ATeM Archiv für Textmusikforschung
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“Basta que me enamores – o que me mandes flores”: género, experiencia y emociones en el corpus del pop-rock en español
Full text linkThe discourse of song lyrics can be depicted as a mirror and as a mould of social life: it reflects, but also stimulates, certain practices and subjectivities. Using a corpus of 1 000 pop-rock lyrics in Spanish and techniques from corpus linguistics, socio-semiotics, and psychological text analysis, this study explores the discourse of lyrics from a gender perspective, focusing on the experiential function, affect and emotional vocabulary. Its findings suggest the existence of significant gender differences in the choice of process types and of emotional vocabulary, and thus in the linguistic articulation of experience according to the singer\u27s gender.The discourse of song lyrics can be depicted as a mirror and as a mould of social life: It reflects, but also stimulates, certain practices and subjectivities. Using a corpus of 1 000 pop-rock lyrics in Spanish and techniques from corpus linguistics, socio-semiotics, and psychological text analysis, this study explores the discourse of lyrics from a gender perspective, focusing on the experiential function, affect and emotional vocabulary. Its findings suggest the existence of significant gender differences in the choice of process types and of emotional vocabulary, and thus in the linguistic articulation of experience according to the singer\u27s gender
« La Musique est à la Danse ce que les paroles sont à la Musique » : musicalisation et ‹ dansification › à travers les analogies dans le discours esthétique sur la danse du XVIIIe siècle
Full text linkThis paper examines the various interrelationships between music, dance and language as artistic systems in the 18th-century French dance theories of Louis de Cahusac and Jean-Georges Noverre from an intermedia perspective. Based on the narratological categories of ‹ telling › and ‹ showing › and within the context of the aesthetics of sensibility we focus on analogies as a crucial literary technique of musicalisation and ‹ dansification ›. The aim of this contribution is to analyze the media transformation required for writing about music and dance and the functions of the analogies drawn by both authors to describe and illustrate the new dance genre.xx
La peinture des sons dans la Solitude de Charles Sorel
Full text linkMusic is a central theme in Charles Sorel\u27s novel, La Solitude et l’amour philosophique de Cléomède (1640). Its protagonist, Cléomède, is a nobleman who withdraws from the world to seek wisdom. His spiritual journey is accompanied by music from the beginning to the end of the novel. Cléomède plays the lute and sings; he is also attuned to the natural soundscape, which he perceives as a form of concert. This study aims to elucidate the role and significance of music in Cléomède\u27s path. Additionally, we seek to analyze the novel’s poetics and its connection to music.
Music is a central theme in Charles Sorel\u27s novel, La Solitude et l’amour philosophique de Cléomède (1640). Its protagonist, Cléomède, is a nobleman who withdraws from the world to seek wisdom. His spiritual journey is accompanied by music from the beginning to the end of the novel. Cléomède plays the lute and sings; he is also attuned to the natural soundscape, which he perceives as a form of concert. This study aims to elucidate the role and significance of music in Cléomède\u27s path. Additionally, we seek to analyze the novel’s poetics and its connection to music
Hard Rock / Heavy Metal dans les fanzines des années 80. Rendre compte d’une expérience sensible et donner sens à l’objet musical
Full text linkThis contribution aims to focus on Hard Rock / Heavy Metal music, based on a corpus of several fanzines from the Rhône-Alpes region, dating from 1986 to 1989. Fanzines are amateur publications, produced by fans for fans, to promote the purpose of their passion, opening it up to a community of like-minded enthusiasts. The objective is to define the boundaries of the ‘metal music’ object –specifically structured through discourse modality – in this context of fanzine publications. The aim is to highlight a few of the strategies used in record reviews to linguistically construct the meaning – both musical, event-driven and cultural – of this heterogeneous reference for the then-young audience. Our approach is focused on trying to characterize what in the discourse pertains to a trans-semiotic translation of an object of meaning whose essence derives primarily from one’s listening experience.This contribution aims to focus on Hard Rock / Heavy Metal music, based on a corpus of several fanzines from the Rhône-Alpes region, dating from 1986 to 1989. Fanzines are amateur publications, produced by fans for fans, to promote the purpose of their passion, opening it up to a community of like-minded