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Hotte Isabelle 2006 Memoire.Pdf JL1)j.3LÔ. z Université de Montréal Une étude comparative des danses traditionnelles et de leur musique d’accompagnement entre les cultures galles (écossaise et irlandaise) et québécoise par Isabelle Hotte Département d’anthropologie Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de M.aftre ès Sciences en anthropologie Décembre, 2006 ©, Isabelle Hotte, 2006 ç j ‘k LKJI O \yCl) Université (IIh de Montréal Direction des bibliothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y e aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexciusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable retain copyright ownership and moral rights in this document. Neither the whole thesis or dissertation, nor substantial extracts from it, may be printed or otherwise reproduced without the author’s permission. In compliance with the Canadian Privacy Act some supporting forms, contact information or signatures may have been removed from the document. While this may affect the document page count, it does not represent any loss of content from the document. Université de Montréal faculté des études supérieures Ce mémoire intitulé Une étude comparative des danses traditionnelles et de leur musique d’accompagnement entre les cultures ga1les (écossaise et irlandaise) et québécoise présenté par Isabelle Hotte a été évalué par un jury composé des personnes suivantes: Roland Viau président-rapporteur Jean-Claude Muller directeur de recherche John Leavitt membre du jury RÉSUMÉ C’est après maintes lectures et observations dans des milieux culturels au Québec que j ‘aie constaté des lacunes de connaissances et de diffusion concernant les traditions québécoises et leur provenance. Pourtant, les gens impliqués dans ces milieux sont parfois conscients d’échanges passés s’étant produit au Québec. L’information sérieuse ou scientifique est plus rare ou superficielle. Elle m’apparaît toutefois comme essentielle autant pour l’approfondissement des connaissances historiques et anthropologiques de nos propres traditions, leurs influences et leur construction, que d’un point de vue identitaire. La méthodologie choisie avait plusieurs objectifs; un survol des connaissances disponibles, plusieurs observations participantes pour commenter les renseignements recueillis me permettant de faire hypothèses, déductions et conclusions concernant l’influence des traditions dansantes et musicales écossaises et irlandaises sur celles québécoises. Ces influences furent avérées dans les traditions québécoises tant en danse qu’en musique, dans la technique comme le répertoire. Mots clés Tradition, identité, influences interculturelles, mode de transmission. 11 SUMMARY It is afier many readings and observations in cultural activities in Quebec that I noted gaps of knowledge and diffusion conceming the Québécois traditions and their sources. However, the people implied in these activities are sometimes conscious of exchange being produced in Quebec. Serious or scientific information is rarer or superficial. It seems to me essential for the deepening of historical and anthropological knowledge of our own traditions, its influences and its construction and an identity point of view. Selected methodology had several objectives; an overflight of knowledge available, several participating observations to comment on the information collected allowing me to make assumptions, deductions and conclusions relating to the influence of the Scottish and Irish Québécois dancing and musical traditions. These influences were proven in the Quebecers traditions as well in dance as in music, in the technique like the repertory. Kcy vo rds: Tradition, identity, intercultural influences, mode of transmission. 