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Turcotte Christian 2016 Memoire.Pdf Université de Montréal GABRIEL FAURÉ ET PORTISHEAD : L’ART DE L’ÉQUIVOQUE Cadre d’analyse théorique de l’équivoque mélodique et harmonique comme principe de transversalité par Christian Turcotte Université de Montréal Faculté de Musique Mémoire présenté à la Faculté de Musique en vue de l’obtention du grade de maîtrise en musicologie 12 janvier 2016 © Christian Turcotte, 2016 Résumé Ce travail de recherche propose une description du style mélodique et harmonique du groupe britannique Portishead et s’appuie sur l’analyse du répertoire complet, soit 33 chansons réparties sur trois albums (11 chansons par albums). Étant donné que le corpus étudié est restreint, il est possible de procéder à une analyse statistique qui permet de dégager une grammaire mélodico-harmonique. L’hypothèse de ce travail de recherche repose sur l’idée que l’évolution du langage musical de Portishead s’articule autour de procédés mélodiques et harmoniques favorisant un élargissement d’un cadre tonal équivoque. Pour ce faire, Portishead a recours à plusieurs procédés mélodiques et harmoniques qui entretiennent l’équivoque tonale. Or, ces procédés sont similaires, sans toutefois être identiques, aux six procédés répertoriés par Sylvain Caron (Caron 2002) au sujet de la grammaire de Gabriel Fauré. Par la mise en œuvre de plusieurs outils d’analyses, nous procédons à une étude comparée et contextualisée de certains mécanismes mélodique et harmonique qui font émerger l’équivoque, tant chez Fauré que chez Portishead. Ces outils d’analyse, comme l’analyse des vecteurs de ruptures mélodico-harmoniques, l’analyse paradigmatique ou l’analyse néo-riemannienne, ont été bonifiés afin de rendre compte de certaines particularités liées au corpus étudié. Ce travail de recherche est divisé en deux parties précédés d’une introduction, d’une notice biographique et d’une revue de littérature analytique. La première partie se divise en trois chapitres et s’intéresse spécifiquement au traitement mélodique équivoque. La deuxième partie, constituée des deux derniers chapitres, abordent les procédés d’équivoque harmonique. Ce travail de recherche a démontré que même si un siècle sépare les compositions de Gabriel Fauré et Portishead, l’équivoque se manifeste par une grammaire musicale commune. Nous constatons aussi que l’équivoque articule le discours formel et conditionne les rapports structurants de tension – détente de l’œuvre. Mots-clés : Portishead, Gabriel Fauré, divorce mélodico-harmonique, analyse paradigmatique, analyse néo-riemannienne, théorie néo-riemannienne, harmonie modale, harmonie des médiantes, équivoque harmonique, équivoque mélodique. i Abstract This research provides a description of the melodic and harmonic style of the British band Portishead. It is based on analysis of the full repertoire or 33 songs over three albums (11 songs per album). Since the entire corpus is analyzed, one may be able to detect chronologically trends and perform statistical analysis of the evolution of the melodic- harmonic grammar and aesthetics of the group. The hypothesis of this research work is based on the idea that the evolution of the musical language of Portishead revolves around melodic and harmonic processes favoring an expansion of tonal ambiguity frame. To do this, Portishead uses several melodic and harmonic processes that maintain tonal ambiguity. However, these processes are similar, but not identical, to the six processes listed by Sylvain Caron (Caron 2002) about the grammar of Gabriel Fauré. For the implementation of various analysis tools, we perform a comparative and contextualized study of certain melodic and harmonic mechanisms that brings out the ambiguity, both in Fauré than Portishead. These analysis tools, such as analysis of melodic-harmonic vectors of ruptures, paradigmatic analysis or neo-Riemannian analysis were enhanced to reflect certain particularities of the studied corpus. This research consists of two parts preceded by an introduction, a manual and a review of literature analystique. The first part is divided into three chapters and focuses specifically on clear melodic treatment. The second part, consisting of the last two chapters address the ambiguity of harmonic processes. This research has shown that even if a century separates the compositions of Gabriel Fauré and Portishead, ambiguity is manifested by a common grammar. We also notice that ambiguity revolves formal speeches and determines the structuring of tension – release relationships. Keywords : Portishead, Gabriel Fauré, melodic-harmonic divorce, paradigmatic analysis, neo- riemannian analysis, neo-riemannian theory, modal harmony, chromatic third related harmony, harmonic ambiguity, melodic ambiguity. ii Table des matières Résumé .............................................................................................................................................................. i Abstract ............................................................................................................................................................ ii Table des matières ......................................................................................................................................... iii Liste des tableaux .......................................................................................................................................... vi Liste des exemples .......................................................................................................................................... x Remerciements ............................................................................................................................................ xiv 1. INTRODUCTION ........................................................................................................................................ 15 1.1 Hypothèse .......................................................................................................................................... 19 1.2 L’objet d’étude ................................................................................................................................... 20 1.3 Objectifs ............................................................................................................................................. 25 1.4 Méthodologie ..................................................................................................................................... 29 2. NOTICE BIOGRAPHIQUE ......................................................................................................................... 34 2.1 Portishead ........................................................................................................................................... 34 2.2 Trip-hop .............................................................................................................................................. 36 2.3 Gabriel Fauré ..................................................................................................................................... 38 2.4 Post-romantisme ............................................................................................................................... 41 3. REVUE DE LITTÉRATURE ANALYTIQUE ................................................................................................ 43 3.1 L’équivoque ........................................................................................................................................ 43 3.2 Les vecteurs de ruptures mélodico-harmoniques ......................................................................... 48 3.3 La tonalité modale ............................................................................................................................. 53 3.4 L’harmonie des médiantes ............................................................................................................... 58 3.5. La théorie néo-riemannienne ......................................................................................................... 65 3.6. Procédés d’ornementation harmonique ........................................................................................ 68 3.7. Modèles d’analyse et analyse paradigmatique. ............................................................................. 68 4. 1ère partie : L’ÉQUIVOQUE MÉLODIQUE ................................................................................................ 72 4.1 Le divorce hiérarchique .................................................................................................................... 73 4.2 Le divorce de rotation ...................................................................................................................... 81 iii 4.3 Le divorce syntaxique ....................................................................................................................... 84 5. LA VARIATION MOTIVIQUE .................................................................................................................... 90 5.1 la transposition motivique ................................................................................................................ 92 5.2 Les procédés séquentiels .................................................................................................................. 98 6. L’ANALYSE PARADIGMATIQUE ............................................................................................................ 106 6.1 Terminologie de l’analyse
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