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Hebert Jessica 2018 Memoire.Pdf Université de Montréal Spectateur d’un jour Enquête socioanthropologique sur l’expérience réceptive de nouveaux publics dans le cadre de la 51e saison de la Société de musique contemporaine du Québec Par Jessica Hébert Faculté de musique Mémoire présenté à la Faculté de musique en vue de l’obtention du grade de Maîtrise ès arts (M.A.) option musicologie Mars 2018 © Jessica Hébert 2 Résumé Ce mémoire repose sur une étude de cas menée avec des publics non-acquis de musique de création, soit des auditeurs qui n’ont pas de formation musicale et qui n’ont jamais assisté à un concert de musique contemporaine au cours des douze derniers mois, voire au cours de leur vie. Deux groupes de quatre participants ont assisté à un concert de la SMCQ lors de la 51e saison, soit le 24 février et le 18 mai 2017. Le premier groupe, formé d’étudiants vingtenaires de premier cycle universitaire, résidents montréalais, a assisté au concert au concert Music for a Thousand, événement présenté dans le cadre du Festival Montréal Nouvelles Musiques de la SMCQ le 24 février à l’Agora Hydro Québec. Le second groupe réunit des individus âgés entre 30 et 62 ans, sur le marché du travail ou à la retraite, et qui résident à Montréal ou en banlieue. Ces derniers ont assisté au concert de clôture de la saison régulière de la SMCQ, Niemandslandhymnen (No Man’s Land) le 18 mai à l’Usine C. Les entretiens menés en amont et en aval du concert, combinés à de l’observation participante en situation de concert ont permis de se pencher sur la manière dont cette première expérience réceptive à un tel concert a été vécue de la part des participants volontaires. Il s’agit, plus précisément, de réfléchir au postulat selon lequel l’appréciation de la musique contemporaine serait réservée à un profil spécifique d’auditeurs réputés pour fréquenter des concerts rattachés à ce genre musical, et d’autre part, d’éclairer les paramètres musicaux et non musicaux qui exercent une influence sur l’expérience du concert. De nature exploratoire, cette étude est la première à s’intéresser aux publics non-acquis de la musique contemporaine ; elle permettra d’en accroître la connaissance en positionnant au premier plan la subjectivité de chacun des participants. Mots-clés : musique contemporaine, non-publics, expérience réceptive, concert 3 Abstract This thesis is based on a case study of uninitiated audiences of contemporary music, listeners who don’t have any musical training and who have never attended a concert of contemporary music within the last 12 months, or even in their life. Two groups of participants attended a concert organized by the Société de musique contemporaine du Québec during the 51th season, on February 24th and May 18th, 2017. The first group, consisting of undergraduate students in their twenties living in Montreal, attended the concert Music for a Thousand Autumns, an event that is part of the Festival Montréal Nouvelles Musiques of the SMCQ, on February 24th at the Agora Hydro Québec. The second group was composed of people between the ages of 30 and 62, working or retired, living in Montreal or in the suburbs. They attended the last concert of SMCQ’s regular season, Niemandslandhymnen (No Man’s Land), on May 18th at the Usine C. Interviews conducted before and after the concert, combined with participant observation during the concert allowed for the study of the way this first contact was experienced by the volunteer participants. More precisely, this case study aims to reconsider the assumption that the appreciation of contemporary music is exclusive to listeners who have a specific profile and who are known to attend these concerts on a regular basis, while shedding light on musical and non-musical parameters that influence the concert experience. On an exploratory basis, this study is the first to focus on uninitiated audiences of contemporary music; it will contribute to a better understanding of audiences by placing their subjectivity at the core of the study. Keywords: contemporary music, non-publics, receptive experience, concert, socioanthropology of music 4 Table des matières Résumé .................................................................................................................................................3 Abstract ................................................................................................................................................4 Remerciements ....................................................................................................................................8 Abréviations .........................................................................................................................................9 Artistes mentionnés .............................................................................................................................9 Liste des citations ................................................................................................................................9 Introduction .......................................................................................................................................10 1. Cadre théorique ............................................................................................................................15 Le monde de la musique contemporaine .............................................................................................16 L’expérience de concert ......................................................................................................................17 S’engager dans l’expérience : le corps comme point de départ ..........................................................19 Le concept de goût en tant que dispositif réflexif ...............................................................................21 Les notions de prises et de contours ....................................................................................................21 2. Méthodologie .................................................................................................................................22 Une étude de cas ..................................................................................................................................22 Choix des concerts ..............................................................................................................................24 Entretien préconcert ............................................................................................................................25 Remise de carnet .................................................................................................................................26 Le concert ............................................................................................................................................27 Entretien postconcert ...........................................................................................................................27 Analyse de données .............................................................................................................................28 Posture de la chercheure : accompagnatrice, spectatrice, observatrice ...............................................29 Plan du mémoire .................................................................................................................................30 1.1 Le contexte de réception avant la fondation de la SMCQ .......................................................32 La qualité artistique .............................................................................................................................35 Changement de direction artistique .....................................................................................................37 Une construction de la représentation « élitiste » de la SMCQ ..........................................................38 La création du festival Montréal Nouvelles Musiques (MNM) ..........................................................40 1.2 Le festival au fil des éditions ......................................................................................................42 La création du volet jeunesse ..............................................................................................................43 La création de la série Hommage ........................................................................................................43 Les volets de la programmation ..........................................................................................................44 Les publics de la SMCQ .....................................................................................................................44 Les sources secondaires ......................................................................................................................45 Une étude de marché (1993) ...............................................................................................................45 Une étude menée par le Partenariat sur les publics de la musique de 2013 à 2015 ............................46 La conception des publics selon la SMCQ .........................................................................................47 1.2.1 La 51e saison de la SMCQ .......................................................................................................48 Les concerts de la saison régulière ......................................................................................................49
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