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Feuille De Styles Basique Yingxue Huang Yaogun, l’histoire de la musique Rock Made in China : Création, évolution, et perspectives de la musique rock en Chine contemporaine (1980-2011) -------------------------------------------------------------------------------------------------------------------------- Huang Yingxue - Yaogun, l’histoire de la musique Rock : Made in China, sous la direction de M. le Professeur Gregory Barry Lee.- Lyon : Université Jean Moulin (Lyon 3), thèse soutenue le 10 septembre 2012. Disponible sur : www.theses.fr/2012LYO30056 -------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Ecole doctorale Lettres – Langues – Linguistique – Arts Institut d’Etudes Transtextuelles et Transculturelles Thèse présentée en vue de l’obtention du doctorat d’Etudes Transculturelles Yaogun, l’histoire de la musique Rock Made in China Création, évolution, et perspectives de la musique rock en Chine contemporaine (1980-2011) Présenté par Yingxue Huang Sous la direction de Monsieur le professeur Gregory B. Lee Jury composé de Madame JIN Siyan, Professeur des Universités, Université d’Artois Monsieur Patrick DOAN, Maître de conférence, Université Paul Valéry, Montpellier III Monsieur Florent VILLARD, Maître de conférence, Université de Lyon – Jean Moulin Lyon III Monsieur Gregory B. LEE, Professeur des Universités, Université de Lyon – Jean Moulin Lyon III 1 2 Yaogun, l’histoire de la musique Rock Made in China Création, évolution, et perspectives de la musique rock en Chine contemporaine (1980-2011) Présenté par Huang Yingxue Sous la direction de Monsieur le professeur Gregory B. Lee Université de Lyon – Jean Moulin Lyon 3 Septembre 2012 3 4 REMERCIMENTS Cinq années de lecture, écriture, réflextion et de recherches. Travail parfois difficile et laborieux mais passionnant. Cette thèse a été un véritable parcours initiatique dans lequel j’ai beaucoup appris. Je tiens à remercier mon directeur de thèse, le professeur Gregory Lee. Merci pour son soutien, sa patience et sa confiance depuis toutes ces années. Son investissement considérable pour promouvoir la recherche doctorale à Lyon nous a été infiniment précieux. Je remercie l’Institut d’Etudes Transculturelles et Transtextuelles. Tous ces séminaires et ces activitées organisés me furent une source d’inspiration importante. Merci à Madame Jin Siyan, Monsieur Patrick Doan, Monsieur Andreas Steen, Monsieur Florent Villard, pour leurs conseils précieux. Merci à Huang Yu, pour son amitié et ses précieux conseils durant ce long processus. Nos échanges de mails m’ont été des moments d’encouragement et de joie. Merci à Wang Jijun, à Monsieur Zang Yanbin et tous les amis qui travaillent dans l’industrie de la musique, en Chine, en France ou ailleurs. Merci à tous ont d’une manière ou d’une autre contribué à ce que ce travail puisse aboutir. Merci à Claude, pour son soutien inconditionnel. 5 Pour mes enfants, Anna et Sasha. 6 Table des matières 7 Introduction............................................................................13 Chapitre I Création d’une musique populaire........24 I - 1 Introduction et réaction : les musiques en Chine après la Révolution Culturelle (1978 – 1980) ....................................................................24 I - 1 .1 le contexte historique...............................................................................................24 I - 1 . 2 La genèse de nouvelles musiques en Chine.........................................................34 I – 2 L’émergence des tongsu gequ et son identité idéologique...............40 I - 2. 1 Xianglian, «le Concert de Nouvelle star » et « mon cœur chinois » : le retour de chanson populaire sur le Continent....................................................................................40 I – 2.2 l’identité idéologique des tongsu musique...............................................................50 I - 3 Une nouvelle tendance musicale dans un nouveau temps : Xibeifen............................................................................................................................64 I - 3.1 Xibeifeng : 1986 -1989..............................................................................................64 I - 3.2 Nouvelles formes artistiques dans l’époque post-Révolution Culturelle..................69 I - 3.3 Xungen : une réponse à la crise d’identité nationale ..............................................74 Chapitre II Le début d’une nouvelle longue marche 1980- 1992...............................................................86 II - 1 Les pionniers du rock chinois au début des années 1980 .................87 8 II -1.1 L’expérience de Qiheban et le Poussah .................................................................87 II-1.2 Cui Jian et Ne rien avoir .............................. ...............................................................94 II – 2 «Rock sur la nouvelle longue marche»…….