enthusiasts. The objective is to define the boundaries of the ‘metal music’ object –specifically structured through discourse modality – in this context of fanzine publications. The aim is to highlight a few of the strategies used in record reviews to linguistically construct the meaning – both musical, event-driven and cultural – of this heterogeneous reference for the then-young audience. Our approach is focused on trying to characterize what in the discourse pertains to a trans-semiotic translation of an object of meaning whose essence derives primarily from one’s listening experience.Cette contribution propose de s’intéresser à la musique Hard Rock / Heavy Métal, à partir d’un corpus de quelques fanzines de la région Rhône-Alpes, couvrant une période des années 1984 à 1988. Les fanzines sont des publications amateures, produites par des fans et pour des fans, pour promouvoir l’objet de leur passion, en le rendant accessible et visible à une communauté partageant leur intérêt. L’objectif est de tenter d’établir les contours de l’objet de sens « musique metal », construit spécifiquement par la modalité discursive, dans ce contexte circonstancié de productions de fanzines. Il s’agit de mettre en évidence quelques stratégies mises en place dans les chroniques disques pour construire, par le langage, le sens de cette référence hétérogène, à la fois musicale, événementielle, et culturelle, pour le jeune public de l’époque. Notre démarche se restreint à tenter de caractériser ce qui dans le discours relève d’une traduction transémiotique d’un objet de sens dont l’existence se fonde prioritairement dans l’expérience de son écoute
Entre sons et signes : pratiques instructives et multimodalesdans la répétition d’orchestre
Full text linkThis contribution analyses how, in the interaction between the conductor and musicians during orchestra rehearsals, musical concepts are transmitted through the multimodal interaction between language, music and the body. While musical concepts are guided by the score, which provides the foundation for interpretation, they are also conveyed, proposed, and instructed by the conductor, who incorporates their own interpretive ideas during rehearsals. Conductors use linguistic resources to describe expressive nuances, phrasing, or musical dynamics, and may also “musicalize” their verbal instructions through tonal nuances, rhythm, tempo, or vocalizations. Gestures, facial expressions, gaze and body movements play a supporting and illustrative role on both levels. These instructional practices occur in an exchange with musicians, who implement the instructions and propose their own musical interpretation. The conductor can then revise and provide further instructions until satisfied. This article focuses on these instructional sequences and their sequential unfolding, demonstrating how different semiotic resources interact to translate music into language and language into music, thereby generating meaning. The analysis is based on video recordings of orchestra rehearsals in France and Belgium, transcribed and analysed using multimodal conversation analysis.This contribution analyses how, in the interaction between the conductor and musicians during orchestra rehearsals, musical concepts are transmitted through the multimodal interaction between language, music and the body. While musical concepts are guided by the score, which provides the foundation for interpretation, they are also conveyed, proposed, and instructed by the conductor, who incorporates their own interpretive ideas during rehearsals. Conductors use linguistic resources to describe expressive nuances, phrasing, or musical dynamics, and may also “musicalize” their verbal instructions through tonal nuances, rhythm, tempo, or vocalizations. Gestures, facial expressions, gaze and body movements play a supporting and illustrative role on both levels. These instructional practices occur in an exchange with musicians, who implement the instructions and propose their own musical interpretation. The conductor can then revise and provide further instructions until satisfied. This article focuses on these instructional sequences and their sequential unfolding, demonstrating how different semiotic resources interact to translate music into language and language into music, thereby generating meaning. The analysis is based on video recordings of orchestra rehearsals in France and Belgium, transcribed and analysed using multimodal conversation analysis
Serge Gainsbourg : trois manières de raconter une histoire érotique
