ATeM Archiv für Textmusikforschung
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Christian-Louis Eclimont: Si Paris m’était chanté. Paris: Éditions Gründ, 2016. ISBN 978-2-324-01136-8. 222 Seiten.
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Lello Savonardo: Pop music, media e culture giovanili. Dalla Beat Revolution alla Bit Generation. Milano: Egea, 2017. ISBN 978-88-238-2190-3. 144 pagine.
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Jouer avec la forme : politique et poétique du jazz dans la prose et les chansons de Boris Vian
Get PDFThis article examines the multi-faceted influence of jazz music on Boris Vian’s writing process. As a jazz critic, a songwriter and a novelist, Vian did not merely write about jazz or use it as a prop. His writing displays a political conscience in tune with class and race issues as well as a strong measure of audacity and irreverence that characterized the music of the jazz artists he most admired. A closer look at his activity as a singer-songwriter and an analysis of his formal approach in chapter 32 of L’écume des jours reveal a disdain for the conventional and point to traces of Vian’s own musical practice transposed to the page
La figura del guappo e le sue declinazioni musicali dalla sceneggiata ai neomelodici
Get PDFStarting from the conviction that ‘malamusica’, with its songs set among the criminal milieus of Naples, properly lies within the ambit of Popular Music Studies, this article examines several Neapolitan songs which thematise the figure of the camorrista, and, in particular, the guappo, in different modes according to the musical genre of reference (canzoni di giacca, sceneggiata, macchietta). After a brief historical excursus and examination of a few representative cases, the analysis turns to the present day, taking up the particular phenomenon of neomelodic music, which, in some cases, has invited no small number of polemics due to its often ostentatious closeness — in its themes, models, and sources of inspiration — to the criminal organization of the Camorra