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Cahiers D'ethnomusicologie, 25 Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 25 | 2012 La vie d’artiste Édition électronique URL : http://journals.openedition.org/ethnomusicologie/272 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 31 décembre 2012 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 25 | 2012, « La vie d’artiste » [En ligne], mis en ligne le 31 décembre 2014, consulté le 06 mai 2019. URL : http://journals.openedition.org/ethnomusicologie/272 Ce document a été généré automatiquement le 6 mai 2019. Article L.111-1 du Code de la propriété intellectuelle. 1 « La vie d’artiste » envisagera le statut social du musicien, et plus particulièrement du musicien professionnel. Dans certaines sociétés, ce statut est reconnu de longue date, et il fait l’objet de codifications qui déterminent son rôle, ses prérogatives et ses devoirs ; en d’autres cas, la professionnalisation de l’activité musicale est une donnée récente, qui s’est imposée sous l’influence de divers facteurs : nouveaux contextes de performance, nouveaux débouchés, tournées à l’étranger, tourisme, médiatisation, instrumentalisation de la musique... Dans quelle mesure la professionnalisation de l‘activité du musicien influence-t-elle les divers paramètres de son expression : les répertoires, les contenus esthétiques, le comportement des musiciens, leur rapport à leurs auditeurs, etc. ? Ce dossier propose d’examiner ces questions à partir d’une série d’études de cas et de réflexions générale sur le devenir de la musique dans un contexte marqué par l’interculturalité, le syncrétisme et la mondialisation des marchés. Cahiers d’ethnomusicologie, 25 | 2012 2 SOMMAIRE Dossier : La vie d'artiste Entre deux mondes Redéfinitions contemporaines du statut de Gnawi Jean Pouchelon Cesaria Evora Des biographies aux autobiographies, un art vocal encore impensé Sandrine Teixido Doudou Ndiaye Rose, l’artiste caméléon Luciana Penna-Diaw Artistes en mouvement Styles de vie de chorégraphes burkinabè Sarah Andrieu Construction nationale et mouvements évangéliques Deux facteurs de professionnalisation musicale en Éthiopie (de 1860 à nos jours) Hugo Ferran La cause du rap Engagements d’un musicien palestinien au Liban Nicolas Puig Du Trio de zarb aux « créations transculturelles » La création musicale du percussionniste Keyvan Chemirani : une globalisation parallèle ? Élina Djebbari En marge de la scène Trajectoires de musiciens musulmans dans la ville de Varanasi (Inde du Nord) Julien Jugand Le virtuose Conte de l’Inde carnatique Fabrice Contri Le samba d’une forêt imaginaire Des fêtes du Nordeste brésilien aux festivals européens Lúcia Campos Affirmation artistique et critères d’appréciation des chanteurs revivalistes au Salento Flavia Gervasi Faire profession de la tradition ? Équivoques en Pays Basque Denis Laborde Entretien Une histoire ethnomusicologique Entretien avec Luc Charles-Dominique Bruno Messina et Luc Charles-Dominique Cahiers d’ethnomusicologie, 25 | 2012 3 Livres Jacques BOUËT et Makis SOLOMOS, dir. : Musique et globalisation : musicologie, ethnomusicologie Paris : L’Harmattan, 2011 Guillaume Samson Monique DESROCHES, Claude DAUPHIN, Marie-Hélène PICHETTE, Gordon E. SMITH eds/ dir. : Territoires musicaux mis en scène Montréal : Les Presses de l’Université de Montréal, 2011 Yves Defrance Marc-Olivier GONSETH et al. : Bruits – Echos du patrimoine culturel immatériel Musée d’ethnographie de Neuchâtel, 2011 Jean-Charles Depaule Gerhard KUBIK : Theory of African Music Vol. I et II. Chicago : University of Chicago Press, 2010 Hugo Ferran Nathalie FERNANDO : Polyphonies du Nord-Cameroun Paris : Peeters, Selaf 441, 2011 Marie-Hélène Pichette Aurélie MONGIS : Le chant du masque. Une enquête ethnnomusicologique chez les Wè de Côte d’Ivoire Paris : L’Harmattan, 2011 François Borel Richard C. JANKOWSKY : Stambêlî : Music, Trance and Alterity in Tunisia Chicago : University of Chicago Press, 2010 Jean Pouchelon Razia SULTANOVA : From Shamanism to Sufism : Women, Islam and Culture in Central Asia London & New York : I.B. Tauris, 2011. 