ATeM Archiv für Textmusikforschung
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Musicalité de la parole, mise en musique du texte. Fonctions de la ‹ poésie musicale › et de sa mise en musique dans la tragédie en musique
Get PDFLully’s and Quinault’s tragédie en musique raises the question of the linkages and coordination between two creative processes in this unique genre. On the one hand, music derives its legitimacy to a large extent from poetry. On the other, a metrical and musical analysis expanding on the account of Le Cerf de la Viéville demonstrates a range of particularities in the structuring of poetry in these works, which at times adapts to pre-existing music, and more frequently anticipates it. Mise en musique, the setting of words to music, is generally in line with poetic dynamics. However, the use of its own means allows it to introduce additional semantic content, marking the strengthening of its autonomy within the artistic system
Le rapport entre langue et musique du point de vue linguistique
Get PDFThis article, which aims to bridge the gap between musicology and linguistics, deals with the interactions of language and music. Its starting point is the question of which phonological and especially prosodic characteristics of a language come into play when it is sung, i.e. when it is subject to musical specificities. First, the concept of ‘cantability’ will be critically examined and its essential definitional elements discussed. These form the methodological basis for the musicological and linguistic analysis of opera arias in German, French, and Italian, in the frame of a research project. This project will subsequently be placed in the interdisciplinary context of the cantability of languages, the interactionof language and music, and the interaction between composer, librettist, and singer
Au-delà de la traduction. Chanter Jacques Brel en italien: Giorgio Gaber, I borghesi (1971)
Get PDFThis article analyses Jacques Brel’s influence on Giorgio Gaber’s LP I borghesi, published in 1971. After defining Gaber’s role in the early cantautori movement and his stance in the political debate of the late sixties and seventies, this paper mainly focuses on the songs adapted from Brel’s “Ces gens-là”, “Les bourgeois” and “Jef”. The fact that neither Gaber nor his co-author Sandro Luporini spoke French fluently allows us to investigate the fact that (and the ways in which) the adaptation of a song can draw inspiration from music and interpretation rather than the mere translation of the lyrics
“La vérité est une espèce menacée”. Jérôme Minière’s Quest for Meaning in an Age of ‘End Times’ Spirituality
Get PDFJérôme Minière’s song “La vérité est une espèce menacée”, first released online on January 11, 2018, strikes the listener by its profound interdependence of text, music, and interpretation. Text, music, voice, programming, instruments, editing, mixing, and clip making bear the same name, Jérôme Minière, who has rightly been acclaimed as one of today’s particularly promising multitalents. Compared to the parameters of popular music, the song is atypical in that it is not sung but recited. Its floating tonality corresponds with the fragile construction of the text while the video clip underlines the impression of fragmentation and flow perfectly in tune with the rhythm of the music and the spoken word. Altogether the song evokes an existential journey from metaphysical and societal crisis to arrival at a moment of potential becoming, an ‘end times’ spirituality, relative and ambivalent
Gianpaolo Chiriacò: Voci nere. Storia e antropologia del canto afroamericano. Milano: Mimesis, 2018. ISBN 978-8857548050. 214 pagine.
Get PDFRoland Barthes : musique et poésie
Get PDFIt has often been asked why poetry occupied a secondary place only in Roland Barthes’ work. What if the explanation were related to the separation of poetry and music? His diploma thesis of higher studies in 1941, which he devoted to “Evocations and Incantations in the Greek Tragedy”, shows how sensitive the young Barthes was to the profound union of words and sounds. This harmony between the arts allowed Aeschylus to call out to the dead and bring them back from the underworld. But now that it is no longer possible to believe in the omnipotence of poetry set to music, all that remains for Barthes is to explore its distant avatars: prayer, prosody, magic, and fiction
Bernhart, Walter: Essays on Literature and Music (1985–2013). Ed. Werner Wolf. Leiden/Boston: Brill, 2015. ISBN 978-90-04-30270-9. 503 Seiten.
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Le wagnérisme de Baudelaire et Mallarmé
Get PDFThis article analyses the reception of Wagnerian music by Baudelaire and Mallarmé, at two crucial moments in the 19th century in France, in terms of the evolution of musical poetics and its concretiza- tion in literature. Both of them, albeit in different ways, have a well-known admiration for Wagner. Yet, these two great innovators of French poetry also avail themselves of the German composer’s mu- sic to reflect on their own aesthetic ideas. Thus, Wagner is literarised by Baudelaire while Mallarmé, faced with the powerful Wagnerian sound, calls for a silent music emanating from a deconstruction of the syntactic and formal order
