A leur apparition, à la fin des années 1970 et au début des années 1980, le rap, le ragga et le punk français se distinguent substantiellement de la tradition de la chanson française qui demeure intimement liée à la tradition musicale occidentale et au chant. En particulier, l’expression vocale y est plus proche de la parole que du chant, et s'y révèle plus rythmique que mélodique. Cette singularité rend difficile toute analyse musicologique traditionnelle, et les analyses existantes se fondent davantage sur l’analyse du texte et le contexte social que sur la réalisation sonore. L’objet de notre thèse est de proposer une méthode d'analyse musicale assistée par ordinateur de la prosodie musicale à l’œuvre dans ces styles de musiques populaires, et ce, à partir de l’analyse automatique du son. L’extraction automatique des structures rythmiques de la voix à partir de l’analyse du son devrait permettre d’objectiver les propriétés rythmiques de la musique populaire. L’ensemble des analyses permettra d'observer précisément les relations rythmiques qu'entretiennent la voix et la musique, dans le but de caractériser et de différencier des styles de musique populaire. La période choisie (1977-1992) correspond à la sortie des premiers albums de punk en langue française et se clôt avec celle du premier album du groupe Massilia Sound System, pionniers du ragga marseillais. Quinze morceaux ont été choisis, cinq par style, pour leur représentativité de la diversité des premières productions en langue française dans chaque style. La présentation et l'application de notre méthode à des styles différents permettront d'initier l'étude approfondie de la prosodie musicale au sein de musiques vocales dans lesquelles le jeu rythmique prime sur la mélodicité. / At their appearance in the late 1970s and early 1980s, rap, ragga and punk french differ substantially from the tradition of French song which remains closely tied to the occidental musical tradition and singing. In particular, the vocal expression is closer to the word of the song, and it reveals more rhythmic than melodic. This uniqueness makes it difficult for traditional musicological analysis, and existing analyzes are based more on the analysis of the text and the social context that the sound production. The purpose of our work is to propose a method of computer-aided musical analysis of musical prosody at work in these popular styles of music, and this, from the automatic analysis of sound. Automatic extraction of rhythmic structures of the voice from the sound analysis should objectify the rhythmic properties of popular music. The analyzes will observe precisely the rhythmic relationship between voice and music, in order to characterize and differentiate the styles of popular music. The chosen period (1977-1992) corresponds to the output of the first punk albums in French and ends with that of the first album of Massilia Sound System, ragga pioneers of Marseilles. Fifteen songs were chosen by five style, for they represent the diversity of the first French-language productions in each style. The presentation and application of our method to different styles will initiate a comprehensive study of the musical prosody in vocal music in which the rhythm bonus game on the mélodicity.