243 p. Mukaddas Mijit Prithwindra MUKHERJEE : Thât/Mélakartâ. Les échelles fondamentales de la musique indienne du Nord et du Sud Paris : Éditions Publibook Université, 2010 William Tallotte Catherine SERVAN-SCHREIBER : Histoire d’une musique métisse à l’île Maurice, chutney indien et séga Bollywood Paris : Riveneuve éditions, 2010 Denis-Constant Martin CD Trois CDs indonésiens Chants de Biboki (Timor occidental)Chants des îles de Flores et SolorTerompong Beruk : Le Gamelan de Bangle Michael Tenzer German & Claudia Khatylaev : Arctic Spirit. Music from the Siberian North – Sakha People 1 CD Borealia, 2011 Henri Lecomte Cahiers d’ethnomusicologie, 25 | 2012 4 Italie. Musiques des Albanais de Calabre 1 CD, 2011 Antonello Ricci Stambeli : l’héritage des Noirs de Tunisie 1 CD Les Chemins Productions, 2011 Jean Pouchelon Congo. Polyphonies pygmées du nord-Congo 1 CD, 2011 Michel Plisson Colombie : Adoration à l’enfant-Dieu (Département du Cauca) 1 CD, 2011 Natalia Parrado Films | Multimédia Dana RAPPOPORT : Chants de la terre aux trois sangs. Musiques rituelles des Toraja de l’île de Sulawesi, Indonésie Paris : Epistèmes/Éditions de la Maison des sciences de l’Homme, 2009 Marc Chemillier The Heart of Qin in Hong Kong Hong Kong : Deyin Qin Society, 2010 Henri Lecomte Cahiers d’ethnomusicologie, 25 | 2012 5 Thèses Nolwenn BLANCHARD : Identité culturelle et patrimoine immatériel : La collection sonore constituée par Herbert Pepper au Gabon (1954-1966) Thèse de doctorat en sociologie – anthropologie, soutenue le 27 septembre 2011 à l’Université Lumière Lyon 2. Laurent LEGRAIN : S’attacher à transmettre et transmettre un attachement. Les Darhad, leur répertoire et le continuum sonore en Mongolie contemporaine. Thèse de doctorat en anthropologie soutenue le 6 décembre 2011 à l’Université Libre de Bruxelles Hassan TABAR : Le santur iranien et ses maîtres : une approche organologique et ethnomusicologique Thèse de doctorat en musique et musicologie, soutenue le 16 décembre 2011 à l’Université Paris-Sorbonne (Paris IV) Jeanne SAINT-SARDOS : S’affronter pour mieux unir : danseurs et musiciens de trois danses d’Ayacucho (Pérou) Thèse de doctorat en musicologie, soutenue le 17 décembre 2011 à l’université Paris‑Sorbonne Tommaso MONTAGNANI : Je suis Otsitsi : musiques rituelles et représentations sonores chez les Kuikuro du Haut-Xingu Thèse de doctorat en Anthropologie, soutenue le 17 décembre 2011 à l’École des Hautes Études en Sciences Sociales, Paris Aliénor ANISENSEL : Le sens d’une tradition élitiste dans le Viêt-Nam contemporain : pratiques, apprentissages et esthétiques du chant « Ca trù » Thèse de doctorat en ethnologie (spécialité ethnomusicologie), soutenue le 5 janvier 2012 à l’Université Paris Ouest Nanterre – La Défense Flavia GERVASI : Ethnomusicologie et esthétique : de la réflexion épistémologique à la recherche de terrain. Une étude comparative de la vocalité de tradition orale au sud de l’Italie Thèse de doctorat en musicologie (spécialité ethnomusicologie), soutenue le 16 avril 2012 à l’Université de Montréal, Canada SHON Eun Kyung : Le Sinawi, évolution et artistisation : études analytiques des caractéristiques musicales (Corée) Thèse de doctorat en musicologie (spécialité ethnomusicologie), soutenue le 31 mai 2012 à l’Université Paris- Sorbonne LÊ Ylinh : Le maître et les génies. Musique et rituel dans le culte de possession hâ`u bóng (Viê·t nam) Thèse de doctorat en musicologie (spécialité ethnomusicologie), soutenue le 15 Mai 2012 à l’Université Paris- Sorbonne Publications reçues Cahiers d’ethnomusicologie, 25 | 2012 6 Dossier : La vie d'artiste Cahiers d’ethnomusicologie, 25 | 2012 7 Entre deux mondes Redéfinitions contemporaines du statut de Gnawi Jean Pouchelon 1 Les Gnawa (m. sg. : Gnawi, f. sg. : Gnawiyya) sont connus pour être une communauté de musiciens, d’officiants et d’adeptes d’origine subsaharienne pratiquant les danses de possession au sein d’un rituel appelé lîla. Présents également en Algérie, ils ont surtout été étudiés au Maroc (Chlyeh 1999, Fuson 2009, Hell 2002, Langlois 1998, Lapassade 1998, Pâques 1991, Schuyler 1981, Sum 2011). Depuis une cinquantaine d’années ceux-ci ont connu des bouleversements notables : entrée sur des scènes modernes, ouverture de la confrérie aux étrangers. Ces bouleversements posent la question de la redéfinition des statuts. 2 Traditionnellement au Maroc, le statut de maître artisan (maallem) est réservé. Chez les Gnawa, il désigne à la fois un bon percussionniste (crotales), un bon luthiste, un bon tambourinaire, un bon danseur, un bon chanteur, mais aussi celui qui maîtrise le répertoire, la gestion des danses de possession, ainsi qu’un officiant qui, au même titre que la prêtresse (moqaddma), peut effectuer le culte. 3 Bertrand Hell raconte qu’autrefois le maître était intronisé par ses aînés à l’occasion d’une cérémonie (la gasaa1) où il devait jouer le répertoire au sein du sanctuaire (zaouiyya) 2 (2002 : 352). 4 Le maître Mahmoud, âgé aujourd’hui d’une soixantaine d’années, raconte dans un entretien avec Abdelqâder Mana, comment, alors qu’il était jeune homme, les Gnawa d’Essaouira lui firent une cérémonie (Mana 2012). 5 Sliman, un informateur privilégié descendant d’une famille de Gnawa oujdis qui a repris la tradition familiale, me parle d’un enfermement nocturne dans un abattoir, lieu prisé par les génies, où le prétendant maître devait jouer toutes les cohortes de génies3 jusqu’au petit matin et par là même triompher
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