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Le Black Métal : Un Genre Musical Entre Transgression Et Transcendance Camille Bera

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Le Black Métal : Un Genre Musical Entre Transgression Et Transcendance Camille Bera Le Black Métal : un genre musical entre transgression et transcendance Camille Bera To cite this version: Camille Bera. Le Black Métal : un genre musical entre transgression et transcendance. Art et histoire de l’art. Normandie Université, 2018. Français. NNT : 2018NORMR087. tel-03030244 HAL Id: tel-03030244 https://tel.archives-ouvertes.fr/tel-03030244 Submitted on 30 Nov 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THÈSE Pour obtenir le diplôme de doctorat Spécialité Musicologie Préparée au sein de l’Université de Rouen Le Black Metal : un genre musical entre transgression et transcendance Présentée et soutenue par Camille Béra Thèse soutenue publiquement le 29 novembre 2018 devant le jury composé de Professeur des universités en musicologie, M. Pierre-Albert CASTANET Directeur de thèse université de Rouen Maître de Conférences en sociologie, Mme Odile BLIN Examinatrice université de Rouen Maître de Conférences en sociologie, M. Gérôme GUIBERT Examinateur université Paris 3 Sorbonne Nouvelle Professeur des universités en musicologie, M. Martin LALIBERTÉ Rapporteur université Paris-Est Marne-la-Vallée Professeur des universités en musicologie, M. Christophe PIRENNE Rapporteur université de Liège Thèse dirigée par Pierre-Albert CASTANET, GRHis. Le Black Metal : un genre musical entre transgression et transcendance 3 RESUMES Le Black Metal : un genre musical entre transgression et transcendance Né à la fin des années 1980 en Scandinavie, le Black Metal est un genre musical underground, descendant du Heavy Metal. Nous avons tenté, dans cette thèse, de reconstituer tout d‟abord sa genèse, avant de montrer comment il a construit son esthétique, au travers des concepts de la transgression et de la transcendance. Grâce à une analyse fondamentalement pluridisciplinaire, nous avons observé un grand nombre de paramètres caractéristiques du genre en convoquant un panel conséquent de groupes, majoritairement européens. Il est ici question des aspects musicaux, détaillés grâce à des analyses du langage harmonique, mélodique et rythmique, ainsi que des techniques de jeux instrumentales. Une place importante est aussi accordée à l‟observation minutieuse des textes. Les attitudes scéniques et l‟iconographie du Black Metal sont aussi des facettes auxquelles nous avons consacré de nombreux paragraphes au sein de cette recherche doctorale. Emaillées des références littéraires, philosophiques et spirituelles des musiciens, l‟éthique, les idéologies, les croyances représentent également d‟incontournables clefs de lecture en vue de la compréhension de ce genre déjà trentenaire et encore insuffisamment traité au niveau universitaire en France. Mots clefs : Black Metal – Transgression – Transcendance – Esthétique – Éthique – Postromantique – Authenticité – Underground – Genre musical – 1970-2018 – Europe Black Metal: A Musical Genre between Transgression and Transcendence Black Metal is an underground musical genre, descended from Heavy Metal and born in the late 80s in Scandinavia. In this dissertation, we are aiming to reconstruct its genesis before showing how it builds its aesthetics alongside the concepts of transgression and transcendence. Taking a fundamentally multidisciplinary perspective, we aim to maximise the genre‟s characteristic parameters by addressing a large number of bands, mostly from Europe. The analysis addresses both the lyrics and the accompanying music, including the harmonic, melodic and rhythmical elements of the speech and the various instrumental techniques. Black Metal‟s stage attitudes and iconography are also important contributions to the overall modes of expression. They have all been analysed in the context of the musicians‟ personal ideologies, ethics, and beliefs, including their literary, philosophical and spiritual aspects, to provide a holistic understanding of this thirty-year-old genre. Key Words : Black Metal – Transgression – Transcendence – Aesthetics – Ethic – Post-Romantic – Authenticity – Underground – Music genre – 1970-2018 – Europe 4 TABLE DES MATIERES Résumés...................................................................................................................4 Table des matières…………………………………………………………………5 Remerciements…………………………………………………………………….8 Avant-propos………………………………………………………………………9 Introduction..……………………………………………………………….