Les travaux présentés dans cette thèse réinterrogent le concept de composition. Longtemps considérée comme résultant de l'action de deux intervenants, le compositeur et l'interprète, cette approche s'apparentait à une relecture par l'exécutant de la production du compositeur afin d'en retrouver la « vérité ». Il nous a paru évident que cette vision du processus compositionnel semblait dépassée. En effet le travail de production d'un projet dépasse largement le cadre des deux acteurs que sont l'interprète et le compositeur, et embrasse un large champ d'intervenants aux compétences multiples, du producteur à l'arrangeur, en passant par l'ingénieur du son, l'éclairagiste ou encore au chorégraphe. Après avoir fait un point sur l'ensemble des acteurs participant à la réalisation du projet artistique, notre travail s'est porté sur l'étude de ce concept au travers du prisme de différentes disciplines rattachées à la musicologie. Dans un premier temps nous avons cherché à appréhender la création au travers de son inscription dans sa société d'origine. A cet égard, l'application de l'Anthropologie Musicale Historique trouve une application tout à fait pertinente. Dans un second temps, nous nous sommes intéressés aux dynamiques relationnelles et au phénomène de communication et de réception au sein du complexe auctorial. Quels en sont les caractéristiques ? Afin d'approfondir cette relation entre les intervenants du complexe auctorial nous avons interrogé ce concept par le biais de la philosophie herméneutique, nous menant à questionner les notions de vérité d'œuvre, de performance et de création collective dans le champ des musiques actuelles. / The research in this dissertation tries to renew composition's definition. Considered for many years as the result of the composer and performer's encounter, this approach shows musical's performance as a search of composer's truth. In view of our investigation around pop music practices, it seems obvious that this vision of the compositional process is outdated. Indeed, production mechanism overtakes this two-individual model (i.e. composer and performer) and embrace a wide range of contributors of various skills, such as producer, arranger, sound engineer, light engineer or choreographer. From this observation rises our research about musical creation, of what we call the auctorial complex. After listing the different actors who support the creation's process, our work focus on the study of this phenomenon throughout numerous research fields related to musicology.First we have tried to apprehend creation through its rooting in its original society. Therefore, the Historical Musical Anthropological appeared to be totally relevant. Secondly, we have looked upon the relational dynamics and the communication and reception phenomenon in the auctorial complex. What are its characteristics? Which psychological mechanism are involved during the production's phase? We have answered this inquiring by confronting it to hermeneutical philosophy, questioning consequently different notions such as artistic truth (artistic work truth, performance and collective creation) in popular music research's field.

This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconscious, leading to a new discovery of higher or deeper truth. Satie's music aligns with the psychoanalytic elements of the discourse on surrealism. Psychoanalysis, pioneered by Sigmund Freud (1856-1939) and his followers in the 1890s in Vienna, permeated France around the time of the creation of the work. It inspired early surrealist techniques like automatism, illusory formal structures, collage, and stylistic allusion. This thesis demonstrates that such techniques can be discerned throughout Parade, not only in Satie's music, but also in its scenario, staging, costumes, and choreography. As such, Parade was a foundational work for the surrealist movement, with Satie's music contributing with the other media equally to the emotional and psychological impact of the ballet.