ATeM Archiv für Textmusikforschung
Not a member yet
274 research outputs found
Sort by
La question migratoire dans la chanson française actuelle : trois études de cas
Get PDFWhile documentaries, films, and plays are currently examining the humanitarian tragedy of mass exodus from former Mesopotamia and parts of sub-Saharan Africa, what can be said about the French popular song? After P. Perret, G. Manset, A. Souchon, B. Lavilliers, and J. Clerc, who dealt with migration and exile between the end of the 1980s and the first decade of the new millenium, who are the songwriters and singers that evoke the tragedies of today’s migrants? Do they have sufficient visibility in the French song? Which musical genres are chosen to represent them? The present paper tries to establish a brief panorama of the migration issue in the current French song by analysing a number of fundamentally different songs, such as “La ballade des clandestins” by Arthur H (Soleildedans, 2014), “El dulce de leche” adapted by L.E.J. (En attendant l’album, 2015), and “Grand dérèglement” by Frànçois and the Atlas Mountains (Solide mirage, 2017)
« La musique creuse le lit du texte » : Musique et langage dans Votre Faust d’Henri Pousseur et Michel Butor.
Get PDFVotre Faust is an opera composed by Michel Butor and Henri Pousseur. This article will show how language and music interact in this opera. Votre Faust redefines the relations between text and music since language is not only part of the dialogue between the actors: musicians and singers, too, have words to say. There is a continuum between music and language – with language being sometimes used because of its sonorities, beyond understanding, whereas music can pass a message.
Musik – Sprache – (Sprach-)Bild. Zur Semiotizität barocker Gleichnisarien (1. Teil)
No full textThe aim of the present study is to describe some of the possible relations between music, language, and verbal picture (or metaphor) which can be found in the drammi per musica of the early 18th century and especially in four allegorical arias of Vivaldi’s opus La Griselda (1735). The paper illustrates some aspects of the cooperation between librettist (Goldoni) and composer (Vivaldi) as well as the importance of the metaphor for the interlinkage of music and language in such arias. It is divided into two parts: The first part presented in the following 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 will focus on the interaction of poetic language, verbal image, and Vivaldi’s music in the mentioned simile arias
Penser une histoire de la scène punk en France (1976-2016) : enjeux scientifiques et patrimoniaux
Get PDFDario Martinelli: Give Peace a Chant. Popular Music, Politics, Social Protest. Berlin/New York: Springer, 2017. ISBN 978-331950538-1. 184 pages.
Get PDFNegociaciones (trans)culturales en el Mediterráneo. Inmigración y ‘clandestinidad’ en la música popular española contemporánea
Get PDFFor many decades, Spain has been a country of emigration. Its transformation to a country of immigration (e.g. from Latin America and Africa) is a quite recent phenomenon, which only started in the 1970s due to the economic upturn of the country. From 1991 onwards (signing of the Schengen Agreement) the ‘illegal’ immigration across the Strait of Gibraltar has increasingly been perceived as a problem.Spanish popular music is a fine seismograph of social changes, such as the increase of immigration. The first musical productions reflecting on (‘illegal’) immigration date from the early 1990s, such as Barricada’s “Oveja negra”, El Chojín’s “Ponte en mi piel” and “Sí, Buana”, or Nach’s “Tierra prometida”. Based on a corpus of 50 songs of different musical styles (rock, rap, world music), this article aims at investigating the key thematic lines in songs about ‘illegal’ immigration: the subalternity of the migratory subject; the fraught relations between the migrant subject (‘I’) and the Spanish ‘you’, relations characterized by prejudice, racism, and exclusion; finally, the perspective of a ‘we’ in a transcultural Spanish society
« Au lieu d’ouvrir son cœur et son esprit, Lalanne aurait dû fermer sa gueule ». Quelques problèmes posés par la chanson sur la migration
Get PDFSince the publication of Ursula Mathis-Moser’s groundbreaking monograph in 1984, we consider the semiotic triad of text, music, and interpretation when analysing a chanson. We could add to this triad the mise en scène on stage whose importance has continuously increased since Aristide Bruant and the Montmartre chanson. It is not simply the superposition of these elements (text, melody, voice, gestures, scenery, light) that is responsible for the effect of a chanson on the public, but their interplay.To illustrate the aesthetic problems a chanson engagée (e.g. about migration) can raise, I will analyse Francis Lalanne’s song “Plus jamais ça!” (2015), which was written and composed for refugees and their aides. It was first diffused as a video clip on internet where it triggered a wave of indignation and derision. By analysing the interplay of the three dimensions of the chanson mentioned above and by comparing “Plus jamais ça” to Christophe Maé’s “Eldorado,” I will demonstrate that the will to engage is not enough in order for a chanson to be successful. The political or humanitarian chanson must avoid any disturbance of the ‘unity of message’ produced by text, music, interpretation, and visual effects
Da Brindisi a Lampedusa: le migrazioni via mare nella cassa di risonanza della popular music italiana
Get PDFFrom the landing of thousands of Albanese people on the Apulian coast in 1991 to the daily arrival of refugees on the Calabrian and Sicilian coasts since 2000, immigration by sea and the lifestories of the countless victims of this situation have become part of the ‘public awareness’ in Italy. To narrate the tragedies we are witnessing day by day, different communicational strategies have been adopted, depending on the respective media and on the political objectives pursued by individual ‘speakers’. The attention writers, film directors, and artists have payed to the recent migration movements towards Italy has gradually given a more profoundly human dimension to the phenomenon and has brought the public closer to the individual tragedy. Italian popular music in particular has actively contributed to establishing an artistic counter-discourse, which will be discussed in the present article. Examples of different musical genres will be analysed, covering the time frame in question, whereas the methodology pursued will be that of Imagology and that of Cultural Studies