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Cahiers D'ethnomusicologie, 20 Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 20 | 2007 Identités musicales Édition électronique URL : https://journals.openedition.org/ethnomusicologie/95 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 31 décembre 2007 ISBN : 978-2-88474-071-5 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 20 | 2007, « Identités musicales » [En ligne], mis en ligne le 31 décembre 2009, consulté le 21 septembre 2021. URL : https://journals.openedition.org/ethnomusicologie/95 Ce document a été généré automatiquement le 29 septembre 2020. Tous droits réservés 1 La notion d’identité musicale se réfère autant à celle d’appartenance – qui en fonde la dimension collective – qu’à celle de goût – qui en détermine la composante individuelle. Mais cette dernière renvoie à son tour, en partie, à la société. L’identité musicale ne saurait donc être acquise une fois pour toutes. Elle résulte de processus à la fois cumulatifs et sélectifs, mais aussi conscients et subconscients, imposés et librement choisis, dont la résultante constitue « l’image sonore » d’un groupe ou d’une personne en un lieu et un temps donnés. Les contributions réunies dans ce volume abordent la question selon des angles complémentaires ; elles tendent à démontrer le caractère fluctuant de la notion d’identité dans le monde contemporain, quitte à la remettre en cause. Quel que soit son contexte de production, la musique est généralement perçue comme un signe de référence à autre chose qu’elle-même. Ce qui nous intéressera surtout ici, ce sont les modes d’identification auxquels elle se prête. Cahiers d’ethnomusicologie, 20 | 2007 2 SOMMAIRE Dossier : identités musicales Distinction et identité musicales, une partition concertante Yves Defrance Le goût musical, marqueur d’identité et d’altérité Laurent Aubert La construction paramétrique de l’identité musicale Nathalie Fernando La communication musicale comme élément d’identité culturelle chez les Lobi du Burkina Faso Filippo Colnago Jeux et enjeux identitaires abyssins. L’ethnomusicologue mène l’enquête Olivier Tourny Le hip-hop au Kenya : créateur d’identité ou nouvelle « musique nationale ». L’exemple d’« Unbwogable » de GidiGidiMajiMaji Wolfgang Bender Métamorphose identitaire à travers la musique : le timbila des Chopi du Mozambique Moira Laffranchini Chant et territorialité chez les Secwepemc (Shuswap) ou comment tracer des frontières par la portée du chant Nina Reuther Les identités musicales multiples au Vanuatu Monika Stern Musique et identité au Yémen. Le cas du luth qanbûs Samir Mokrani Une identité musicologique interethnique en « Assyrie – Haute-Mésopotamie – Kurdistan » Jean-Claude C. Chabrier Transculturalité et identité musicale dans les répertoires judéo-espagnols Sami Sadak Musiques des minorités, musique mineure, tiers-musical Jérôme Cler et Bruno Messina Entretien De la scène à l’estrade Entretien avec François Picard Jérôme Cler et François Picard Cahiers d’ethnomusicologie, 20 | 2007 3 Hommage « Complainte sur un mode ancien ». In memoriam Laurence Picken Georges Goormaghtigh Brèves L’ethnomusicologie, son identité, ses modes d’emploi Compte-rendu des débats sur l’aksak au séminaire d’ethnomusicologie de la Sorbonne (janvier à juin 2006). Talia Bachir Le CIRIEF ou l’ethnomusicologie de la France en quête de renouveau Colloque « Ethnomusicologie de la France ». Nice, Université Sophia-Antipolis, Château de Valrose, du 15 au 18 novembre 2006. Yves Defrance et Luc Charles-Dominique Orgs. Patrik Vincent Dasen Un patrimoine intangible « Perpétuation et développement », un colloque sur le qin tenu les 1er et 2 novembre 2006 au Centre pour la culture chinoise de la City University of Hong-Kong. Georges Goormaghtigh Livres Mervyn McLEAN : Pioneers of Ethnomusicology Coral Springs : Llumina Press, 2006 Laurent Aubert Susanne ZIEGLER : Die Wachszylinder des Berliner Phonogramm-Archivs Berlin : Staatliche Museen zu Berlin – Preußischer Kulturbesitz, 2006 Susanne Fürniß NATTIEZ Jean-Jacques, dir. : MUSIQUES. Une encyclopédie pour le XXIe siècle. Vol. 3 : Musiques et cultures. Arles : Actes Sud/Paris : Cité de la Musique, 2005 Yves Defrance Luc CHARLES-DOMINIQUE : Musiques savantes, musiques populaires. Les symboliques du sonore en France 1200-1750 Paris : CNRS Editions, 2006 Jean-Christophe Maillard Patrice COIRAULT : Répertoire des chansons de tradition orale. III. Religion, crimes, divertissements Paris, BnF, 2006 Luc Charles-Dominique Denis LABORDE : La Mémoire et l’Instant. Les improvisations chantées du bertsulari basque Bayonne : Éditions Elkar, 2005 Talia Bachir Cahiers d’ethnomusicologie, 20 | 2007 4 Nicole REVEL, Harry Arlo NIMMO, Alain MARTENOT, Gérard RIXHON, Talib Lim SABGOGOT et Olivier TOURNY : Silungan Baltapa : The Voyage