ATeM Archiv für Textmusikforschung
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UFPT: Trap. Storie distopiche di un futuro assente. Milano: AgenziaX, 2020. ISBN 978889892247
Full text linkDe la chanson et la poésie engagée à l’enseignement et la politique. Entretien avec André Gaulin, Québec avril 1994
Full text linkL’œuf et le cancan. Effets conjugués du texte et de la musique dans « La cane de Jeanne » et dans ses traductions en espagnol et en italien
Full text linkNous proposons une étude de cas sur la prosodie comme élément signifiant d’une chanson. Nous observons comment l’interaction entre texte et musique dans « La Cane de Jeanne » de Georges Brassens génère un discours spécifique sur le deuil, et comment Pierre Pascal et Beppe Chierici traduisent ce discours en espagnol et en italien. Les traducteurs doivent ajuster les paroles à une musique préexistante, ce qui implique des changements lexicaux. L’analyse comparative montre qu’ils mettent à profit les ressources de la langue cible selon leur propre sensibilité pour transposer la prosodie de départ. L’association du texte et de la musique est une contrainte à la fois formelle et sémantique.This article is a case study about the signifying of the prosody in a song. We aim to observe how the interaction between text and music in “La Cane de Jeanne” of Georges Brassens produces a specific discourse about grief, and how Pierre Pascal and Beppe Chierici translate it into Spanish and Italian. The translators have to fit the lyrics to the pre-existing music, which involves lexical changes. The comparative analysis shows that they take advantage of the resources of the target language according to their own sensibility to transpose the original prosody. The association of text and music is a both formal and semantic constraint.This article is a case study about the signifying of the prosody in a song. We aim to observe how the interaction between text and music in “La Cane de Jeanne” of Georges Brassens produces a specific discourse about grief, and how Pierre Pascal and Beppe Chierici translate it into Spanish and Italian. The translators have to fit the lyrics to the pre-existing music, which involves lexical changes. The comparative analysis shows that they take advantage of the resources of the target language according to their own sensibility to transpose the original prosody. The association of text and music is a both formal and semantic constraint
Gustav Mahler par Yves Bonnefoy : mise en poèmes du silence
Full text linkAmong the poems by Yves Bonnefoy (1923-2016) which refer to music, three refer to Gustav Mahler’s (1860-1911) work The Song of the Earth. However, the poems are striking in their use of the word “silence” and seem to depict moments which precede or follow music but never music itself. It appears that silence does play an important role in the part of Mahler’s work that Bonnefoy particularly appreciates. A reading of Bonnefoy’s criticism reveals that silence is also a pivotal element of what he calls the “music of words”. Mahler’s work thus appears to be a metaphor for this type of silence, which the poems illustrate.Parmi les poèmes d\u27Yves Bonnefoy (1923-2016) qui font référence à la musique, trois font référence au Chant de la terre de Gustav Mahler (1860-1911). Cependant, les poèmes font un usage étonnant du mot « silence » et semblent représenter des moments qui précèdent ou succèdent à la musique, mais jamais la musique elle-même. Il apparaît que le silence joue un rôle important dans la partie de l\u27œuvre de Mahler que Bonnefoy affectionne particulièrement. Une lecture des écrits critiques de Bonnefoy révèle le silence comme un élément central de ce qu\u27il nomme la « musique des mots ». L\u27œuvre de Mahler apparaît ainsi comme une métaphore de ce genre de silence, que les poèmes illustrent à leur tour.
Among the poems by Yves Bonnefoy (1923-2016) which refer to music, three refer to Gustav Mahler’s (1860-1911) work The Song of the Earth. However, the poems are striking in their use of the word “silence” and seem to depict moments which precede or follow music but never music itself. It appears that silence does play an important role in the part of Mahler’s work that Bonnefoy particularly appreciates. A reading of Bonnefoy’s criticism reveals that silence is also a pivotal element of what he calls the “music of words”. Mahler’s work thus appears to be a metaphor for this type of silence, which the poems illustrate
Zwischen ‚Musikalisierung von Sprache‘ und ‚Versprachlichung von Musik‘: eine Einführung
Full text linkThomas Pawlowski : Chanteuses. La chanson française au féminin. Grenoble : Glénat, 2021. ISBN 9782344049679. 240 pages.
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Tanz hören (?). Zur Versprachlichung von Tanz und
Full text linkIn the last two decades, the idea of extensive social participation and empowerment of people with special needs has become increasingly prevalent. In the context of such initiatives, audio description has become a common means of choice to give blind and visually impaired people access to media and performances that are naturally available to members of the sighted majority society. As a physical art, dance itself, although in most cases it is accompanied by music and produces a sound sequence itself, is probably primarily intended for the visual mode of reception. This article is concerned with how the audio description of dance performance recordings takes place and which visual and auditory elements motivate audio describers to use certain linguistic formulations. Approaches to answering the following questions will be presented: Does audio description itself have an aesthetic character in this context, or is it able to add a linguistic aesthetic dimension to the multimodal experience of dance and music? The case study of a French-language audio description of the dance performance Triton by Philippe Decouflé was chosen to provide answers to this question.In the last two decades, the idea of extensive social participation and empowerment of people with special needs has become increasingly prevalent. In the context of such initiatives, audio description has become a common means of choice to give blind and visually impaired people access to media and performances that are naturally available to members of the sighted majority society. As a physical art, dance itself, although in most cases it is accompanied by music and produces a sound sequence itself, is probably primarily intended for the visual mode of reception. This article is concerned with how the audio description of dance performance recordings takes place and which visual and auditory elements motivate audio describers to use certain linguistic formulations. Approaches to answering the following questions will be presented: Does audio description itself have an aesthetic character in this context, or is it able to add a linguistic aesthetic dimension to the multimodal experience of dance and music? The case study of a French-language audio description of the dance performance Triton by Philippe Decouflé was chosen to provide answers to this question.In the last two decades, the idea of extensive social participation and empowerment of people with special needs has become increasingly prevalent. In the context of such initiatives, audio description has become a common means of choice to give blind and visually impaired people access to media and performances that are naturally available to members of the sighted majority society. As a physical art, dance itself, although in most cases it is accompanied by music and produces a sound sequence itself, is probably primarily intended for the visual mode of reception. This article is concerned with how the audio description of dance performance recordings takes place and which visual and auditory elements motivate audio describers to use certain linguistic formulations. Approaches to answering the following questions will be presented: Does audio description itself have an aesthetic character in this context, or is it able to add a linguistic aesthetic dimension to the multimodal experience of dance and music? The case study of a French-language audio description of the dance performance Triton by Philippe Decouflé was chosen to provide answers to this question