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La Manifestation Des Valeurs Propres À La Sevdalinka Bosnienne : Une Analyse Phonostylistique Des Interactions Perceptuelles Et Performancielles

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La Manifestation Des Valeurs Propres À La Sevdalinka Bosnienne : Une Analyse Phonostylistique Des Interactions Perceptuelles Et Performancielles La manifestation des valeurs propres à la sevdalinka bosnienne : Une analyse phonostylistique des interactions perceptuelles et performancielles Thèse Milada Medinic Kazazic Doctorat en musique Philosophiæ doctor (Ph. D.) Québec, Canada © Milada Medinic Kazazic, 2020 Résumé1 La sevdalinka, chanson traditionnelle bosnienne, fonctionne comme une représentation identitaire. À travers son contenu poético-littéraire et sa constitution musicale, elle raconte l’histoire d’un peuple, des points de vue historique, politique et socioculturel. Au fil du temps elle a su conserver, dans l’œil des membres de la culture au sein de laquelle elle s’exprime, l’essentiel de son rôle, soit la préservation de cette culture, malgré les développements historiques, changements politiques et modifications socioculturelles. Ce processus de préservation se reflète à travers les fondements de la musique en question étant « la dignité » et « l’équilibre ». Ces derniers se manifestent, tant au niveau poético- littéraire que musical, respectivement par la nostalgie et la phonostylistique. L’unification de « la dignité » et de « l’équilibre » permet d’atteindre la perception axiologique, qualifiée autrement de la valorisation de la sevdalinka pour son contenu poético-littéraire et musical, sa transmission et sa réception, au point d’être qualifiée d’authentique. Le sevdah est alors atteint, un état de transcendance défini par la contemplation d’un style de vie de sérénité et d’épanouissement émotionnel, de découverte de soi par rapport à soi et aux autres. 1 Le genre masculin est utilisé dans cette thèse sans aucune discrimination et dans le seul but d’alléger le texte. De plus, toutes les traductions de sources bosniennes ou anglaises ont été faites par l’auteure de la thèse, à moins d’indication contraire. ii Abstract Sevdalinka, a Bosnian traditional song, fonctions as a representation of identity. Through its poetical and literary content as well as its musical organization, it narrates the history of Bosnian people, from historical, political and sociocultural perspective. Over time, sevdalinka maintained the essential of its role, the cultural preservation, regardless of the historical developments, political changes and sociocultural modifications. The process of that preservation is reflected through the fundamentals of this music; “dignity” and “balance”. “Dignity” and “balance” are rooted at the poetical and literary levels as well as musical, through nostalgia and phonostylistics respectively. “Dignity” and “balance” are essential in order to achieve an axiological perception, defined by the valorization of the sevdalinka for its poetical and literary as well as musical content, its transmission and reception, to the point of being qualified “authentic”. That is when sevdah is achieved, state of transendance caused by a contemplation of a serene life style and emotional fulfillment, of personal discovery within oneself and within the others. iii Table des matières Résumé ................................................................................................................................... ii Abstract .................................................................................................................................. iii Table des matières ................................................................................................................. iv Liste des tableaux .................................................................................................................. vi Liste des exemples ................................................................................................................ vii Dédicace .............................................................................................................................. viii Remerciements ...................................................................................................................... ix Introduction ............................................................................................................................ 1 0.1. Présentation .......................................................................................................... 1 0.2. État des recherches............................................................................................... 7 0.3. Problématique .................................................................................................... 10 0.4. Cadre théorique et méthode ............................................................................... 12 Chapitre 1 Conceptualisation de la dignité et de l’équilibre ................................................ 20 1.1. Perception axiologique et qualification d’« authenticité » ................................ 20 1.2. Authenticité ........................................................................................................ 27 Chapitre 2 Analyse perceptuelle ........................................................................................... 33 2.1. Nostalgie ............................................................................................................ 33 2.1.1. Chanson « Kradem ti se u večeri » ..................................................... 34 2.1.2. Chanson « Put putuje Latif-aga » ........................................................ 37 2.2. Pluralité nostalgique .......................................................................................... 44 Chapitre 3 Analyse phonostylistique .................................................................................... 49 3.1. Phonostylistique ................................................................................................. 49 3.1.1. Ornements : appogiatures et mordants ................................................ 55 3.1.2. Effets vocaux : glissandi, vibratos et tremolos ................................... 62 3.1.3. Phrasé : nuances, respirations et silences ............................................ 70 3.1.4. Rubato ................................................................................................. 78 3.2. Analyse phonostylistique-synthétique ............................................................... 87 Conclusion ............................................................................................................................ 91 Bibliographie ........................................................................................................................ 96 Annexe ................................................................................................................................ 101 Annexe 1 : Récitatif d’Omer Pobrić ....................................................................... 101 Annexe 2 : Traduction de la chanson « Ni Bajrami više nisu ».............................. 102 Annexe 3 : Classification tonale et modale de Ludvig Kuba ................................. 103 Annexe 4 : Chronologie historique de la Bosnie-Herzégovine .............................. 104 Annexe 5 : Bans au pouvoir en Bosnie-Herzégovine ............................................. 105 Annexe 6 : Rois au pouvoir en Bosnie-Herzégovine .............................................. 106 Annexe 7 : Liste des interprètes de sevdalinke ....................................................... 107 Annexe 8 : Liste des auteurs/compositeurs de sevdalinke ...................................... 108 iv Annexe 9 : Traduction de la chanson « Ah što ćemo ljubav kriti » ........................ 109 Annexe 10 : Traduction de la chanson « Kraj potoka bistre vode » ....................... 110 Annexe 11 : Liste des makamlar ............................................................................ 111 Annexe 12 : Structure du makam Nahawand ......................................................... 116 Annexe 13 : Traduction de la chanson « Il’ je vedro il’ oblačno »......................... 117 Annexe 14 : Traduction de la chanson « Ismihana » .............................................. 118 Annexe 15 : Traduction de la chanson « Đul Zulejha po bostanu šeta » ................ 119 Annexe 16 : Traduction de la chanson « Magla pala do pola Saraj’va » ............... 120 Annexe 17 : Traduction de la chanson « Dva Morića » ......................................... 121 Annexe 18 : Contexte historique de la chanson « Dva Morića » ........................... 122 Annexe 19 : « La mort des frères Morić » .............................................................. 124 Annexe 20 : Traduction de la chanson « Okreni se niz đul-bašču » ....................... 128 Annexe 21 : Entrevue avec Vehid Gunić................................................................ 129 Annexe 22 : Glossaire ............................................................................................. 137 v Liste des tableaux 1.2. Perception émotionnelle ............................................................................................... 32 2.1.2.a. Sémantique : inclusion de termes turcs ................................................................... 39 2.1.2.b. Étude comparative de la chanson « Put putuje Latif-aga » .................................... 42 3.1.1. Tableau récapitulatif : Ornements : appogiatures et mordants .................................. 60 3.1.2. Tableau récapitulatif : Effets vocaux : glissandi, vibratos et tremolos ...................... 68 3.1.3. Tableau récapitulatif : Phrasé : nuances, respirations et silences .............................. 74 3.1.4. Tableau récapitulatif
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