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DES RÉSEAUX, DE LA CRÉATIVITÉ ET DU JAZZ La Faculté N’Entend Donner Aucune Approbation Ou Improbation Aux Opinions Émises Dans Les Thèses

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DES RÉSEAUX, DE LA CRÉATIVITÉ ET DU JAZZ La Faculté N’Entend Donner Aucune Approbation Ou Improbation Aux Opinions Émises Dans Les Thèses DES RÉSEAUX, DE LA CRÉATIVITÉ ET DU JAZZ La Faculté n’entend donner aucune approbation ou improbation aux opinions émises dans les thèses. Ces opinions doivent être considérées comme propres à leurs auteurs. Thèse préparée en vue de l’obtention du grade de Docteur en Sciences Économiques de l’Université Louis Pasteur de Strasbourg DES RÉSEAUX, DE LA CRÉATIVITÉ ET DU JAZZ Présentée par DAVID GRANDADAM Directeur de thèse M. Patrick Cohendet Professeur, Université Louis Pasteur, Strasbourg Codirecteur de thèse M. Bernard Ancori Professeur, Université Louis Pasteur, Strasbourg Rapporteur Interne M. Robin Cowan Professeur, Université Louis Pasteur, Strasbourg Rapporteurs Externes M. Michel Callon Professeur, École Nationale Supérieure des Mines, Paris M. Bruce Kogut Professeur, Université de Columbia, New York Soutenue publiquement le 15 mai 2008 POUR EUX... TABLE DES MATIÈRES TABLE DES MATIÈRES . vii LISTE DES FIGURES . xi LISTE DES TABLEAUX . xiii REMERCIEMENTS . xv CHAPITRE 1 : INTRODUCTION . 3 1.1 Repenser le jazz et pourquoi . 3 1.2 Réseaux et structures d’interaction . 6 1.3 Créativité, innovation et connaissances . 9 1.4 Plan . 13 CHAPITRE 2 : MUSIQUE ET LOGIQUE ÉCONOMIQUE . 17 2.1 Introduction . 17 2.2 Le marché de la musique . 20 2.2.1 La nature de la musique . 20 2.2.2 La demande et l’offre de musique . 21 2.3 Action collective et processus créatifs . 24 2.3.1 La division du travail . 24 2.3.2 Coordination et conventions . 27 2.3.3 La réputation . 32 2.4 Discussion . 35 CHAPITRE 3 : LE JAZZ DANS TOUS SES ÉTATS . 37 3.1 Introduction . 37 3.2 Le monde du jazz . 40 3.2.1 Jazz et créativité . 41 3.2.2 Jazz et communautés . 42 3.3 L’histoire du jazz . 44 3.3.1 Les origines du jazz (1890-1920) . 46 3.3.2 Les débuts du jazz ou le dixieland (1920-1930) . 47 3.3.3 Le swing (1930-1940) . 49 3.3.4 Le bebop (1940-1950) . 51 3.3.5 Le jazz cool et le hard bop (1950-1960) . 54 3.3.6 Le free jazz et l’avant-garde (1960-1970) . 57 3.3.7 Le jazz rock ou le fusion (1970-1980) . 58 3.3.8 Le jazz depuis 1980 . 60 3.4 L’évolution du jazz . 61 3.4.1 Les artistes et leur style . 62 3.4.2 Des styles et des conventions . 64 3.4.3 La naissance et l’effondrement des styles . 65 3.5 Discussion . 67 CHAPITRE 4 : DES RÉSEAUX ET DU JAZZ . 69 4.1 Introduction . 69 4.2 Quelques éléments de littérature . 70 4.3 Les réseaux d’affiliation . 71 4.3.1 Définitions préliminaires . 71 4.3.2 Réseaux d’affiliation et petits mondes . 75 4.4 Données et méthodologie . 77 4.4.1 Des labels et du jazz . 77 viii 4.4.2 La base de données . 78 4.5 La structure des collaborations . 82 4.5.1 Les artistes et les différentes sessions . 82 4.5.2 L’hypothèse des petits mondes . 85 4.6 La microstructure du jazz . 91 4.6.1 Analyse des différents labels . 91 4.6.2 Les labels, les styles et les artistes . 95 4.7 Discussion . 100 Note : Les coefficients de centralité . 101 CHAPITRE 5 : L’IMPORTANCE DES LIENS FORTS . 109 5.1 Introduction . 