ATeM Archiv für Textmusikforschung
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Autour du Boléro de Ravel. Paroles politiques, mort du sens, débat sur l’âge de la retraite et casserolades
Full text linkThe structure of Ravel’s Boléro, based on two parallel and repetitive lines, that of the ostinato and that of two melodic themes, was revisited by Francis Blanche and Pierre Dac in a parodic sketch, Le parti d’en rire. Placing text on each of these two parallel lines, text chanted on the ostinato and sung on the melodic themes, they create a real cacophony, a blurring of meaning. And nolens volens they thus open the way to a critique of political discourse, which has become inaudible, as in certain debates in the French National Assembly, which end in an impotent hullabaloo.The structure of Ravel’s Boléro, based on two parallel and repetitive lines, that of the ostinato and that of two melodic themes, was revisited by Francis Blanche and Pierre Dac in a parodic sketch, Le parti d’en rire. Placing text on each of these two parallel lines, text chanted on the ostinato and sung on the melodic themes, they create a real cacophony, a blurring of meaning. And nolens volens they thus open the way to a critique of political discourse, which has become inaudible, as in certain debates in the French National Assembly, which end in an impotent hullabaloo
Rendre un texte musical et une musique textuelle
Full text linkCe texte propose de poursuivre une réflexion déjà éprouvée par plusieurs compositeurs et compositrices autour du paradigme Texte-Musique. Néanmoins, le texte focalisera d\u27abord cette réflexion paradigmatique à propos d\u27une création musicale qui est en cours d\u27élaboration, une pièce qui s\u27intitule Avant-Scène pour flûtes (classiques, et traditionnelles du Japon) à partir d\u27un texte composé pour l\u27occasion. Ensuite, pour donner un peu d\u27intérêt scientifique à ce travail, le texte s\u27intéressera à des exemples de rapports Texte-Musique au cours de l\u27histoire, pour finalement se concentrer sur une pièce, la Sequenza III (1965) de Luciano Berio, pour voix seule, qui m\u27a particulièrement inspirée dans ma réflexion compositionnelle. Enfin, dans une tentative d\u27ouverture, j\u27exposerai quelques autres compositeurs et compositrices qui ont également expérimenté de façon intéressante ce rapport Texte-Musique.The present article explores the relationship between text and music in a workpiece proposal for flutes (classical and Japanese traditional) called Avant-Scène. At the same time, we develop the historical aspect of the text-music paradigm, paying particular attention to Luciano Berio’s piece Sequenza III (1965), for voice, which inspired me in my own creation
Enjeux et stratégies de la traduction chantée : Notre Dame de Paris
Full text linkMore than 25 years after the premiere of Notre Dame de Paris (Plamondon; Cocciante, 1998), we examine this ‘mass phenomenon’, which continues to enjoy international success, at least in part, as a result of translation. Focusing on the Italian adaptation by Pasquale Panella (2002), we analyze the translational strategies employed to create a singable version in Italian. This study highlights the gap between a purely linguistic analysis of the lyrics and an integrated analysis that considers the interplay between music and language, and which necessitates specific translatorial attention.More than 25 years after the premiere of Notre Dame de Paris (Plamondon/Cocciante 1998), we examine this mass phenomenon, which continues to enjoy international success, at least in part, as a result of translation. Focusing on the Italian adaptation by Pasquale Panella (2002), we analyze the translational strategies employed to create a singable version in Italian. This study highlights the gap between a purely linguistic analysis of the lyrics and an integrated analysis that considers the interplay between music and language, and which necessitates specific translatorial attention
“Si vene ‘o Mammone”. Storia, caratteristiche e funzioni di un rituale magico: la ninna nanna
Full text linkNelle antiche civiltà della Magna Grecia, le ninna nanne erano considerate parte integrante della cura dei bambini: ad intonarle erano le madri, altre donne della famiglia oppure le nutrici, con lo scopo di calmare e indurre al sonno i neonati. Platone, ad esempio, racconta di come le madri, per far addormentare i propri figli, li muovessero tra le braccia e intonassero qualche melodia, quasi incantandoli. Queste nènie erano anche considerate un modo per proteggere i bambini da influenze negative e forze maligne durante il sonno: ne è un esempio il lamento di Danae, versificato da Simonide, nel quale la madre prova a distrarre il piccolo Perseo dai pericoli del mare al quale sono abbandonati, cullandolo e intimandogli di dormire. Circa