ATeM Archiv für Textmusikforschung
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Du salon au boulevard. Un aspect de la mélodie française entre 1870 et 1930
Full text linkWhile the Germanic Lied draws its roots from popular tradition and evolves towards the Kunstlied, French melody, born in refinement, reflects a lighter vein at the turn of the 20th century.In the post-war context after 1870, French music seeks an authentically nationalist aesthetic, free of Germanic influence. The nature of melody becomes an important area of exploration and research for composers. Inspired by romantic poetry but also by the literary movements of the late 19th century – Parnassianism and Symbolism – the genre appeals to an intellectual and artistic elite. Melody thus flourishes in concerts and in private Parisian salons.The historic and social context gives rise to a whole repertoire of political and nationalist songs that contain an element of banter or gouaille. Attracted by the songs of cabaret or boulevard, some composers, seeking to break out of the narrow confines of ‘salon’ melody propose a new direction for the genre.Melodies explore the humorous ironic, light-hearted or vulgar domains, occasionally verging on the sensual or bawdy. These works set to music unpretentious texts, occasionally written by the composers themselves.Among the composers of the ‘erudite tradition’ who are attracted by this light-hearted and popular vein, the most notable are Chabrier, Satie, Hahn and Poulenc, while several others adopt this trend more intermittently. The nature of the texts, the venues where they are performed and the popularity of the singers contribute to this renaissance of the melody genre.This article therefore evokes a little-known aspect of the development of melody in France after 1870
Musica di contrabbando: il dadaismo proto-punk degli Squallor
Full text linkBetween the ‘60s and ‘80s Italian music was strongly conditioned by two contrasting events: on the one hand, there was a censorship that often forced artists to modify the lyrics of their songs, from the attenuation to the distortion of the meaning, in order to avoid the risk of being banned from the diffusion channels. On the other hand, a parallel, underground and irreverent phenomenon, which was embodied in the name of a band: Gli Squallor. They are the only band in the history of Italian song who have managed to become a cult phenomenon without any advertising and outside the official sales circuit, but only through word of mouth and thanks to the effectiveness of a desecrating parody that went beyond the limits of respectability and the claim of modesty in that period
Wolfgang Gratzer / Christoph Lepschy (Hg.): Proben-Prozesse. Über das Entstehen von Musik und Theater. Freiburg i.Br./Berlin/Wien: Rombach, 2018. ISBN 978-3793099192. 242 Seiten.
Full text linkRivalités mimétiques entre les arts : musique/littérature
Full text linkThe comparative method in literature, as it has been conceived in the romantic milieu, has always considered analogy, similarity, exchange, as the main reference criteria in criticism. Such criteria are partly due to a political (and ideological) perspective that we tend to apply to the phenomenon of art production. Our reference model is in fact the modern social exchange of men and things in liberal society. Nevertheless, hermeneutic profitability in art is mostly based on distinction and mimetic rivalry
Aragon transi par le chant
Full text linkAragon, more than any other French poet, has been interpreted in song some two hundred times. Why is music so important in his poetry? During the war (1939-1945), he himself encouraged the resistance fight with his poems, written as an inspiration to restore morale, and the memory of the nation’s voice; in the communist party as well, singing was a way to come together and maintain hope. Music, generally speaking, stands beyond truth and lies, the real and the imaginary. But this oral style, cultivated by the poet-novelist, mingles with orality in a darker sense, illustrated in psychoanalysis by the sufferings of primal love, including jealousy and self-destruction, which provides the framework for the novel La mise à mort (1965)
Chanter le poète, et inversement. Evaristo Carriego dans le tango argentin
Full text linkThe once-forgotten poet Evaristo Carriego, since rediscovered by Jorge Luis Borges in his eponymous work Evaristo Carriego (1955), is considered today to be one of the leading Argentinian modernist poets, but also, and most importantly, the inventor of a ‘poetry of the outskirts’ and the creator of one of the major trends in the poetics of contemporary tango, tango canyengue (‘rabble’ tango). This article traces the singular trajectory of the poet: first, a singer of the ‘low life’ of the outskirts of Buenos Aires at the end of the 19th century, of the misfortunes and debauchery of outlaws, prostitutes and the working class; inventor of a ‘cantatory’ poetry, which draws on popular song and dance of the time, and which we propose to consider as a form of tanguera poetry. Secondly, his influence on the lyricists of contemporary tango leads us to consider him as the precursor of tango canyengue. Finally, he became a founding and guardian figure of contemporary tango, the object of tributes from the greatest composers, and whose name alone has become a poetic and musical trope that invokes a picturesque imagination of the end-of-the-century suburbs of Buenos Aires. Hence, we are faced with an intermedia corpus, that borrows from the world of popular song to produce a written, erudite and precious poetry, and which in turn becomes one of the main sources of popular song. Carriego’s tanguera poetry effectively interlaces word, sound and movement. This paper thus analyses the transmedia trajectory along which the poet sings the tango, and the tango then the poet, in a play of ‘inversions’ that are indicative of the reciprocal exchanges, transfers and mediations occurring between poetry, song and music, both textual and figurative, from the end of the 19th century to the present day. At the same time, we examine how song, music and dance can ‘inhabit’ poetry, and poetry ‘inhabit’ song and music, without constituting, strictly speaking, poetic material or an element of repertoire. It also shows how an authoritative author such as Borges has contributed to shaping the tango tradition by inventing its own genealogy
Las penas de amor entre la (morfo-)sintaxis y la semántica. Un análisis literario-lingüístico en base a la letra de la canción pop “Duele” de Reik, Wisin & Yandel (2019)
Full text linkIn this paper, I will propose a complementary approach to the study of (pop) song lyrics, namely a literary-linguistic one, analysing how lovesickness manifests itself through syntactic and semantic roles in the Spanish-speaking lyrics of the pop song “Duele” by Reik, Wisin & Yandel, published in 2019. First of all, I will present the research method, i.e. literary linguistics, as well as the two objects of investigation: the lyrics of a pop song and the emotion ‘lovesickness’. After that, I will discuss the (morpho-)syntactic and semantic categories/concepts that will be applied when carrying out the literary-linguistic analysis, focusing on dependency grammar and semantic roles