Full text linkSerge Gainsbourg followed all popular musical trends of his time. The phenomenon of the concept album, created by anglophone musicians, is one of them. Three albums of Gainsbourg, Histoire de Melody Nelson (1971), L’Homme à tête de chou (1976) and You’re under arrest (1987) are remarkable examples of erotic storytelling in songs. Each of them tells a story of a sexual relation to a young girl, with an unhappy ending. However, despite the typical subject, the three albums have completely different moods and rhetorical strategies : innocence and fragility in the first one, tension and violence in the second, and emotional detachment in the third. The present article compares these three Gainsbourg works from literary, musical, vocal and phonographic perspectives in order to show how different aspects of erotic storytelling are articulated by means of a concept album.Serge Gainsbourg followed all popular musical trends of his time. The phenomenon of the concept album, created by anglophone musicians, is one of them. Three albums of Gainsbourg, Histoire de Melody Nelson (1971), L’Homme à tête de chou (1976) and You’re under arrest (1987) are remarkable examples of erotic storytelling in songs. Each of them tells a story of a sexual relation to a young girl, with an unhappy ending. However, despite the typical subject, the three albums have completely different moods and rhetorical strategies : innocence and fragility in the first one, tension and violence in the second, and emotional detachment in the third. The present article compares these three Gainsbourg works from literary, musical, vocal and phonographic perspectives in order to show how different aspects of erotic storytelling are articulated by means of a concept album
Le cycle de mélodies comme structure signifiante : les Paysages tristes de Paul Verlaine mis en musique par Charles Bordes
Full text linkThis article explores Charles Bordes\u27s cycle Paysages tristes, composed in 1884 but first published in 1902, which sets to music four poems by Paul Verlaine from the "Paysages tristes" section of Poèmes saturniens (1866). Bordes\u27s reordering and selection of these poems from Verlaine\u27s original sequence raise questions about their impact on the intertextual network created by the poet. Examining Bordes\u27s interpretations reveals a creative dialogue where the musical pieces reshape the narrative coherence and thematic unity of Verlaine\u27s texts. Additionally, this article explores in detail the themes of time and human presence within both Verlaine\u27s poems and Bordes\u27s musical interpretations.Cet article explore le cycle Paysages tristes de Charles Bordes, composé en 1884 mais publié pour la première fois en 1902. Ce cycle met en musique quatre poèmes de Paul Verlaine tirés de la section « Paysages tristes » des Poèmes saturniens (1866). La réorganisation et la sélection de ces poèmes par Bordes, à partir de la séquence originale de Verlaine, soulèvent des questions quant à leur impact sur le réseau intertextuel créé par le poète. L\u27examen des mises en musique de Bordes révèle un dialogue créatif où les pièces musicales remodèlent la cohérence narrative et l\u27unité thématique des textes de Verlaine. De plus, cet article analyse en détail les thèmes du temps et de la présence humaine dans les poèmes de Verlaine et dans les mises en musique de Bordes.This article explores Charles Bordes’s cycle Paysages tristes, composed in 1884 but first published in 1902, which sets to music four poems by Paul Verlaine from the “Paysages tristes” section of Poèmes saturniens (1866). Bordes’s reordering and selection of these poems from Verlaine’s original sequence raise questions about their impact on the intertextual network created by the poet. Examining Bordes’s interpretations reveals a creative dialogue where the musical pieces reshape the narrative coherence and thematic unity of Verlaine’s texts. Additionally, this article explores in detail the themes of time and human presence within both Verlaine’s poems and ordes’s musical interpretations
« Le sens du mot flow » : analyse de la signifiance du rap par le texte et l’interprétation vocale
Full text linkCet article part du principe que la notion de « flow », quoiqu’elle soit répandue chez les rappeurs et les critiques de rap, est l’objet de stratégies définitionnelles variées. Je suggère une reconceptualisation du flow en notion poétique au croisement de l’artistique, du social et du modal, notamment à travers une théorie de la (des) manière(s) et de la transsubjectivité. À partir de l’emploi du mot par Rakim en 1987 et d’études parues dans les années 2000 et 2010, je vise à faire voir l’implication réciproque et nécessaire entre texte et interprétation qu’implique le mot flow et s’agissant de langage, son renvoi nécessaire au sens.This article starts from the premise that the notion of ‘flow’, though widespread among rappers and rap critics, is the object of varied definitional strategies. The objective is to integrate it into a study of the specific meaning, in an artistic context, of rap. Drawing on approaches of flow as technique, artistic individuation or aimed at representing precise parameters of vocal expression, I suggest that flow can be understood as the specific name of rap performance itself. Necessarily text and voice, it points to the signifying possibilities of the genre