109 5.2 Des liens forts et des liens faibles . 111 5.3 Le cadre théorique . 114 5.3.1 Centralité et distance . 114 5.3.2 Cohésion et affinités . 116 5.4 Analyse et résultats . 120 5.4.1 Le statut des collaborations . 120 5.4.2 L’influence des forts . 122 5.4.3 Des artistes aux communautés . 125 5.5 La structure des labels . 131 5.6 Discussion . 134 CHAPITRE 6 : LA DYNAMIQUE DES LABELS . 137 6.1 Introduction . 137 6.2 Petite histoire d’un label « indestructible » . 138 6.3 La dynamique des réseaux . 141 6.3.1 Quelques définitions . 141 6.3.2 Les paramètres structurels . 142 6.4 L’évolution de la structure des collaborations . 143 ix 6.4.1 Les artistes et les sessions . 144 6.4.2 Le degré des artistes . 146 6.4.3 Les distances entre artistes . 148 6.4.4 Le clustering des artistes . 150 6.5 Les mécanismes d’évolution . 152 6.5.1 L’attachement préférentiel . 152 6.5.2 Collaboration et robustesse . 155 6.6 Évolution et performance des labels . 157 6.6.1 La performance des labels . 158 6.6.2 Les éléments structurels du succès . 160 6.7 Discussion . 161 CHAPITRE 7 : CONCLUSION . 165 BIBLIOGRAPHIE . 171 ANNEXE A : LES STYLES ET LES CRÉATEURS . 195 ANNEXE B : PRÉSENTATION DES LABELS . 201 ANNEXE C : LES SUCCÈS DU LABEL BLUE NOTE . 209 RÉSUMÉ . 213 ABSTRACT . 215 x LISTE DES FIGURES 3.1 L’évolution des styles de jazz . 63 4.1 Exemple de réseau bipartite et sa projection unipartite . 73 4.2 Nombre de sessions par an . 80 4.3 Nombre d’artistes par session . 83 4.4 Nombre de sessions par artiste . 84 4.5 Distribution cumulée du degré des artistes . 86 4.6 Le réseau de Dial Records . 97 4.7 Le réseau de Debut Records . 99 5.1 Le clustering dans le cas des réseaux pondérés . 117 5.2 L’assortativité dans le cas des réseaux pondérés . 119 5.3 La distribution des poids sur les liens : le cas de Verve . 121 5.4 Degré et connectivité au sein du label Verve . 124 5.5 Distance moyenne vs. connectivité : le cas de Verve . 125 5.6 Clustering vs. degré dans le cas du label Verve . 129 5.7 Assortativité vs. degré dans le cas du label Verve . 130 5.8 Les différents types de réseaux . 131 5.9 Le réseau de Verve Records . 133 5.10 Le réseau d’Oscar Peterson au sein du label Verve . 135 6.1 L’évolution du réseau de Blue Note . 145 6.2 Nombre de nouveaux artistes par année . 146 6.3 Nombre de nouvelles sessions par année . 147 6.4 Évolution du degré moyen . 148 6.5 Évolution des distances moyennes . 150 6.6 Évolution du coefficient de clustering . 152 6.7 L’attachement préférentiel au sein de Blue Note en 1969 . 155 xii LISTE DES TABLEAUX 4.1 Présentation des différents labels . 81 4.2 Robustesse du réseau et des composantes . 88 4.3 Distribution des distances . 89 4.4 Valeurs observées vs. valeurs théoriques . 91 4.5 Statistiques générales pour chaque label . 94 4.6 Les coefficients de centralité . 104 4.7 La centralité de degré . 105 4.8 La centralité de proximité . 106 4.9 La centralité d’intermédiarité . 107 5.1 Degré et connectivité des labels . 123 5.2 Cohésion et affinités . 126 5.3 Le comportement assortatif des différents labels . 127 6.1 Les stars et la robustesse . 156 REMERCIEMENTS Comme tant de doctorants avant moi, il m’est bien souvent arrivé de me sentir seul durant mes années de thèse. Pourtant, j’ai toujours bénéficié de.
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