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Volume ! La Revue Des Musiques Populaires Volume ! La revue des musiques populaires 11 : 2 | 2015 Varia Varia Édition électronique URL : https://journals.openedition.org/volume/4376 DOI : 10.4000/volume.4376 ISSN : 1950-568X Éditeur Association Mélanie Seteun Édition imprimée Date de publication : 15 juin 2015 ISBN : 978-2-913169-37-1 ISSN : 1634-5495 Référence électronique Volume !, 11 : 2 | 2015 [En ligne], mis en ligne le 15 juin 2018, consulté le 12 mai 2021. URL : https:// journals.openedition.org/volume/4376 ; DOI : https://doi.org/10.4000/volume.4376 Ce document a été généré automatiquement le 12 mai 2021. L'auteur & les Éd. Mélanie Seteun 1 Ce nouveau numéro de Volume ! est composé de six articles en varia proposant des regards différents mais souvent complémentaires sur les musiques populaires : le cas du Hellfest dans les représentations et les usages de la culture metal, les discours sur la puissance sonore dans le monde du rock, les évolutions récentes de la musique sur le continent Sud-Américain. Nous publions également les articles de deux jeunes chercheurs primés par l’IASPM-bfe qui, bien que focalisés sur des corpus différents, touchent tous deux à la reconfiguration des clivages entre musiques savantes et musiques populaires. Dans la rubrique document, nous republions un article fondateur d’Alf Björnberg sur l’harmonie éolienne dans les musiques populaires. En tribune, Bruno Lefèbvre revient de manière réflexive, en tant qu'anthropologue, sur un dispositif musical alliant technologie et aléas dont il est à l'origine : les « fauteuils branchés ». This new "varia" issue of Volume! is made of six papers proposing different while often complementary perspectives on popular music: the role of the Hellfest festival in representations and uses of metal culture, discourses of loudness in rock music, recent evolutions in South American music. We are also publishing two young researchers who were awarded with the IASPM-bfe award who, although focused on distinct corpuses, both deal with the reconfiguration of the divide between art and popular music. aWe are also publishing a translation of Alf Björnberg’s groundbreaking 1984 paper, “On aeolian harmony in contemporary popular music”. In the “tribune” section, Bruno Lefèbvre reflexively analyses, as an anthropologist, a musicl device alloying technology and hazard which he triggered, “connected armchairs”. Volume !, 11 : 2 | 2015 2 SOMMAIRE Articles Représentations et usages sociaux de la musique metal Le cas du festival Hellfest Christophe Guibert Stone Deaf Forever: Discourses of Loudness J. Mark Percival Sampling as Political Practice Gilberto Gil’s Cultural Policy in Brazil and the Right to Culture in the Digital Age Hélène Garcia-Solek Discourse in Música Latinoamericana Cultural Projects from Nueva Canción to Colombian Canción Social Joshua Katz-Rosene Prix IASPM-branche francophone d'Europe L’identité anglaise dans Dr Dee: An English Opera de Damon Albarn Ifaliantsoa Ramialison La Monte Young vs The Velvet, Minimalisme vs Punk, savant vs populaire : constructions et déconstructions postmodernes Christophe Levaux Document De l’harmonie éolienne dans les musiques populaires contemporaines Alf Björnberg Tribune Les tribulations d'une innovation musicale : l'exemple des « Fauteuils Branchés » Bruno Lefebvre Comptes-rendus Compte-rendu du colloque international Bruits Marie Willaime Volume !, 11 : 2 | 2015 3 « Quelle critique pour les musiques actuelles ? Pour une approche littéraire du discours critique : des années 1980 à nos jours » Compte-rendu de la journée d’étude du 7 avril 2014 à l’Université Rennes 2 Gaëlle Debeaux Compte-rendu de la première conférence internationale du réseau ACADPROG Sergio Pisfil Keep It Simple, Make It Fast! Crossing Borders of Underground Music Scenes Paula Guerra Note d'exposition Art in Pop au Centre National d'Art Contemporain de Grenoble, le Magasin Xavier Lelievre Recensions Monique DESROCHES, Sophie STÉVANCE & Serge LACASSE (dir.) (2014), Quand la musique prend corps Julie Talland Terradillos Christopher J. SMITH, The Creolization of American Culture: William Sidney Mount and the Roots of Blackface Minstrelsy Jack Harbord Motti REGEV, Pop-Rock Music: Aesthetic Cosmopolitanism in Late Modernity David Shumway Matthieu SALADIN, Esthétique de l’improvisation libre. Expérimentation musicale et politique Clément Canonne “Why is it that we can’t let go of the vinyl record?” Richard OSBORNE’s Vinyl: A History of the Analogue Record Olivier Julien Ray HITCHINS, Vibe Merchants: The Sound Creators of Jamaican Popular Music Thomas Vendryes Jim ROGERS, The Death & Life of the Music Industry in the Digital Age Elodie Roy Gabriel SEGRÉ, Fans de… Sociologie des nouveaux cultes contemporains Laetitia Biscarrat Volume !, 11 : 2 | 2015 4 Articles Papers Volume !, 11 : 2 | 2015 5 Représentations et usages sociaux de la musique metal Le cas du festival Hellfest Representations and Social Uses of Metal Music. The Case of the Hellfest Christophe Guibert 1 ORGANISÉ DEPUIS 2006, chaque mois de juin pendant trois jours à Clisson en Loire- Atlantique, à 25 km au sud-est de Nantes, le Hellfest est un de musiques qualifiées « d’extrêmes » par les organisateurs (une association d’une dizaine de salariés). Il s’agit en fait d’une manifestation de musiques metal et hard rock, punk et hardcore où plus d’une centaine de groupes, pour certains mondialement connus (Kiss, Scorpions, Motörhead, Alice Cooper, Slayer, Guns & Roses, Deep Purple, Black Sabbath, Iron Maiden pour les plus réputés d’entre eux), proposent des concerts du matin jusqu’à tard dans la nuit. De 20 000 spectateurs en 2006 à près de 145 000 en 2014 (dont environ 25 % d’étrangers selon les organisateurs), le Hellfest – dorénavant installé « dans la cour des grands1 » – est le festival de musique metal le plus important de France en termes de fréquentation et de nombre de groupes présents : « Longtemps obligés de s’exiler l’été en Belgique, en Angleterre ou en Allemagne, les fans français de heavy metal peuvent enfin vivre chez eux une saison en enfer2 ». Si les concerts et les festivals, les magazines indépendants, les groupes de musiciens, les labels de production, le public mélomane, etc. constituent ce qui pourrait être défini comme « le champ » (Bourdieu, 1984, 1991) du metal, c’est-à- dire comme sous-champ de la production culturelle « particulièrement présent en France » (Guibert, Hein, 2006), la présente analyse se focalise uniquement sur le Hellfest. Volume !, 11 : 2 | 2015 6 2 Cet univers culturel très codé renvoie à des logiques sociales qui s’inscrivent en partie dans la caricature de la religion catholique, de la mort et de l’enfer (Guibert, 2012a) et s’inspirent de thèmes tels que ceux de la science-fiction. Il en résulte un investissement économique des pouvoirs publics très relatif par rapport aux manifestations culturelles de cette taille en France. Les arguments récurrents des collectifs (principalement catholiques) et des élus politiques opposés au festival Hellfest contribuent sans doute à ne pas asseoir dans la sphère du « politiquement correct » ce genre de manifestation culturelle. REPÈRES MÉTHODOLOGIQUES Avec l’appui technique des organisateurs de la manifestation (Hellfest Productions), un questionnaire d’une quarantaine de questions a été proposé aux festivaliers français ayant déjà participé à au moins une édition du Hellfest. Le questionnaire a été mis en ligne sur le site internet du festival avec un lien permanent (www.hellfest.fr). Ce mode de passation a été choisi en raison de la principale manière d’acheter un « pass », l’achat en ligne sur Internet, pour assister au Festival. Cette procédure a aussi permis de ne pas limiter, quantitativement, le nombre de répondants. Entre le 15 mars et fin mai 2011 (soit deux mois et demi), ce sont ainsi plus de 8 700 questionnaires exploitables qui ont été renseignés (il s’agit de la première enquête de cette envergure en France dans le domaine des festivals). Les questions (numériques, fermées, textes, etc.) ont été orientées à travers trois principaux thèmes : le rapport aux musiques « extrêmes » ; les aspects pratiques pendant le festival ; des propriétés sociales des répondants. Le très faible nombre de questionnaires (une dizaine) renseignés de manière saugrenue (exemple : 1666 pour une année de naissance, date de l’incendie de Londres, acte satanique dans la mythologie) permet d’insister sur le fait que les répondants ont eu à cœur de répondre sérieusement à l’enquête. Une analyse de la presse quotidienne régionale et de la presse nationale, des sites internet dédiés aux musiques metal mais aussi des sites « anti » Hellfest a été menée depuis 2010. Des entretiens avec les responsables de Hellfest Productions puis de l’office de tourisme de Clisson ont également été menés de 2010 à 2012. Enfin, l’utilisation de la photographie, eu égard à « sa force représentationnelle et analytique » (Piette, 2007) est, dans ce texte, convoquée aux fins de description et d'administration de la preuve. Caricatures, symboles et stigmatisation Un genre musical « à part » ou un espace de « désymbolisation » des formes symboliques ? 3 Le festival Hellfest, dédié aux musiques metal, est l’un des rares en France à être, proportionnellement à la plupart des manifestations de musiques actuelles, aussi faiblement subventionné par les collectivités locales proportionnellement au budget total (Guibert, 2012). Les recettes de la billetterie permettent d’assurer chaque année près de 70 % du budget total de la manifestation (d’environ 5 millions d’euros en 2011), contre moins de 10 % pour le mécénat
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