Cette thèse de doctorat vise à comprendre quel peut être l’apport du chant dans la construction sociale et identitaire d’un ensemble fermé en dégageant les différentes fonctions de ce répertoire. Elle a également pour objectif d’analyser la mesure dans laquelle il intervient dans l’intégration des personnels ainsi que l’impact qu’il peut avoir sur la cohésion des groupes. En ce sens, une place importante a été donnée à l’analyse des aspects contextuels et humains du chant, tels que le rapport au corps dans les pratiques rituelles.Souhaitant aborder les différents enjeux du chant au sein de l’institution, le corpus sur lequel s’appuie cette recherche est assez large et regroupe aussi bien des pièces officielles qu’intimistes. Pour avoir une vision précise du répertoire militaire et interroger sa fonctionnalité, une enquête de terrain a été menée principalement au RICM implanté à Poitiers et au 6e BIMa basé à Libreville. Le choix d’une limitation aux Troupes de Marine est motivé par la spécificité de cette arme, l’une des plus présentes sur les théâtres d’opérations. Ainsi, l’étude des activités rituelles et musicales de la population militaire en situation conflictuelle et post-conflictuelle était possible, en plus d’aborder la place des pratiques chantées dans le quotidien de la vie de garnison. L’étude laisse notamment apparaître que le besoin d’une importante cohésion du groupe est l’une des principales motivations de l’interprétation des chants pendant et en dehors du service. Elle montre également que cette pratique vocale fait partie intégrante de la culture militaire et qu’elle permet la revendication d’une identité collective. / This Ph. D. thesis aims at understanding what can be the contribution of song in the social and identity building up of an introverted group by clearing the various functions of this repertoire. It also purposes the objective of analysing the measure in which it intervenes in people integration as well as the impact it can have on groups’ cohesion. Thus, an important place has been given to the analysis of contextual and human singing aspects, such as the relation to the body in ritual practices.Wishing to approach the various stakes of singings in the institution, the corpus on which this research is leaning on is quite wide and gathers official songs as well as intimist ones. To get an accurate vision of the military repertoire and question its feature, a survey has mainly been carried out within the RICM located in Poitiers and within the 6th BIMa based in Libreville. The choice of a restriction to the Troupes de Marine is justified by the specificity of this arm, one of the most present on the theatre of operations. So, the study of ritual and musical activities of the military population in conflicting and post-conflicting situation was possible, besides approaching the place of sung practices in the daily garnison life. The study particularly permits to enhance that the need of an important cohesion of the group is one of the main reasons of songs within ans apart from the duty. It also shows that this vocal practice is an integral part of the military culture and that it allows the claiming of a collective identity.

This dissertation provides the first full-scale musicological study of Stuttgart 95, a thirteenth-century song book, formerly thought to be from the abbey of Weingarten. Upon further examination, it is clear that rather than a single unified corpus of Latin songs, the musical portions are composed of three separate layers. Furthermore, I argue that these layers were best understood as separate entities. This delineation between writing campaigns indicates that the original musical project likely constitutes a mostly intact collection, with only one or two folios missing from the beginning of the codex. Moreover, the song repertoire in the first layer is partially comprised of addenda entered into other Engelberg liturgical manuscripts, mainly at the close of the twelfth and beginning of the thirteenth century, shortly before the manufacture of Stuttgart 95. I focus, in particular, on the first layer of its musical corpora, arguing that the earliest stratum in this composite manuscript points to the double cloister of Engelberg as a likely provenance. As a collection of addenda, it demonstrates that musicians in Engelberg actively collected pieces that addressed Mary, the community’s patrona. I first discuss the consistent use of majuscule and rubrication to visually highlight the name of Mary amidst its surrounding text. Furthermore, I demonstrate that Mary along with each of these additional saints had liturgical ties to the double house of Engelberg; Mary was the monastery’s patrona, and the additional figures were either especially venerated at Engelberg or were the namesakes for dedicated altars or chapels in joint community’s churches.