…….10 Chapitre I : Du Heavy au Black Metal : genèse et construction d’un genre transgressif ……………………………………………………………………...19 1. La naissance et la construction du Heavy Metal de 1970 au début des années 1980, vers les prémices du Black Metal……………………………20 a. Les conditions d‟émergence et le langage du Heavy Metal ………………21 Origines et emplois du terme « Heavy Metal »………………………...22 Birmingham : berceau industriel du Heavy Metal……………………...23 Le son et le timbre : caractériser le Heavy Metal………………………25 Black Sabbath : les pères fondateurs du Heavy Metal………………….27 b. Le développement du Heavy Metal entre 1973 et 1980 : les étapes décisives vers l‟apparition du Metal extrême………………………………………...31 La cristallisation du Heavy Metal : le rôle décisif de Judas Priest……..32 L‟âge d‟or du Heavy Metal : une période jalonnée par de multiples influences……………………………………………………………….34 La fragmentation du Heavy Metal : la New Wave Of British Heavy Metal……………………………………………………………………37 La critique du Heavy Metal…………………………………………….43 2. La première vague du Black Metal au début des années 1980 ou le proto- Black Metal………………………………………………………………......46 a. Les groupes de la première vague et leur influence……………………….47 Les groupes de la première vague ou le proto-Black Metal……………48 La première vague : une synthèse des influences ? ……………………51 b. Les langages musicaux des groupes de la première vague………………...56 La production sonore…………………………………………………...56 Formations instrumentales et innovations……………………………...60 La voix....…………………………………………………………….....63 Structures et harmonie………………………………………………….67 c. Les codes de transgression extra-musicaux………………………………..75 Satanisme et ésotérisme comme pavillons……………………………...75 Donner vie à son alter-égo……………………………………………...81 Blasphèmes……………………………………………………………..87 5 3. La seconde vague du Black Metal de la fin des années 1980 à la moitié des années 1990…………………………………………………..………………91 a. L‟apparition du Metal extrême…………………………………………….91 Vers le Metal extrême : le Thrash Metal de Slayer……………………..92 Le Thrash Metal européen……………………………………………...98 L‟apparition du Death Metal………………………………………….101 Le Death Metal suédois et la branche norvégienne…………………...105 Le Metal extrême : voyage par delà les frontières…………………….110 b. Codification et cristallisation de la scène norvégienne…………………...115 Le schisme au sein de la scène Death Metal norvégienne : la mise en place d‟une esthétique de la transgression…………………………..115 Les règles techniques et musicales, vers le son Black Metal………….119 Les règles sémiotiques : pour une iconographie de la scène norvégienne……………………………………………………………130 Les hyper règles : vers une idéologie de la violence…………………135 Chapitre II : Spiritualités et identités du Black Metal……………………...143 1. Black Metal et religion : un rapport conflictuel………………………….145 a. Courants et obédiences religieuses liés au Black Metal…..……………...148 État des pratiques religieuses en Europe aujourd‟hui….……………...149 Satanisme cultuel ou culturel ? …………………………………….....153 Ambivalence, christianisme inversé et références religieuses : l‟intertextualité dans les textes de Black Metal.………………………158 Références musicales et transphonographiques à la religion…………166 b. Mise en scène de la transgression : les références religieuses dans les représentations scéniques…………………………………………………170 Messes noires, imaginaire sataniste et théâtralisation ………………..170 Références et détournements des symboles religieux…………………174 2. Black Metal, paganismes, mythes et identités…………………………….179 a. La reconstitution d‟une religion préchrétienne : Black Metal et imaginaire païen………………………………………………………………………186 Les textes Black Metal et l‟imaginaire païen………………………….187 Créer une musique païenne : entre imaginaires et métaphores………..191 b. Le Black Metal entre récit philosophico-artistique, identitaire et « paganisme politique »………………………………………………..194 Black Metal et paganisme politisé : la frange NSBM………………...196 Pagan/Folk Black Metal et récits identitaires…………………………202 Chapitre III : Le Black Metal entre expressions et introspections…………211 1. Pour Une éthique du Black Metal…………………………………………212 a. Black Metal et élitisme……………………………………………….......213 Le True Black Metal, ou la question de l‟authenticité………………...214 Réduire la visibilité…………………………………………………....219 6 Les références à Nietzsche dans la culture Black Metal……………....222 b. La résistance de l‟underground face au mainstream……………………...224 Une vision idéalisée de l‟underground………………………………...226 La frontière entre mainstream et underground, une ligne mouvante ?..229 Le Tape trading et le culte de l‟artéfact……………………………….234 2. Le Black Metal, un genre romantique ? ……………………………........237 a. La littérature romantique : apports et
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