due millenni dopo, nel XVI secolo, un altro poeta, Giovanni Battista Del Tufo, nel suo Ritratto delle grandezze, delizie e maraviglie della nobilissima città di Napoli, definisce le ninne nanne come il «modo del cantare de le nodrici napoletane nel connolare i putti per farli dormire ». Ancora, secoli dopo, nel 1979 è il cantautore partenopeo Pino Daniele a riprendere il genere attraverso il suo secondo album omonimo con la sua canzone « Ninnanàninnanoè ». Dall’antichità classica all’età moderna e contemporanea, le ninne nanne sono sopravvissute, si sono evolute, hanno cambiato idioma e tuttavia sembrano aver conservato numerose delle loro ancestrali caratteristiche. Tra queste, ad esempio, sembrano riconoscersi, quasi come costanti, un clima "magico" e un valore apotropaico, e verrebbe da chiedersi se tale aspetto possa essere considerato come valore fondante e caratterizzante di questo genere di canzone. Il presente lavoro, nato da una collaborazione tra due discipline (Filologia classica e Sociologia della musica), si propone di portare avanti un\u27indagine storico-letteraria sul tema attraverso uno studio diacronico delle fonti che tramandano, in maniera diretta o indiretta, quanto può essere ascritto al genere "ninna nanna" nel bacino mediterraneo, dalla Grecia antica alle sue colonie nel meridione italiano, con particolare attenzione, infine, a quelle sviluppatesi nell’area partenopea. In the ancient civilisations of Magna Graecia, lullabies were considered an integral part of childcare: They were sung by mothers, other women in the family or nurses, with the aim of soothing and inducing babies to sleep. Plato, for instance, reports how mothers, in order to put their children to sleep, would move them in their arms and intone some melody, almost enchanting them. These ‘nænias’ were also considered a way to protect children from negative influences and malign forces while they were sleeping: An example is the Lament of Danae, versified by Simonides, in which the mother tries to distract little Perseus from the dangers of the sea to which they are abandoned, by rocking him and begging him to sleep. About two millennia later, in the 16th century, another poet, Giovanni Battista Del Tufo, in his Ritratto delle grandizze, delizie e maraviglie della nobilissima città di Napoli (Portrait of the greatnesses, delights and marvels of the most noble city of Naples), defines lullabies as the “modo del cantare de le nodrici napoletane nel connolare i putti per farli dormire” (“the way of singing of the Neapolitan nuns in lulling the cherubs to sleep”). Again, centuries later, in 1979, it was the Neapolitan singer-songwriter Pino Daniele who revived the genre through his second album of the same name with his song “Ninnanàninnanoè”. From classical antiquity to modern and contemporary times, lullabies have survived, evolved, changed idioms and yet seem to have retained many of their ancestral characteristics. Among these, for example, a magical atmosphere and an apotropaic value seem to be recognised almost as constants, and one might wonder whether this aspect can be considered as a founding and characterising value of this genre of song. The present article, the result of a collaboration between two disciplines (Classical Philology and Sociology of Music), proposes to carry out a historical-literary investigation on the subject through a diachronic study of the sources that hand down, directly or indirectly, what can be ascribed to the lullaby genre in the Mediterranean basin, from ancient Greece to its colonies in southern Italy, with particular attention on those that developed in the Neapolitan area
“Dall\u27altra parte del cancello”. La rappresentazione della nevrosi e della follia nel teatro-canzone di Giorgio Gaber
No full textThis study aims to analyze the way in which Giorgio Gaber’s ‘teatro-canzone’ interpreted the themes of alienation, madness, and personality splitting. These themes, already present in the less ‘committed’ period of the sixties, in comic songs like “Goganga” or already more ‘hallucinatory’ like “Com\u27è bella la città”, never disappear from his artistic horizon, but they reach their realization the more mature in the shows of the early seventies, in particular Far finta di essere sani, influenced by Ronald Laing\u27s theory of the divided self and capable of revealing the potential schizophrenic tension that lies beneath everyday gestures. The study focuses above all on the performative component of the pieces analyzed and on the acting skills of the artist, capable like few others of bringing together the art of song with that of theater. Through the detailed analysis of a limited number of cases, I intend to show how the set of lyrics, music and stage performance collaborate to make these songs particularly accomplished representations of