ATeM Archiv für Textmusikforschung
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L’âge d’or de l’échantillonnage dans le rap: 1982-1992
Get PDFDigital sampling has provided new creative opportunities for DJs and hip-hop producers since inserting a ‘portion’ of a piece of music into a new piece – in its original form or after modifying some of its parameters – always creates specific effects. However, this practice has undermined the rules of intellectual property and as a consequence, as early as 1991, sampling became synonymous with piracy and those who practiced it were heavily condemned. In the final analysis, while it encouraged rappers to develop other forms of creativity, this judgment eventually closed the door on a particularly fruitful way of conceiving music
Jean-Louis Garitte: Brassens. Mais où sont les mots d’antan? Paris: Atlande, 2017. ISBN 978-2-35030-487-8. 761 Seiten.
Get PDFPoésie et musique chez Baudelaire et Verlaine
Get PDFThis article investigates the relationship between poetry and music using Baudelaire’s examination of Richard Wagner’s music as an example. Starting from the question of the ‘translatability’ of music into language, which Baudelaire himself poses on the basis of the Lohengrin prelude, the article fundamentally questions the possibility of an association between the two arts, arguing that such an association, if it does not want to remain purely metaphorical, seems possible at best in the area of a ‘contact zone’, in which the logical-semantic references recede into the background or assume a high degree of generality, while at the same time formal structures can be designed in such a way that the abstract statements are thereby ‘represented’. This is illustrated by the example of two poems byBaudelaire (“La musique”) and Verlaine (from Romances sans paroles)
Lello Savonardo: Sociologia della musica. La costruzione sociale del suono dalle tribù al digitale. Torino: UTET Università, 2010. ISBN 978-8860082473. 288 pagine.
Get PDF‹ Crise de mètre ›. Le statut de la mesure en poésie et en musique autour de 1900
Get PDFIn the last years of the 19th century, poetic forms as well as musical forms can be observed to have undergone a profound change with regard to the manner of structuring the flow of time. After having observed how in the course of the century and on both sides rhythm has come to break free from measure, the present article seeks to demonstrate that the ‘crisis of metre’ experienced by both art forms, rather than depending on the influence of one on the other, is to the contrary the symptom of a more profound change in the relationship with time, which the arts account for, each in its own fashion
Sur un motif rythmique en musique, en vers et en prose : le contretemps
Get PDFThe article aims to study the phenomenon of the offbeat (selected both as a formal motif and as a thematic motif ) from both a rhythmic and an existential point of view. In the modern age, we are witnessing the emergence of a reflexive awareness, not only of the facts of the mind, but also of the movement of the body and its accidentals. After having clarified, with Rousseau in support, the notion of offbeat (in its dual meaning of ‘sense’ and ‘direction’), we propose to examine the various manifestations of this process in literature, theater, and music. Among the musicians figure Wagner and Debussy; among the playwrights, Beckett; among the poets Baudelaire; among the novelists, Flaubert and Prous
