci) aux musiciens mongols pour m’avoir ouvert leur portes et m’avoir donné accès en toute confiance à leurs archives et collections personnelles, mais surtout à leur culture et leurs trésors, tous ces musiciens sans qui ma recherche ne pourrait exister. Je les nomme des plus âgés aux plus jeunes, comme le veut la coutume, particulièrement : Dagvyn Luvsanšarav, Tümen-Ölzijn Enhbalsan, Cerendoržijn Cerennadmid, Dugerijn Daržaa, Mjatavyn Šagž, Hövčijn Seseer, Nanžidyn Sengedorž, Baataryn Odsüren, Rencengijn Davaažav, Lhamsürengijn Mangalžav, Dašdoržijn Cerendavaa, Taravžavyn Ganbold, Ežeegijn Tojvgoo, Badaryn Bapizan, Baasandoržijn Amartüvšin, Nergüjn Ganzorig, Cerendavaagijn Cogtgerel, et les musiciens des ensembles Egschiglen, Altaï-Khangaï et Khuk Mongol. Mes séjours en Mongolie ont été possibles grâce à l’accueil chaleureux de la famille d’Otgoo, celle de Šagdarsüren et Dar’süren à Ulaanbaatar, la famille de Cerendavaa, Činbat et Bajarmünh à Čandman’, celle de Sendegorž à Hovd, celle de Tojvgoo à Ulaangom, enfin celle de Bapizan à Cengel. Un remerciement particulier va à Cend-Očirijn Otgonbaatar (dit Otgoo) pour m’avoir accompagné dans l’ouest mongol à plusieurs reprises et m’avoir assisté dans mon travail de terrain, de la logistique à la traduction. Olivier Gassies était un autre compagnon de route dans l’Altaï en 2010 et la trace de cet incroyable
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