the lability of the border between normality and madness.This study aims to analyze the way in which Giorgio Gaber’s ‘teatro-canzone’ interprets the themes of alienation, madness, and personality splitting. These themes, already present in the less ‘committed’ period of the sixties, in comic songs like “Goganga” or already more ‘hallucinatory’ ones like “Com’è bella la città”, never disappear from his artistic horizon, but they reach their most mature realization in the shows of the early seventies, in particular Far finta di essere sani, influenced by Ronald Laing’s theory of the divided self and capable of revealing the potential schizophrenic tension that lies beneath everyday gestures. The study focuses above all on the performative component of the pieces analyzed and on the acting skills of the artist, capable like few others of bringing together the art of song with that of theater. Through the detailed analysis of a limited number of cases, I intend to show how the set of lyrics, music and stage performance collaborate to make these songs particularly accomplished representations of the lability at the border between normality and madness
Benjamine Weill : A qui profite le $ale ? Sexisme, racisme et capitalisme dans le rap français. Paris : Payot, 2023. ISBN 9782228932950. 318 pages.
Full text linkL’opera italiana tradotta in tedesco: l’esempio pionieristico de La libertà contenta ovvero Der in seiner Freiheit vergnügte Alcibiades di Agostino Steffani (1693/1697)
Full text linkIn the history of the translation of Italian opera into other languages, especially German, singable translations adapted to the original music are rare in the 17th century, both because of the lack of experience in such a complex translation process and the rare circulation of operatic manuscript scores. A very interesting case study are the operas composed by Agostino Steffani for the court of Hanover, which were translated into German a few years later in Hamburg and other German cities. In particular, this article focuses on the opera La libertà contenta (1693), whose translation by Gottlieb Fiedler shows an absolutely pioneering approach for its time, especially with regard to the translation of the recitatives and the respect of the parameters of singability in the arias.
In the history of the translation of Italian opera into other languages, especially German, singable translations adapted to the original music are rare in the 17th century, both because of the lack of experience in such a complex translation process and the rare circulation of operatic manuscript scores. A very interesting case study are the operas composed by Agostino Steffani for the court of Hanover, which were translated into German a few years later in Hamburg and other German cities. In particular, this article focuses on the opera La libertà contenta (1693), whose translation by Gottlieb Fiedler shows an absolutely pioneering approach for its time, especially with regard to the translation of the recitatives and the respect of the parameters of singability in the arias.In the history of the translation of Italian opera into other languages, especially German, singable translations adapted to the original music are rare in the 17th century, both because of the lack of experience in such a complex translation process and the rare circulation of operatic manuscript scores. A very interesting case study are the operas composed by Agostino Steffani for the court of Hanover, which were translated into German a few years later in Hamburg and other German cities. In particular, this article focuses on the opera La libertà contenta (1693), whose translation by Gottlieb Fiedler shows an absolutely pioneering approach for its time, especially with regard to the translation of the recitatives and the respect of the parameters of singability in the arias.In the history of the translation of Italian opera into other languages, especially German, singable translations adapted to the original music are rare in the 17th century, both because of the lack of experience in such a complex translation process and the rare circulation of operatic manuscript scores. A very interesting case study are the operas composed by Agostino Steffani for the court of Hanover, which were translated into German a few years later in Hamburg and other German cities. In particular, this article focuses on the opera La libertà contenta (1693), whose translation by Gottlieb Fiedler shows an absolutely pioneering approach for its time, especially with regard to the translation of the recitatives and the respect of the parameters of singability in the arias
Victor Hugos Auffassung von Musik in seinen Gedichten
