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MUSI-B-425 2020 VOLUME II Historique Et Thématique

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MUSI-B-425 2020 VOLUME II Historique Et Thématique i Prof. Christophe Den Tandt Université Libre de Bruxelles MUSI-B-425 Méthodologie de la culture et de la musique populaires Volume II.1 Histoire culturelle de la musique rock et du rhythm and blues anglo-américains Les années 1950 : De la race music au rock and roll i Table des matières Méthodologie de la culture et de la musique populaires Histoire culturelle de la musique rock et du rhythm and blues Volume II.1 Les années 1950 : de la race music au rock and roll 2.1 Introduction : les musiques populaires récentes se prêtent-elles à la méthodologie académique ? . 1 2.1.1 La musique a-t-elle une signification culturelle et sociale? .............................................................. 1 1 Un signifiant sans signifié ................................................................................................................ 1 2 L’analyse des pratiques paramusicales ............................................................................................. 4 2.1.2 Le discours académique peut-il rendre justice à une culture vivante? ........................................... 4 1. Un champ académique encore jeune ............................................................................................... 4 2. Le voisinage délicat des discours journalistique et publicitaire ....................................................... 6 3. Distinguer le fan du chercheur académique ..................................................................................... 8 4. Un discours pédagogique qui met en question l’habitus de ses auteurs et destinataires .................. 10 2.2 Vers une périodisation raisonnée de l’histoire de la musique rock et du rhythm and blues ............ 12 Tableau synoptique.............................................................................................................................. 13 1. L’histoire du « mainstream » et non des marges ............................................................................. 18 2. Une visée historique n’échappant pas à une logique ethnocentrée .................................................. 19 3. Une perspective de recherche structurée par un ancrage générationnel .......................................... 20 4. Un récit articulé selon une dynamique d’émergence, de rupture, et de consolidation ..................... 21 5. La part des déterminants technologiques : la musique électrique .................................................... 22 6. Un cadre culturel défini par le modernisme et le postmodernisme ................................................. 24 2.3 L’émergence du rock and roll aux Etats-Unis ..................................................................................... 25 2.3.1 Les années 1950 comme scène d’un rébellion adolescente ............................................................... 25 2.3.2 La scène musicale des années 1950 ..................................................................................................... 34 2.3.2.1 Kings of Rock and Roll ..................................................................................................................... 34 1. Elvis Presley .................................................................................................................................... 34 2. Fats Domino .................................................................................................................................... 35 3. Bill Haley and His Comets .............................................................................................................. 35 4. Chuck Berry .................................................................................................................................... 36 5. Eddie Cochran ................................................................................................................................. 36 6. Gene Vincent ................................................................................................................................... 37 7. Little Richard ................................................................................................................................... 37 8. Jerry Lee Lewis ............................................................................................................................... 37 9. Buddy Holly .................................................................................................................................... 38 10. Bo Diddley .................................................................................................................................... 38 11. Carl Perkins ................................................................................................................................... 38 2.3.2.2 Le son des fifties : orchestration et instrumentation...................................................................... 39 2.3.2.3 Le contexte de l’industrie du disque................................................................................................ 40 2.3.2.3.1 Médias, DJs, producteurs et maisons de disques ........................................................................ 40 1. WLAC radio .................................................................................................................................... 40 2. Alan Freed ....................................................................................................................................... 40 3. Sam Phillips ..................................................................................................................................... 41 4. Leonard et Phil Chess ...................................................................................................................... 42 ii 5. Ahmet et Nehusi Ertegün ................................................................................................................ 42 6. Dick Clark ....................................................................................................................................... 43 2.3.2.3.2 La lutte des indépendants contre les « majors » ......................................................................... 44 2.3.2.3 Le déclin de la première génération ............................................................................................... 46 2.3.3 Politique culturelle du rock and roll dans les années 1950 ............................................................... 48 2.3.3.1 La question de la canonicité : comment établit-on le canon du rock and roll ? .......................... 48 2.3.3.2 La question des origines : un sentiment de nouveauté à la fois légitime et surévalué ................. 54 2.3.3.3 Une rébellion en marge de la politique ........................................................................................... 56 2.3.3.4 Déségrégation culturelle et désir d’africanité ................................................................................. 60 2.3.3.4.1 Les paradoxes d’un stéréotype ethnique valorisant .................................................................... 60 2.3.3.4.2. Typologie de l’afro-américanité musicale ................................................................................... 63 1. « Une perception du temps légèrement différente » ........................................................................ 63 2. Structure rythmique : rythmes syncopés et polyrythmes ................................................................. 64 3. Tonalité et mélodie : « blue notes » et inflexions vocales ............................................................... 68 4. Des textes aux connotations transgressives ..................................................................................... 70 2.3.3.4.3 Rock and roll et déségrégation: ombres et lumières ................................................................... 73 1 DEUXIÈME PARTIE : Historique et thématiques de la musique rock et du rhythm and blues 2.1 Les musiques populaires récentes se prêtent-elles à la méthodologie académique? 2.1.1 La musique a-t-elle une signification culturelle et sociale? 2.1.1.1 Un signifiant sans signifié Dans cette deuxième partie du cours, nous nous penchons sur le développement du rock and roll ainsi que sur l’histoire de la musique afro-américaine dont le rock and roll est issu—le rhythm and blues. Pour ce faire, nous développons tout abord quelques remarques méthodologiques. Ces dernières portent, en premier lieu, sur l’analyse de la musique en général et, deuxièmement, sur les problèmes spécifiques soulevés par l’étude des musiques populaires abordées ici. Nous offrons ensuite une périodisation succincte de l’évolution du rock et du rhythm and blues, mettant en lumière les principes qui nous permettent de discerner les différentes étapes de leur histoire. Le champ d’étude ainsi abordé se limite au domaine anglo-américain dans la deuxième moitié du 20ème siècle. Les chapitres ultérieurs sont consacrés à chacune des étapes de ce développement musical. Ces chapitres, en plus d’un exposé historique, analysent en détail les thématiques pertinentes à chaque époque étudiée—le transfert interethnique, la possibilité de l’expérimentation moderniste et postmoderniste au sein de l’industrie des loisirs, la contribution de cette dernière à la construction des rôles genrés, la dynamique des mouvements musicaux, l’impact des innovations technologiques sur la création, etc. Figure II.1, 2 et 3 : Certains essais fondateurs des cultural studies sont
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