………………..….…………101 II -2.1 le rock dans le tourbillon idéologique……………………………………………….....101 II -2.2 le symbol et la musique…………………………………….....………………………..105 II - 2. 3 Wild horses : entre l’Occident des années 1960 et la Chine des années 1980...116 II - 2. 4 « le rock sur la nouvelle longue marche » et « résoudre » : un héro rebel en route..................................................................................................................................124 Chapitre III Rock, une nouvelle marchandise dans une nouvelle ère ?..........................................................................139 III - 1 La fin d’une époque………………………………………………………………140 III-1.1 la chute du monde communiste et le retour des chants maoïstes………………...140 III-1.2 la frontière des deux époques……………….....……………………………………...145 III -2 Le succès de la deuxième génération…..………………………………....148 III- 2.1 La reprise des maisons de disque étrangères……………………………….....……148 III – 2.2 Zhang Peiren……………………………………..…………………………………….153 9 Chapitre 4 Résistances et Impuissances (1994 2000)………………………………………………………………………………...……….161 IV – 1 La gêne dans une nouvelle ère………..………………………………....…161 IV-1.1 Cui Jian : d’un combattant à un œuf…………………………………….....………….161 IV- 1.2 S’envoler avec le rêve Olympique ?......................................................................172 IV – 2 Impuissances…........................…………………………………………………179 IV-2.1 Hunzi.....................................................................................................................179 IV-2.2 L’évolution de l’image de «guniang» : fille............................................................189 Chapitre 5 Le Rock dans un « grand pays» ………………………………………………………………………......................211 V-1 Les autorités : « Oui » au patriotisme...................................................................212 V-1.1 le complexe de « daguo ».......................................................................................212 V-1.2 L’invention du nationalisme en Chine.....................................................................216 V-2 les avis les professionnels......................................................................................224 V-2.1 Pékin : les spectacles en danger.............................................................................224 V-2.2 « Ni pour, ni contre »...............................................................................................230 V-3 Génération «post 1980 1990» et le rock…...........................................................238 V-3.1 La génération enfant unique....................................................................................238 V-3.2 Des lignes à ne pas franchir....................................................................................241 10 Conclusion...................................................................................................................248 Bibliographie...............................................................................................................261 Annexe...........................................................................................................................276 Illustration …………………………………………………………………………………….335 11 12 INTRODUCTION Rock’n’roll. Ce terme s’est répandu d’abord dans le monde occidental à la fin des années 1950, principalement grâce au succès d’Elvis Presley. Fusion du blues, du rhythm’n’blues, du gospel, du doo-wop et de la country. Le terme rock’n’roll désigne à l’origine une musique nouvelle, adoptée avec enthousiasme par la jeunesse américaine rompant résolument avec la musique écoutaient leurs parents. Le rock’n’roll, synonyme de révolte de la 13 jeunesse, secoua l’Amérique en 1957. Peu à peu, le mot «rock» devint le terme générique de la musique populaire américaine et britannique, puis occidentale. Le 9 mai 1986, un grand concert rendant hommage à « l’année mondiale de la paix » 世界和平年 a eu lieu au « Gongti » 工体 Gongrentiyuguan. Un jeune chanteur totalement inconnu portant une longue veste est monté sur scène en sautant. Avec sa voix étrange et son énergie communicante de jeune garçon, il a chanté une chanson composée par lui – même : “我曾经问个不休 你何时跟我走 而你却总是笑我 一无所有……” « Je t’ai demandé
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