Full text linkThe article examines the idea of music Victor Hugo developed in his poems. Focusing on his programmatic poem “Que la musique date du seizième siècle” published in Les Rayons et les Ombres in 1840, I argue that Hugo’s view of music has a historical perspective and an anthropological one. To Hugo, in both cases music has a healing and civilizing potential. In historical terms, Hugo locates, the beginning of real music in the 16th century. Palestrina in particular is praised as a genius. He represents the beginning of modernity in the Renaissance. Later, in romanticism, Beethoven embodies the musical spirit of the time. In anthropological terms, music is determined by its affective potency, its proximity to nature and the unconscious, its ability to express the ineffable and the transcendent
„Soleils couchants“ –Verlaines Neuentwurf des Melancholiegedichts als musikalische Miniatur
Full text linkPaul Verlaine’s “Soleils couchants” (from Poèmes saturniens) is a pioneering work that unveils a lyrical paradigm shift. While the author draws on traditional literary models (especially Hugo and Baudelaire), he simultaneously transcends them by boldly reworking the genre of melancholy poetry. This distancing is particularly evident in Verlaine’s departure from a logically structured discourse on melancholy: rather than being the subject of profound reflection, melancholy emerges as anindeterminate, ineffable état d’âme that eludes conventional language and is conveyed primarily through the poem’s emancipated lyrical musicality.Paul Verlaine’s “Soleils couchants” (from Poèmes saturniens) is a pioneering work that unveils a lyrical paradigm shift. While the author draws on traditional literary models (especially Hugo and Baudelaire), he simultaneously transcends them by boldly reworking the genre of melancholy poetry. This distancing is particularly evident in Verlaine’s departure from a logically structured discourse on melancholy: rather than being the subject of profound reflection, melancholy emerges as anindeterminate, ineffable état d’âme that eludes conventional language and is conveyed primarily through the poem’s emancipated lyrical musicality
Translation and Performance – Nina Simone sings Aznavour and Brel
Full text linkIn this paper changes in the translation process related to cultural and social aspects will be explored by linking Translation Studies to Performance Studies. A strong focus is on shifts that occur due to a change in the performing artist and their individual performance styles, which are likely to have influenced the songs and lyrics. To do this, two songs will be examined that were translated from French to English by different lyricists/translators in the early 1960s and performed in the translated versions by Nina Simone. The songs are Charles Aznavour’s “Il faut savoir” (1961) and Jacques Brel’s “Les désespérés” (1965). The first was translated as “You’ve Got to Learn” (1962), the second as “The Desperate Ones” (1968). Through these songs, it is possible to scrutinize different performance styles and artists in the respective original versions and the modifications in the translations.This paper aims to link Translation Studies to Performance Studies, to explore cultural, social and political aspects and any changes thereto caused by the translation process. To do this, the focus will be on shifts due to a change in performing artist and their individual performance styles and public images, which are likely to have influenced the song and its lyrics.
As an example the paper centres around two songs that were both translated from French to English by different translators (respectively lyricists) in the early 1960s and performed in the translated version by Nina Simone. The first one is Charles Aznavour’s Il faut savoir (1961), which became known as You’ve got to learn (1962); the second Jacques Brel’s Les désepérés (1965), translated as The desperate ones (1969). This choice allows to scrutinize two very different performance styles and artists in the respective original versions and how their work was modified to fit a very different artist and genre in the translations. In addition to this, the question arises if the switch from male to female artist caused additional shifts, and if so, how this was dealt with.
The paper is based on the principle that Translation Studies have undergone several turns over the past decades and continue to do so. The sociological turn enlarged translation research to include the people behind the translations and their social networks. Taking this as a starting point, the next step is the performative turn, which, as Michaela Wolf points out “marks a movement away from words, artefacts and textual research towards the understanding of the performative processes of cultural practices” (2017:30). The paper uses this premise to analyse the importance placed on the performing artist and their influence on the translation process and final product