111 TABLE DES MATIÈRES LISTE DES SIGLES vi •• INTRODUCTION 1 • Sujet du mémoire 2 • Problématique et hypothèse 3 • Limites du sujet et de la problématique 3 • Questions corollaires 3 • Stratégies de recherche 4 • Mode d’analyse des données 6 • Degré de faisabilité $ • Division du mémoire $ + CHAPITRE 1: CONCEPTS ET TERMINOLOGIES 10 • Concepts généraux 10 • Terminologie liée à la musique 13 o Les catégories de pièces musicales 14 o Ornementations 17 • Terminologie liée à la danse 1$ o Formations 1$ o Progression 19 o Pas de base 19 o Figures 21 o Catégories de danses 21 o Respect des temps musicaux 25 + CHAPITRE 2 LA MUSIQUE TRADITIONNELLE 27 • Musique traditionnelle écossaise 29 o Caractéristiques spécifiques 29 o Instruments 30 o Catégories musicales 30 o Schéma mélodique des pièces 31 o Ornementations 31 o Styles régionaux 32 o Place de la musique dans la vie traditionnelle 32 o Technologie, déclin et revivalisme 33 • Musique traditionnelle irlandaise 34 o Caractéristiques spécifiques 34 o Instruments 35 o Catégories musicales 35 o Schéma mélodique des pièces 36 iv o Ornementations 36 o Styles régionaux 37 o Place de la musique dans la vie traditionnelle 37 o Technologie, déclin et revivalisme 3$ Musique traditionnelle québécoise 39 o Caractéristiques spécifiques 39 o Instruments 40 o Catégories musicales 44 o Schéma mélodique des pièces 46 o Ornementations 46 o Styles régionaux 46 o Place de la musique dans la vie traditionnelle 4$ o Technologie, déclin et revivalisme 49 Comparaison des musiques traditionnelles gaèlles et québécoise 50 o Caractéristiques spécifiques 50 o Instruments 52 o Catégories musicales 52 o Schéma mélodique des pièces 54 o Ornementations 54 o Styles régionaux 55 o Place de la musique dans la vie traditionnelle 55 o Technologie, déclin et revivalisme 56 + CHAPITRE 3 LA DANSE TRADITIONNELLE 58 • Danse traditionnelle écossaise 5$ o Catégories de danses et caractéristiques techniques ou chorégraphiques 59 • Reels 59 • $trathspeys 61 • Contredanses anglaises ou Country dances 61 • CeiÏidh dances versus Scottish country dances 64 o Respect des temps musicaux 65 o Importance de la technique ou de la performance 66 o Place des maîtres à danser 66 o Place de la danse dans la vie traditionnelle 67 o Technologie, déclin et revivalisme 69 • Danse traditionnelle irlandaise 71 o Catégories de danses et caractéristiques techniques ou chorégraphiques 72 • Reels 72 V • Contredanses anglaises ou country dances 73 • Quadrilles 73 ‘ Ceilidh dances 75 o Respect des temps musicaux 75 o Importance de la technique ou de la performance 76 o Place des maîtres à danser 76 V o Place de la danse dans la vie traditionnelle 77 o Technologie, déclin et revivalisme 78 • Danse traditionnelle québécoise 80 o Catégories de danses et caractéristiques techniques ou chorégraphiques $1 • Reels $1 • Contredanses anglaises ou coïtntiy dances 82 • Contredanses françaises ou cotillons 84 • Quadrilles 85 • Sets carrés. callés ou américains $6 o Respect des temps musicaux 8$ o Importance de la technique ou de la performance 89 o Place des maîtres à danser $9 o Place de la danse dans la vie traditionnelle 90 o Technologie, déclin et revivalisme 92 • Comparaison des danses traditionnelles galles et québécoise 94 o Catégories de danses et caractéristiques techniques ou chorégraphiques 94 • Reels 94 • Strathspeys 95 • Contredanses anglaises ou countîy dances 95 • Contredanses françaises ou cotillons 97 • Quadrilles 97 • Sets carrés. callés ou américains 9$ o Respect des temps musicaux 9$ o Importance de la technique ou de la performance 100 o Place des maîtres à danser 101 o Place de la danse dans la vie traditionnelle 102 o Technologie, déclin et revivalisme 103 + CONCLUSION 106 BIBLIOGRAPHIE 116 vi LISTE DES SIGLES AQLf : Association québécoise des loisirs folkloriques RSCDS : Royal Scottish Country Dance Society SPDTQ Société pour la promotion de la danse traditionnelle québécoise INTRODUCTION force est de constater que certaines parties de l’histoire du Québec semblent parfois méconnues, voire même ignorées ou carrément passées sous silence. Ainsi, certains sujets n’ont fait l’objet que d’études partielles et d’autres, plus populistes n’ont sans doute pas été jugés dignes d’être documentés et investigués. S’il est indéniable qu’une société est modelée par ses fortes personnalités et ses grands moments politico-historiques, il n’en demeure pas moins que d’autres facteurs socio-culturels peuvent l’influencer. La façon de penser, de vivre et d’agir des gens ordinaires constituent des éléments qui font partie de l’histoire et mériteraient d’être enseignées dans les écoles, autant au niveau primaire qu’universitaire. Ce sont des sujets intéressants et importants dans l’histoire d’une nation et de son identité. Ils concernent et intéressent, ou le devraient, non seulement la
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