to Heaven of a Sama Hero / Le Voyage au Ciel d’un Héros Sama Paris : Guenther / Centre National de la Recherche Scientifique, 2005 Michael Tenzer François PICARD : Lexique des musiques d’Asie orientale (Chine, Corée, Japon, Vietnam). Yinyue – ŭmak – ongaku – âm nhac Paris : Editions You-Feng, 2006 Jonathan P. J. Stock Xavier VATIN : Rites et musiques de possession à Bahia Paris : L’Harmattan, 2005 Jean-Pierre Estival CD | Multimédia Musiques vocales de tradition orale européenne : quatre publications marquantes Jacques Bouët À la recherche d’une « nouvelle patrie ». La collection Új Pátria de Hongrie Thierry Sartoretti Église chrétienne orthodoxe d’Éthiopie. ‘Aqwaqwam. La musique et la danse des Cieux Collection Terrains, Maison des Cultures du Monde, 2005 Olivier Tourny Éthiopie, les chants de bagana 2006 Claire Lacombe Ettu, Mento, Revival, Kumina… Recordings from the Jamaica Folk Music Collection Markus Coester et Wolfgang Bender Eds. Frankfurt-am-Main : Popular African Music, s.d. Patrik Vincent Dasen Cahiers d’ethnomusicologie, 20 | 2007 5 Thèses Serge SAGELOLY : La jota aragonaise: tradition orale d’une poésie chantée dans l’Espagne d’aujourd’hui Thèse de doctorat en musicologie, 2005, Université Toulouse-le-Mirail Guillaume SAMSON : Musique et identité à La Réunion. Généalogie des constructions d’une singularité musicale insulaire Thèse de doctorat en musique (option ethnomusicologie) et en anthropologie, 2006, Maison Méditerranéenne des Sciences de l’Homme, Aix-en-Provence Thierry ROUGIER : Les cantadores, poètes improvisateurs de la cantoria : une tradition en mouvement dans le Nordeste brésilien Thèse de doctorat en Ethnologie, option Anthropologie sociale et culturelle, 2006, Université Bordeaux 2 Soufiane FEKI : Musicologie, sémiologie ou ethnomusicologie. Quel cadre épistémologique, quelles méthodes pour l’analyse des musiques du maqâm ? Eléments de réponse à travers l’analyse de quatre taqsîm Thèse de doctorat en musique et musicologie du XXe siècle, 2006, université Paris-IV Sorbonne Victor STOICHIŢA : L’art de la feinte. Musique et malice dans un village tsigane de Roumanie Thèse de doctorat en ethnomusicologie, 2006, université Paris-X Nanterre Laurence HURSON-LAVAUD : Répertoires féminins et enfantins dans la musique traditionnelle des Lyéla (Burkina Faso) Thèse de doctorat de musicologie-ethnomusicologie, 2006, Université de Toulouse-Le Mirail Marisol RODRÍGUEZ MANRIQUE : Construction identitaire à travers la musique et les habitudes d’écoute. Le cas d’une communauté anglo-africaine de la Caraïbe hispanophone Thèse de doctorat en ethnomusicologie, 2007, Université de Montréal Publications reçues Cahiers d’ethnomusicologie, 20 | 2007 6 Dossier : identités musicales Cahiers d’ethnomusicologie, 20 | 2007 7 Distinction et identité musicales, une partition concertante Yves Defrance 1 Aborder les questions de l’identité par le biais de la musique revient à considérer, d’une part, l’identité comme une réalité de fait, et, d’autre part, la musique comme une évidence, allant de soi. Il est possible de s’interroger sur la pertinence des définitions portant sur ces deux notions. Qu’est-ce que l’identité, quelles en sont les graduations et interactions entre l’individu et le groupe, le dedans et le dehors ? De même, de quelle musique parlons-nous ? Dans quels contextes, culturels, sociaux, historiques, géographiques, politiques, se manifeste-t-elle ? Pour tenter d’apporter quelques éléments de réponse à ces interrogations, je propose ici une mise en regard des processus de développement de la personnalité musicale, sur le plan personnel et collectif, avec ceux qui concourent à l’émergence de musiques, dites « identitaires ». Identité personnelle et identité du groupe 2 Si l’on suit le cheminement esthétique d’une personne, quel que soit le groupe humain auquel elle se rattache ou se réfère, il semble déjà remarquable que les pratiques musicales auxquelles elle participe, ou adhère esthétiquement, soient étroitement liées à un grand nombre de paramètres (sexe, âge, position sociale, environnement familial, etc.). Ceci pourrait être perçu comme une progression excentrique à partir d’ego, ou encore à partir de l’intersection de plusieurs cercles : clan, tribu, ethnie, langue, religion, pays, nation, et jusqu’à d’éventuelles oppositions cardinales (Nord/Sud ou Est/Ouest), voire continentales. On distinguera donc l’identité individuelle de celle d’appartenance, partagée avec un groupe, elle-même sujette à variations, sachant que les frontières entre l’une et l’autre offrent une très grande perméabilité 1 : clivage présenté aussi bien au plan individuel chez Sigmund Freud, entre le Moi et le Surmoi, qu’au plan sociologique par Emile Durkheim (1966 : 51), pour qui il existerait en nous
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