ATeM Archiv für Textmusikforschung
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Les bruits de Marseille
Get PDFThis study focuses on two songs dedicated to Marseilles; their large chronological span testifies to the evolution of the popular genre called “chanson”. Each song combines an individual and a collective story related to Marseilles. The vibrant city features in the varied and forceful auditory sensations (whether melodious or cacophonic) it provides to its inhabitants, who can either be delighted or infuriated by them but cannot escape them. Both songs also highlight the continuous and intriguing connection between Marseilles and the art of singing, a polysemiotic art. Marseilles, which is both a port and a city, is perceived as a space filled with sounds so that its depiction opens up to metatextuallevel: the subject of the song mirrors the song itself in an ambiguous and symbolic way which challenges a purely mimetic approach. The din of the city and the notorious volubility of its inhabitants (called tchatche by the natives) are intertwined, caught in an enthralling urban and musical trap
Neri a metà. Napoli Centrale... oltre Napoli
Get PDFThe name of the band Napoli Centrale is a metaphor: it evokes the station - the point of departure and arrival of migrants, a black market place, a place for exchange, a meeting place, a place where the half-black James Senese invented the Neapolitan jazz-fusion in the 1970s, where the nero a metà Pino Daniele was at the beginning of his career. In this article, we will trace how this experimental sound is a rebellion against racism, precarity, poverty, exploitation, the condition of total neglect in the southern areas of Italy and also the global South. From the analysis of the lyrics and paratexts we will try to identify the main elements of an original jazz fusion sound in the Neapolitan language
Musica e coscienza nella Napoli dagli anni Novanta a oggi: dub, reggae e rap precursori delle nuove dinamiche di migrazione e transculturalità
Get PDFIn the Neapolitan social atmosphere of the nineties, new dynamics of creolization invaded the roads with the arrival of the non-community immigrants, which started a slow journey toward a surprised city, pleasant and exploitative at the same time. Some writers related the arrival of this new south. Along with some dub, reggae and rap music groups, they understood the uneasiness of the migrant, a feeling similar to that of the Neapolitans themselves. Unemployment, marginalization and the absence of government institutions were sung in a nascent transcultural atmosphere. This work presents an analysis of the literary and social significance of the songs written by the Neapolitan groups involved in this dynamic of protest and commitment against intolerance and racism. This musical struggle continues today, reporting the fundamental importance of and the need for attention to themigration issue
“Concerto senza frontiere”: il Sud del mondo si ritrova a Napoli. Integrazione e transculturalità nella canzone napoletana odierna
Get PDFAs a crossroad of different cultures, Naples occupies a culturally relevant role in the Mediterranean. Once land of emigration, the city has now become a land of immigration, a cosmopolitan metropolis where different peoples live together in a transcultural context. The recent Neapolitan music describes this contemporary process of integration, recounting the social and cultural changes. Mixing traditional popular rhythms with new sounds and using functional code-switching, the Neapolitan song can therefore be considered a typical example of world music. The article, based on a corpus of 15 songs from 1993 to 2017, aims to highlight and analyze the characteristic subalternity of southern Italy as an element of connection with other Mediterranean populations; the image of the Mediterranean Sea as connecting point between cultures; the process of integration and peaceful coexistence as themes of recent Neapolitan songs
Stylisations phocéennes : Soprano et Marseille
Get PDFMarseilles is the hometown of the French rap star Soprano and it plays a key role in his records: Puisqu’il faut vivre (2007), Cosmopolitanie (2014), L’Éverest/ (2016). This study deals with the intriguing process of the stylization of Marseilles in the music of Soprano. The realistic aspects of the representation of Marseilles are not to be neglected but are probably not the most important point of Soprano’s creative work. Claiming and boasting his urban origins contribute to shape the ethos of a genuine rapper belonging to a multi-ethnic and deprived city, known for being home to many African immigrants. Marseilles gives its flesh and identity to an artist willing to create various links through his work: with his family, his mates, all of them being an image of his public. Soprano coined the expression Cosmopolitanie, a portmanteau word mixing the words cosmopolitan and litany, which refer both to religious music, faith, hope and complaint. Marseilles is thus lyrically recreated
Rainer Simon: Konzert der Sinne. Dimensionen einer phänomenologischen Analyse der Wahrnehmung von Musikaufführungen. Freiburg i. Br./Berlin/Wien: Rombach Verlag, 2018. ISBN 978-3793098737. 423 Seiten.
Get PDFApprendre à écouter : Anatomie de l’écoute de TM+ et Grand Magasin
Get PDFTM+ and Grand Magasin create a spectacle in order to explore the relation between music and text and to think about the experience of listening to music. Through a naive and referential listening, they encourage the public to define music and to understand what kind of pleasure they take in a concert. Moreover, it becomes clear that the text is sometimes a help for understanding the music and sometimes in competition with it. Lastly, the text suggests that the concert is a kind of ritual and that the pleasure conveyed by music is the pleasure of being together. The text is a means to include every member of the audience in this ritual: without it, people may feel excluded
Barbara, femme coûte que coûte. Regard psychanalytique
Get PDFPsychoanalysis has always needed myths and literature to explain the mysteries of human psychology. This is particularly true for the feminine part of our personality. By means of autobiographical statements and song texts by Barbara, the author shows how this French singer and poet has succeeded in putting images and words on the feminine: receptiveness, concavity, affectivity, sensibility, sensuality, etc. But Barbara’s work also testifies to a subversion of the feminine following a traumatic sexual experience, which then could turn into a form of melancholy