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Le Funk De 1967 À 1980: Porte Parole De La Communauté Noire Aux États

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Le Funk De 1967 À 1980: Porte Parole De La Communauté Noire Aux États Le funk de 1967 à 1980 : porte parole de la communauté noire aux États-Unis Nicolas Marchial To cite this version: Nicolas Marchial. Le funk de 1967 à 1980 : porte parole de la communauté noire aux États-Unis. Musique, musicologie et arts de la scène. 2011. dumas-00610694 HAL Id: dumas-00610694 https://dumas.ccsd.cnrs.fr/dumas-00610694 Submitted on 23 Jul 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Nicolas MARCHIAL Le funk de 1967 à 1980 : porte parole de la communauté noire aux États-Unis Mémoire de Master 1 « Sciences humaines et sociales » Mention : Histoire et Histoire de l’art Spécialité : Histoire de l’art et Musicologie Sous la direction de M. Patrick Revol Année universitaire 2010-2011 Nicolas MARCHIAL Le funk de 1967 à 1980 : porte parole de la communauté noire aux États-Unis Mémoire de Master 1 « Sciences humaines et sociales » Mention : Histoire et Histoire de l’art Spécialité : Histoire de l’art et Musicologie Sous la direction de M. Patrick Revol Année universitaire 2010-2011 Remerciements En préambule à ce mémoire, je tiens à exprimer ma sincère reconnaissance envers l’ensemble des personnes qui m’ont aidé à mener à bien mon travail de recherche. Je remercie chaleureusement mon directeur de mémoire Monsieur Patrick Revol, directeur de la Section Musicologie de l'URF Sciences humaines, pour m’avoir soutenu et conseillé tout au long de la rédaction de ce mémoire. J'exprime toute ma gratitude à ma famille pour leur appui moral indéfectible, Claire Matyjaszczyk pour ses conseils avisés en matière de traduction et de relecture, ainsi que Jérôme Berlioz pour son aide dans les transcriptions musicales. Enfin, je remercie tous les passionnés de funk que j'ai pu côtoyer pour m’avoir donné de précieuses informations pour mes recherches. Sommaire Remerciements .................................................................................................................................................. 3 Introduction ....................................................................................................................................................... 5 Partie 1 - Les racines du funk ............................................................................................................................ 9 1.1 DES ORIGINES LOINTAINES .................................................................................................................. 10 1.1.1 LA PRÉÉMINENCE DU RYTHME ....................................................................................................... 11 1.1.2 L’ IMPORTANCE DE LA DANSE ......................................................................................................... 12 1.1.3 LE CHANT RESPONSORIAL .............................................................................................................. 14 1.2 LES ANNÉES 1950 ET LE DÉVELOPPEMENT PROGRESSIF D ’UNE CONSCIENCE NOIRE ........................ 16 1.2.1 LA SITUATION ÉCONOMIQUE ET SOCIALE DES NOIRS AMÉRICAINS ................................................ 16 1.2.2 L’ AVÈNEMENT DU RHYTHM & BLUES ............................................................................................ 17 1.3 LES ANNÉES 1960, ENTRE RÊVE ET DÉSILLUSION ................................................................................ 21 1.3.1 QUELQUES AVANCÉES ................................................................................................................... 21 1.3.2 LA MUSIQUE SOUL ......................................................................................................................... 23 1.3.3 LA MONTÉE DES REVENDICATIONS ................................................................................................ 26 Partie 2 - L’évolution et les caractéristiques du funk ...................................................................................... 28 2.1 JAMES BROWN : MONSIEUR DYNAMITE ............................................................................................. 29 2.1.1 LA GENÈSE DU FUNK ...................................................................................................................... 29 2.1.2 LA FIERTÉ D ’ÊTRE NOIR ................................................................................................................. 32 2.1.3 LA MACHINE FUNK ......................................................................................................................... 34 2.2 SLY AND THE FAMILY STONE ET LE FUNK PSYCHÉDÉLIQUE .............................................................. 38 2.2.1 LA GENÈSE DU GROUPE .................................................................................................................. 38 2.2.2 « DEBOUT ! »................................................................................................................................. 40 2.2.3 « THERE ’S A RIOT GOIN ’ ON » OU LA DESCENTE AUX ENFERS ....................................................... 41 2.3 GEORGE CLINTON ET LE P-FUNK ....................................................................................................... 44 2.3.1 LE P-FUNK ..................................................................................................................................... 44 2.3.2 LA MISE EN ORBITE DU P-FUNK ..................................................................................................... 46 Partie 3 - « L’après-funk »............................................................................................................................... 52 3.1 LE MÉLANGE DES GENRES : L ’EXEMPLE DU JAZZ -FUNK ..................................................................... 53 3.1.1 DU FREE -JAZZ AU JAZZ -FUNK COMMERCIAL .................................................................................. 53 3.1.2 MILES DAVIS ET LE FUNK .............................................................................................................. 54 3.1.3 HERBIE HANCOCK : LE CAMÉLÉON ................................................................................................ 57 3.2 LE MOUVEMENT DISCO ........................................................................................................................ 61 3.2.1 LES PRINCIPALES CARACTÉRISTIQUES DU GENRE ........................................................................... 61 3.2.2 LES RÉPERCUTIONS DU DISCO SUR LE FUNK ................................................................................... 64 3.3 LE HIP -HOP , UNE CONTINUITÉ DU FUNK .............................................................................................. 66 3.3.1 UN ART DE RUE .............................................................................................................................. 66 3.3.2 L’ USAGE DU SAMPLE ..................................................................................................................... 69 Conclusion....................................................................................................................................................... 72 Bibliographie................................................................................................................................................... 74 Table des annexes............................................................................................................................................ 80 Glossaire.......................................................................................................................................................... 87 Principaux artistes cités ................................................................................................................................... 89 Introduction « Le funk, c’est un style fait pour ceux qui veulent danser et s’amuser, un style permettant de lever d’emblée toute inhibition. Je ne sais pas à quand ça remonte, probablement aux premiers tambours. Un type qui tape sur ses genoux ou ses cuisses avec le plat de la main et qui obtient un rythme syncopé, très différent de celui du vieux blues ou du swing des big-bangs. Doum da dou doum bah ! Sans le vouloir, le cou se met à onduler, tout le corps danse. Je ne sais pas d’où ça vient, mais si on me le demandait, je dirais probablement du vieux sud, peut être même de La Nouvelle- Orléans 1. » Telle est la définition du saxophoniste Maceo Parker qui s’attache à démontrer l’intemporalité de la rythmique du funk. Le funk aurait toujours existé mais c’est seulement à la fin des années 1960 avec des artistes comme James Brown, The Meters ou Sly and Family Stone qu’il devient un genre à part entière. La définition du funk par le journaliste Jérôme Resse reste aujourd’hui la plus adéquate : « Apparut au milieu des années 1950, le mot n’a désigné longtemps qu’une façon particulière de jouer le jazz qui tendait à le rapprocher de ses origines : un 4/4 plus marqué, des sonorités puissantes, une attaque rude et un phrasé expressionniste. La mode a suivi et le funk s’est radicalisé. Musique de danse
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