Cette étude vise à mettre en lumière les ressorts, pratiques et répertoires propres à l’usage des chants et de la musique au cours des convois et messes funèbres catholiques à Paris sous le régime concordataire (1802-1905). La solennisation cantorale et musicale de, ajoutée à et pendant la messe des morts (plain-chant, faux-bourdon, contre-point, musique figurée) est tout d’abord analysée au prisme de ses cadres d’organisation et de production : d’une part, les textes et rubriques relatifs aux rituels, cérémonies, prières et chants inscrits dans les livres de l’Église, suivant le rite romain ou le rite propre de Paris ; d’autre part, la législation, l’économie et l’administration de la messe funèbre tarifée suivant les barèmes officiels des pompes funèbres et le casuel paroissial, gradués par classes de convois. La fabrique de la pompe musicale extraordinaire est ensuite étudiée à travers l’analyse de quatre cas particuliers : la participation des militaires in et ex ecclesia, par le truchement des honneurs rendus par les troupes et de la mobilisation de musiques militaires ; les convois et célébrations funèbres à caractère officiel et national, de par leur financement, leur dimension symbolique et les lieux qu’elles investissent, voire les répertoires officiels qu’elles convoquent ou commandent ; les deuils de la communauté des gens de musique et de théâtre, impliquant non seulement une mobilisation spontanée et bénévole des musiciens, des choix singuliers quant aux œuvres exécutées, mais aussi un discours funèbre et honorifique produit par la musique même. / This thesis studies the motivations, practices and repertories of chant and music used in catholic funeral ceremonies at Paris under the Concordat (1802-1905). The singing and musical solemnization of, added to and during the Mass of the Dead (plain chant, false bourdon, counterpoint, music) is analyzed for its scopes of organization and production : on the one hand the texts and rubrics of the rituals, ceremonies, prayers and chants of the liturgical books (roman and parisian rites) ; on the other hand the legislation, economy and administration of the funeral mass the official fees regulation of “pompes funèbres” fees and parishes. Then the making of the extraordinary musical “pompe” is studied by means of four particular cases : the involvement of the soldiers in and ex ecclesia (military honours and music) ; official and national funeral ceremonies, with their financing, symbolic system, places and official musical repertories ; the mournings of the musical community, involving not only a voluntary summoning up of musicians, singular choices for the musical program, but also a funeral discourse through music.

Yes

In this thesis, I intend to examine differences between religious communities and practices through a comparative study of funeral ceremonies performed at Hacibayram and Kocatepe Mosques in Ankara. The ethnographic data, which have been collected through eighty-seven funeral ceremony that I attended in these two mosques, shows that there are repetitive patterns among funeral ceremonies performed in the same mosque. When we compare the ceremonial patterns in Hacibayram Mosque and Kocatepe Mosque, it is observed that funeral ceremonies performed in these two mosques is differentiated in terms of material culture, gender and sentiments. There are different variables for these ritual differentiations, such as the nature and composition of a religious community frequenting a mosque, and the meanings and traditions ascribed to a mosque, which affect the way in which prayers are perceived and practiced. Besides, it is also realized that repetitive patterns among funeral ceremonies performed in the same mosque may even differentiate, because of social status and worldview of deceased and mourners.

Thesis (Ph.D.) - James Cook University, 2004. / Thesis submitted by Sally Marie Babidge, BA (Hons) UWA June 2004, for the Degree of Doctor of Philosophy in the School of Anthropology, Archaeology and Sociology, James Cook University. Bibliography: leaves 283-303.