{"id":8263,"date":"2009-05-11T09:10:00","date_gmt":"2009-05-11T07:10:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/top-10-des-voix-feminines-qui-ont-redefini-la-pop\/"},"modified":"2026-11-09T07:05:53","modified_gmt":"2026-11-09T06:05:53","slug":"top-10-des-voix-feminines-qui-ont-redefini-la-pop","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/culture-musicale\/tops10-fr\/top-10-des-voix-feminines-qui-ont-redefini-la-pop\/","title":{"rendered":"Top 10 des voix f\u00e9minines qui ont red\u00e9fini la pop"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row css=\u00a0\u00bb.vc_custom_1454690049611{padding-left: 13% !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n<h3 style=\"text-align: justify;\">Dix chanteuses dont les hits ont chang\u00e9 ce que la radio et les labels acceptaient d&rsquo;une voix pop.<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t10<\/span><strong>Sade : \u201cSmooth Operator\u201d<\/strong> Sur <em>Diamond Life<\/em> (Epic, 1984), Sade Adu garde une voix petite et pr\u00e9cise sur un groupe quiet storm. Le single fait vendre ce murmure en pop grand public, pas en genre \u00e0 part. Elle ne monte pas le volume. Cette voix pos\u00e9e entre pourtant dans les classements UK et US.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t9<\/span><strong>Robyn : \u201cDancing on My Own\u201d<\/strong> Le single Konichiwa de 2010 est un titre club b\u00e2ti sur une rupture, \u00e9crit apr\u00e8s qu&rsquo;elle a quitt\u00e9 le circuit des majors. Robyn fait marcher la vuln\u00e9rabilit\u00e9 sur la piste. Une vague de pop \u00e9lectronique apr\u00e8s elle arr\u00eate de faire semblant que la chanteuse va bien pendant que la batterie continue.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t8<\/span><strong>Donna Summer : \u201cI Feel Love\u201d<\/strong> Avec Giorgio Moroder \u00e0 Musicland \u00e0 Munich en 1977, Summer pose une voix humaine tenue sur une s\u00e9quence Moog qui ne respire pas comme un groupe sur sc\u00e8ne. Le disco trouve un mod\u00e8le dans ce m\u00e9lange de pulsation et de notes tenues. Les producteurs pop l&#8217;empruntent depuis.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t7<\/span><strong>Kate Bush : \u201cWuthering Heights\u201d<\/strong> Le single EMI de 1978, \u00e9crit et d\u00e9fendu par Bush, prend la t\u00eate du classement britannique avec un registre aigu que la pop mettait rarement sur un single. La voix est th\u00e9\u00e2trale et tr\u00e8s s\u00e9rieuse \u00e0 la fois. Les deux options restent ouvertes \u00e0 la pop britannique apr\u00e8s ses d\u00e9buts.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t6<\/span><strong>Lauryn Hill : \u201cDoo Wop (That Thing)\u201d<\/strong> <em>The Miseducation of Lauryn Hill<\/em> (Ruffhouse \/ Columbia, 1998) fait cohabiter cadence rap et chant soul dans une m\u00eame interpr\u00e9tation. Le single parle et garde le rythme en m\u00eame temps. Il red\u00e9finit ce qu&rsquo;un hit pop peut dire tout en restant \u00e0 la radio.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t5<\/span><strong>Whitney Houston : \u201cI Will Always Love You\u201d<\/strong> La version Arista de 1992 pour <em>The Bodyguard<\/em> commence presque a cappella, puis ouvre en voix pleine. Dolly Parton l&rsquo;a \u00e9crite ; Houston fait entendre la taille de la voix comme de la tendresse sur les radios du monde. Les ballades apr\u00e8s elle doivent \u00e9galer cette entr\u00e9e ou sonner plus petites.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t4<\/span><strong>Bj\u00f6rk : \u201cHyperballad\u201d<\/strong> Sur <em>Post<\/em> (One Little Indian, 1995) la voix traite l&rsquo;\u00e9lectronique comme le groupe, pas comme un ornement. Elle peut chuchoter, puis ouvrir une note sur des batteries programm\u00e9es. Les chanteuses pop qui ont ensuite chant\u00e9 avec des machines ont suivi un chemin qu&rsquo;elle avait d\u00e9j\u00e0 rendu sensible sur disque.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t3<\/span><strong>Madonna : \u201cLike a Prayer\u201d<\/strong> Le single Sire de 1989 et la d\u00e9cennie autour, font du contr\u00f4le de l&rsquo;image une part de l&rsquo;interpr\u00e9tation. Elle n&rsquo;a pas la plus grande tessiture de la pi\u00e8ce. Elle fixe ce que le single montre et comment il sonne. La voix suit ce choix sur les tourn\u00e9es et les clips suivants.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t2<\/span><strong>Beyonc\u00e9 : \u201cFormation\u201d<\/strong> Avec <em>Lemonade<\/em> (Parkwood \/ Columbia, 2016) la voix travaille comme un outil de mise en sc\u00e8ne : cadence rap, voix pleine et chuchotement, tout cibl\u00e9. <em>Crazy in Love<\/em> avait d\u00e9j\u00e0 relanc\u00e9 les ann\u00e9es 2000. <em>Formation<\/em> montre que ce contr\u00f4le peut porter du politique sans l\u00e2cher l&rsquo;accroche. La pop a repris ce m\u00e9lange ensuite.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t1<\/span><strong>Aretha Franklin : \u201cRespect\u201d<\/strong> En 1967 chez Atlantic elle prend la chanson d&rsquo;Otis Redding et transforme l&rsquo;\u00e9pellation en exigence. La voix a la force du gospel et la clart\u00e9 de la pop. Elle ne vise pas seulement le joli. Les d\u00e9finitions plus tardives d&rsquo;une grande voix pop se mesurent encore \u00e0 cet enregistrement. Le reste du top vient apr\u00e8s cette session Atlantic.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Dix chanteuses dont les hits ont chang\u00e9 ce que la radio acceptait d&rsquo;une voix pop.<\/p>\n","protected":false},"author":1,"featured_media":8259,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[295,298],"tags":[],"class_list":["post-8263","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture-musicale","category-tops10-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Top 10 des voix f\u00e9minines qui ont red\u00e9fini la pop - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Dix chanteuses dont les hits ont chang\u00e9 ce que la radio acceptait d&#039;une voix pop.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/culture-musicale\/tops10-fr\/top-10-des-voix-feminines-qui-ont-redefini-la-pop\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Top 10 des voix f\u00e9minines qui ont red\u00e9fini la pop - 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