Né en dehors de la Littérature et des débats qu'elle entretient sur elle-même, le rap français n'en réactive pas moins les fonctions primordiales; en effet, de par leur participation au scriptural le plus obstiné comme à l'oralité la plus vive, les rappeurs nous rappellent, en faisant pour ainsi dire offrande de leur voix, que l'écriture poétique consiste toujours en un usage intensif du langage qui, au-delà de toute portée communicationnelle, s'acharne à faire jaillir des mots toute leur prodigieuse musicalité, picturalité, matérialité, et bien plus. Non pas « bien écrire », car cela n'est rien, mais faire délirer la langue, afin d'en revenir à l'émotion primordiale, au pouvoir et à la jouissance qu'elle procure. Évidemment, les rappeurs ne disent rien d'autre que ce que disaient déjà Céline, Artaud, pour ne citer qu'eux, quant aux capacités respiratoires décidément enfouies dans cette langue officielle qu'il faudra décidément secouer de tous les spasmes amoureux, cruels. En un premier chapitre génésique, nous arracherons le rap français c'est-à-dire notre corpus, à la culture mondiale du hip-hop pour lui reconnaître un droit au particularisme, à l'atavisme bien français. Nous verrons alors à travers la « petite invention » du flow (l'expression est célinienne), comment les rappeurs révèlent ce tiers-lieu fragile entre l'écrit et l'oralité, le papier muet (l'est-il jamais vraiment ?) et la gorge. Ce tiers-lieu, c'est aussi celui de la périphérie proprement banlieusarde que les rappeurs célèbrent à l'envi. Nous verrons ici comment les rappeurs rejetés aux lisières, et donc partant d'une situation d'étrangeté flagrante, ont su faire de cette minorité subie une véritable esthétique de la périphérie, mais plus encore, l'angle privilégié pour procéder à un usage intensif de la langue normative. Faire délirer la langue a un prix, celui de délirer avec, et partant, d'expérimenter les devenirs qui traversent alors cette écriture poétique, laquelle engage jusqu'au corps même de l'écrivain. Notre dernier axe d'étude sera donc consacré à cette grande question du moi je écrivant en littérature à laquelle les rappeurs semblent avoir apporté une réponse probante et même un terme consacré, l'egotrip. / Born out of the Literature and the debates maintained about itself, nevertheless the French rap revives its essential functions ; indeed, due to their participation in the most stubborn scriptural as in the most lively orality, the rappers remind us, by making offering of their voice so to speak, that the poetic writing always consists of an intensive use of the language which, beyond any communicational reach, persists in making spring from words all their prodigious musicality, pictoriality, materiality, and much more. Not "to write well", because this is nothing, but to make the tongue be delirious, in order to return to the essential emotion, to the power and to the pleasure which it brings. Obviously, the rappers say nothing else but what already said Céline, Artaud, to name but a few, about the breathing capacities undoubtedly buried in this official language which undoubtedly will have to be shaken by all the loving, cruel spasms. In a first genesic chapter, we shall tear the French rap that is our corpus, away from the world culture of the hip-hop in order to recognize it the right to particularism, to the very French atavism. We shall see then through the “small invention” of the flow (the expression belongs to Céline), how the rappers reveal this fragile third place between written and orality, the dumb paper (is-it ever, really?) and the throat. This third place is also the one of the strictly suburbanite outskirts which is celebrated over and over again by the rappers. We shall see here how the rappers, rejected to the borders, and thus leaving from a situation of blatant strangeness, knew how to do with this undergone minority a real esthetic of the periphery, but more than that, the privileged angle to proceed to an intensive use of the normative language. To make be delirious the language has a price, which is to be delirious with, and from this experimentation of future evolutions crossing then this poetic writing, which engages even the body of the writer. Thus our last axis of study will be dedicated to this big question of the writing subject in literature to which the rappers seem to have brought a convincing answer and even an usual term, the egotrip.

Contrastive Study of the Lexicon of the French and the Quebec rap: songs of rappers Nekfeu and Koriass The thesis is concerned with the comparison of the lexicon of French in France and the Quebec French studied on lyrics of songs of the French rapper Nekfeu and the Quebec rapper Koriass. The theoretic part of the thesis attempts to outline the synthesis of lexicological findings which enable us to define the particularities and the differences of both variants. The aim of the practical part is to conduct an analysis of the lyrics of songs of both rappers and to compare the use of particular lexical expressions. These expressions are subsequently examined in referential but also in unconventional, French and Quebec dictionaries. The aim of the study is to conduct a lexical analysis of texts of the corpus and to compare the use of the lexicon between the official French language and its Quebec variant. KEYWORDS Lexicology, French, Quebec French, Rap, Diatopy

This thesis examines the use of non-standard language, more specifically non-standard vocabulary (i.e. slang, verlan, colloquialisms, vulgarities, foreign borrowings, and abbreviations), in a corpus of selected francophone rap tracks in order both to quantify its use and to investigate what determines its variation, focusing on the impact of diachronic, diatopic, gender and diaphasic determinants. The methodology relies on a lexicographic analysis to produce quantitative results which are then analysed qualitatively by means of extract analyses and semi-structured interviews with francophone rappers. To answer the research questions, the thesis is divided into five chapters. The first chapter presents the aforementioned methodology and the overall quantitative results from the thesis, while also introducing the notion of variation, which is then tackled in the last four chapters. The second chapter investigates diachronic determinants from two perspectives: different generations of rappers (1990/1991, 2001 and 2011) and one artist throughout his career (Akhenaton in 1991, 2011 and 2011). The third chapter looks at diatopic determinants, analysing the impact of ethnic and spatial origins. Three ethnic origins are compared (rappers of French, Algerian and Senegalese origin), together with three cities (Marseille, Paris and Brussels) and three departments (Hauts-de-Seine, Seine-Saint-Denis and Val-de-Marne). The fourth chapter focuses on gender determinants, with a comparison of male versus female rappers that also takes broader gender performativity into account. Finally, the fifth chapter examines the impact of diaphasic determinants. It analyses three rap genres (jazz/poetic, ego trip and knowledge rap), which then form the foundation for qualitative discussions of the effect of aesthetics, figures of speech, themes and performance. In conclusion, the contribution to knowledge of this work is the observation that the main determinant of high use of non-standard vocabulary is the performance of modern ego trip. The other determinants do not impact non-standard vocabulary to the same extent quantitatively or systematically, due to the complexity of the contextual and fluid identity performances involved with these determinants.