ATeM Archiv für Textmusikforschung
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Il beat, la melodia e il dialetto napoletano nei testi dei 99 Posse: dai retaggi popolari alle influenze d’Oltreoceano
Get PDFThe following paper focusses on the transversal use of dialect and musical influences in songs by the group 99 Posse. Formed in the 1990’s, this is one of the most representative bands of the underground Neapolitan music scene. They are part of a kind of nouvelle vague partenopea that begins in the 1970s with the amazing band Napoli Centrale and continues until nowadays with the new musical collective called Terroni Uniti. I will underline the evidence of the transcultural nature of the 99 Posse compositions, analyzing three of the most important songs of their career. The first is the masterpiece of the band: “Curre curre guaglió”, the soundtrack of the ‘90s Italian rebel generation.The second song is “S’addà appiccià”, an original composition full of religious and pagan references that are typical of the ancient south Italian culture, revised by 99 Posse to spread messages against the corruption of the political system. The third is “Napolì”, a very nice picture of the transcultural aspect of the city of Naples, painted through the sounds and the words of this beautiful composition
Fernand Hörner / Ursula Mathis-Moser (Hg.): Das französische Chanson im Licht medialer (R)evolutionen / La chanson française à la lumière des (r)évolutions médiatiques. Würzburg: Königshausen & Neumann, 2015. ISBN 978-3826052316. 262 Seiten.
Get PDFLe migrazioni musicali della cantastorie Etta Scollo: trenta anni di canzoni nomadi tra i generi e le culture
Get PDFFor decades the Italian singer and songwriter Etta Scollo, born in Catania in 1958, has been living in Germany after moving from Sicily to Turin, then to Vienna and touring for an intense period through the US and Europe – always coming back, though, to her home island in terms of creating music as well as of performing in public on site. In her musical work, the absence of a place is paradoxically intermingled with a strong attachment to it, as her compositions oscillate between classical music, jazz, and avant-garde pop. While telling personal stories and composing a transmedia-related mix of stylistic devices and poetic elements, Scollo’s work displays an extraordinary openness with regard to other genres and cultures.By recalling the migratory past of the Sicilian island and Catania –birthplace of the romantic composer and father of the bel canto Vincenzo Bellini (1801-1835), of Sicilian folk songs (including the cunti, the tarantella, etc.) and the traditional use of special instruments (such as scacciapensieri, ciarameddu, tambureddu, guatrara, etc.) – Scollo not only intends to highlight the suffering of Sicilian people, but also points out their unfailing poeticity and authentic aesthetic potential. Focusing on a total hybridity and transmitting a genuine and dynamic transcultural movement, her suggestive songs can be analyzed productively by referring to the nomadism first envisioned by the French poststructuralists Gilles Deleuze and Félix Guattari (Teatrise on Nomadology, 1986 [1980]). Scollo’s texts describe and sing about an intriguing poetry of displacement and mobility, rooted in history and future-oriented at the same time. From this narrative and its empathic and syncretistic ethos emerges a musical oeuvre that is highly intellectual and spans thirty years of prolific performance to this day. Its stylistic integrity is based on various crossover devices and pastiche techniques which profess adifferent, postmodern freedom and deal with dislocation, musical migrations and with shifts into a global world, without homogenizing or reducing cultural values
Rovazzi e la canzone sui social network
Get PDFThe first gold record in Italy obtained exclusively through streaming playings is Andiamo a comandare by Fabio Rovazzi, a young youtuber extremely popular among teenagers. The fact that a youtuber and not a singer received such an award is a signal of the new ways in which Italian teenagers perceive and consume music today: video streaming affects music consumption as much as audio streaming. This essay aims to analyze the three songs Rovazzi has released so far, considering the three elements that contribute to his success: music, lyrics, and video. While the songs themselves rely heavily on Electronic Dance Music (EDM), rap, references to the internet, social networks and slang used by youngsters, the videos seem to create a subtler connection with the viewers who know social networks well and enjoy an active ‘second’ life with their help. Moreover, the videos complete the songs’ meaning, almost as if the songs had been written to fit the videos and not vice versa
Toi, moi… et les autres ? Musique populaire et migration dans le film musical Toi, moi, les autres d’Audrey Estrougo (2011)
Get PDFIn my article, I analyse the relationship between famous French songs and migration in the French film musical Toi, moi, les autres (Audrey Estrougo 2011), which mixes the codes of the fairy tale romcom with a story about undocumented migrants in contemporary Paris. I underscore that the use of these songs – very few of the musical arrangements are sung by figures of sans-papiers – is pernicious. They serve to highlight and to cement the love story of the two protagonists much more than to develop a real political discourse. I argue that the filmmaker has exploited the memorial – and sentimental – dimension of the French songs for the benefit of the romantic story but has failed to offer a critical discourse on the situation of the undocumented migrants, which had been one of the intentions of the film
La parlèsia: un’indagine sociolinguistica sul gergo dei musicisti napoletani
Get PDFSpoken in the nineteenth century by the posteggiatori, the wandering minstrels of Naples, parlèsia is a jargon. It shares its syntax and its phonology with the Neapolitan dialect and is characterized by a special lexicon of about 200 words, referring above all to money, women, and music. Parlèsia has been a secret code until the 1950s when Neapolitan pop artists used expressions of the jargon in their music. The results of a sociolinguistic investigation conducted among 150 musicians in Naples demonstrate that parlèsia is still being understood and spoken although today it seems more like a form of youth slang than a code of a marginalised group of speakers
