ATeM Archiv für Textmusikforschung
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Le macchiette interculturali di Renato Carosone
Get PDFThe article wants to demonstrate that some of Renato Carosone’s most successful songs, written together with Nicola Salerno in the 1950s (in particular “Tu vuò fa’ l’americano”, “Torero”, “Caravan petrol” and “‘O pellirossa”), are tightly inspired by the ironic and satirical portraits of the \u27macchietta napoletana’. Focusing on protagonists who attempt to imitate the behaviors or fashions of other cultures, the analyzed songs reveal an intercultural approach, based on a conception of cultures as distinct or even competing spheres. This attitude is very clear especially at the level of lyrics, also because the proclaimed opinions follow from the point of view of the ‘people’, whereas the music and, even more, the theatrical performances of Carosone’s formations sometimes create a more complex subtlety which can measure up to transculturality, as in the case of “Tu vuò fa’ l’americano”
Ritmi, suoni e contaminazioni culturali a Napoli
Get PDFThis paper focusses on the urban landscape of Naples and on the cultural vitality that has always characterized it. Naples is a complex and contradictory city, with many faces and many nuances. The city does not pause to be framed in a pattern that is unique, rational, firm, but escapes the predictable patterns to become a floating signifier, which moves in a hundred interpretations and a thousand stories. Naples is perhaps the emblem of the city in crisis, of the city as a crisis. As a gate to the South, a virtual bridge which creates openings, breaks and exchanges towards other worlds, as the centre of a strong marginality and spearhead of a cultural universe, Naples is expressed, however and always, as a purposeful and productive place where creativity, from ‘other’ worlds, allows to mark new tracks, unreleased cultural and artistic tracks. Tradition and innovation, local and global, particular and universal: without putting together these dimensions, it is not possible to approach the cultural, social and political study of this city. The Neapolitan artistic and cultural production, in its various forms, has always narrated, documented and represented the thousand faces of Naples, its segments, its systems, subsystems, stratifications and changes that have characterized the history of the city. Among the various communication forms, music is an essential active ingredient and resource of meaning in the social construction of people’s identities. Therefore, musical languages are a significant indicator of social and cultural transformations, and can be considered as a significant analytical category
Tra crimine e nostalgia: note sulla rappresentazione musicale e audiovisiva di Marsiglia
Get PDFBrowsing through films and TV series located in Marseille, we notice how this city is often provided with recurrent topoi : the charming and nostalgic frontier/harbour city where an (often multi-ethnic) community of gangsters, sailors, adventurers and prostitutes comes and goes and engages in usually illegal activities. Based on a sample of ca. 120 audiovisual texts, this article aims at emphasizing the consistency of significations conveyed by both visual and musical representations of the city of Marseille. As a case-study, the focus shall be the film Borsalino, possibly the perfect synthesis of the above-mentioned topoi both on a visual-narrative and a musical level
Black music e musicisti napoletani. Un’indagine introduttiva.
Get PDFThis paper aims at examining the intersections between the work of Neapolitan musicians and musics composed and performed by artists of African origins. Central in the analysis are three works published within five years (1976-1980): the second release of the band Napoli Centrale (1976); an opera from Roberto De Simone (1976); and Pino Daniele’s Nero a metà (1980). If, on the one hand, the work of James Senese presents strong ties with what has historically been defined as black music and Pino Daniele explicitly mentioned African-American music as his inspiration; on the other hand, Roberto De Simone’s work retains connections that are less visible but not less significant. In his Gatta Cenerentola (1976), he draws upon Sixteenth century vocal Moresca, a song cycle that narrates stories of musicians from Africa who were active in Naples at that time.Beginning with these three works means to reconstruct an intertextual network of meanings and symbols, spanning over a period of almost five centuries. By observing such network, what emerges is the figure of the Neapolitan musician as a transcultural artist whose activities gravitate around three main points: the struggle against racism, solidarities, and a sense of circular time that moves “from present to past and back again” (Said 1997, 29)
Sergio Secondiano Sacchi (Hg.): Multifilter. Mito e memoria del padre nella canzone. Roma: Squi(libri), 2017. ISBN 978-8885571020. 208 Seiten, 2 CDs.
Get PDFMusik – Sprache – (Sprach-)Bild. Zur Semiotizität italienischer barocker Gleichnisarien (2. Teil)
Get PDFThe aim of the present study is to describe some of the possible relations between music, language and verbal picture (or metaphor) which are given in the drammi per musica of the early 18th century and, especially, in four allegorical arias in Vivaldi’s opus La Griselda (1735). This paper sketches some aspects of the cooperation between librettist (Goldoni) and composer (Vivaldi) as well as the importance of metaphor for the interlinkage of music and language in such arias. The essay is divided up into two parts: the first part, which has been presented in ATeM 2 (2017), outlines the bipartite textual structure of the mentioned simile arias (metaphoric vs. literal stanza) which recalls the same two-piece structure of renaissance and baroque emblems. The second part which is presented in the following will focus on the interaction of poetic language, verbal image and Vivaldi’s music in the mentioned simile arias. Here it is explained why questions on musical semantics primarily require a theory of the sign occurrence before generalizations can be carried out on the level of sign systems. The contribution also sheds light on the central role of internal sign learning processes that may transcend arias, entire operas and other combined artworks
Le mystère Mélisande : une analyse sémiostylistique du personnage de l’opéra de Debussy
Get PDFMélisande, the central figure of Debussy’s opera (1902), uses verbal language as well as musical language. The present study intends to carry out a semiotic analysis of her character made of mystery and neurosis (as is usual with several female heroines in the second half of the nineteenth century). Relying on intersemiotic and stylistic devices, the analysis of various scenes in which Mélisande appears will show how Debussy’s Pelléas et Mélisande manages to combine text and music
