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151555304.Pdf Université de Montréal La représentation de la collectivité dans la mise en acte du chant choral sénégalais chez les Sérères noon de Saint Pierre Julien Eymard de Koudiadiène Par Anthony Grégoire Faculté de musique Mémoire présenté en vue de l’obtention du grade de maîtrise en ethnomusicologie Avril 2016 © Anthony Grégoire, 2016 Résumé Portant sur les modalités d’appropriation de la pratique chorale occidentale en milieu catholique chez les Sérères noon de Saint Pierre Julien Eymard de Koudiadiène, au Sénégal, ce mémoire tente de voir pourquoi, et surtout comment les différents syncrétismes agissent sur divers symbolismes sénégalais. Il vise plus particulièrement à comprendre toute l’importance de l’action de la collectivité dans la mise en acte du répertoire choral, et à comprendre comment l’improvisation spontanée en ensemble se construit en situation de performance dans ce qui est appelé ici la plurivocalité linéaire. Ce mémoire vise dans cette foulée à décrypter le sens autour de cette pratique spécifique du chant choral et à cerner comment le processus d’acculturation agit sur l’identité culturelle des Sérères noon. Finalement, il vise à dégager les affects en situation de performance de la chorale qui semble détenir un rôle central pour les membres de la paroisse Saint Pierre Julien Eymard de Koudiadiène, et à comprendre et mettre en valeur une pratique musicale et son contexte d’insertion social jusqu’alors peu étudiés de façon systématique. Mots-clés : ethnomusicologie; Sérère noon; Sénégal; Koudiadiène; Saint Pierre Julien Eymard; chant choral; mise en acte; performance; syntagmatique performancielle, syncrétisme; collectivité; plurivocalité linéaire. i Abstract On the modalities of appropriation of Western choral practice among Catholic Sérères noon of Saint Pierre Julien Eymard of Koudiadiène, Senegal, this dissertation tries to demonstrate why and how different syncretisms act on various Senegalese symbolisms. It aims to understand more particularly the importance of the community in the mise en acte of the choral repertoire, and how spontaneous improvisation is built in performance situation in what is called here the plurivocalité linéaire. This dissertation is in this vein to decipher the meaning of that specific practice of choral singing and to point how the acculturation process acts on the cultural identity of Sérères noon. Finally, it aims to identify affects in performance situation of the choral that seems to have a central role for members of the parish of Saint Pierre Julien Eymard, and understand and enhance a musical practice and its social context of integration hitherto little studied systematically. Keywords : ethnomusicology; Sérère noon; Senegal; Koudiadiène; Saint Pierre Julien Eymard; choral singing; mise en acte; performance; syntagmatique performancielle; syncretism; collectivity; plurivocalité linéaire. ii Table des matières Résumé ........................................................................................................................................ i! Abstract ...................................................................................................................................... ii! Table des matières .................................................................................................................... iii! Liste des documents supplémentaires ..................................................................................... v! Liste des figures ....................................................................................................................... vii! Remerciements ......................................................................................................................... ix! Introduction ............................................................................................................................. 10! 1! Choix et justification du sujet de recherche ................................................................... 12! 1.1! État actuel de la recherche sur le sujet ......................................................................... 13! 2! Présentation du corpus de recherche .............................................................................. 17! 2.1! De la pratique chorale chez les noons : les éléments constituants ............................... 17! 2.1.1! Lieux et espaces .................................................................................................... 18! 2.1.2! De la voix à Koudiadiène ...................................................................................... 21! 2.1.3! Des moments où l’on chante ................................................................................. 26! 2.1.4! Des acteurs ............................................................................................................ 26! 2.1.5! De la musique ....................................................................................................... 27! 2.1.6! De l’institutionnalisation de la pratique ................................................................ 30! 2.1.7! Présentation des ensembles : une tradition à chœurs multiples ............................ 33! 3! Objectifs de la recherche .................................................................................................. 38! 4! Méthodologie ..................................................................................................................... 38! 5! Éthique de la recherche .................................................................................................... 43! 5.1! De la pertinence du formulaire d’éthique .................................................................... 43! 5.2! Des contraintes de la recherche .................................................................................... 46! 6! Considérations théoriques ................................................................................................ 48! 6.1! Le terrain comme « expérience » ................................................................................. 48! 6.2! De la notion de tradition .............................................................................................. 52! 6.3! De la terminologie (scientifique et vernaculaire) ......................................................... 53! 7! Performer dans une chorale selon les noons : essai d’analyse ...................................... 57! 7.1! La syntagmatique performancielle ............................................................................... 58! 7.1.1! Procédés et constats .............................................................................................. 59! 7.1.2! Les syntagmes performanciels .............................................................................. 62! 7.1.3! L’analyse des discours : un paradigme dialogique ............................................... 79! iii 7.2! Un système d’apprentissage ......................................................................................... 89! 7.2.1! L’apprentissage « avec » la foi, avec l’Église ....................................................... 89! 7.2.2! L’apprentissage « dans » la foi, dans la communauté .......................................... 90! 7.2.3! L’apprentissage « par » la foi, par les compétences ............................................. 91! 7.3! La représentation symbolique ...................................................................................... 92! 7.4! L’appropriation par la « mise en acte » ....................................................................... 95! 7.4.1! Le répertoire .......................................................................................................... 97! 7.4.2! Les répétitions ..................................................................................................... 107! 7.4.3! Les représentations publiques ............................................................................. 108! 8! Conclusion : Une pratique « singulière »? .................................................................... 111! 8.1! Conception sérère du phénomène .............................................................................. 113! 8.2! La représentation de la collectivité dans la mise en acte du répertoire choral ........... 114! 8.2.1! De la dérive des répertoires choral et traditionnel .............................................. 115! 8.2.2! De la cristallisation d’un répertoire « virtuel » ................................................... 116! 8.3! Un symbolisme bipolaire ........................................................................................... 116! Entrevues et discussions ....................................................................................................... 120! Bibliographie ......................................................................................................................... 121! Annexe A : Formulaire d’information verbal ........................................................................... i! Annexe B : Formulaire de consentement écrit ........................................................................ iii! Annexe C : Certificat d’éthique de la recherche ...................................................................... v! Annexe D : Messe Na am dam ................................................................................................. vi! Annexe E : Credo de la Messe VIII (De Angelis) .................................................................
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