ATeM Archiv für Textmusikforschung
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Anime migranti in musica: la visione mediterranea di Almamegretta e Piero Pelù
Get PDFThis paper presents a study of songs written by the Neapolitan dub band Almamegretta and by the Florentine rocker Piero Pelù of the band Litfiba. The songs here analysed address the Mediterranean Sea as a cultural space representing a fluid means of transport for melodies as well as people. To better convey this stance, the lyrics are written in Italian, Neapolitan, English, French, and Arabic, and the hybrid sound of the tunes is a mix of genres ranging from Western rock to African, Eastern, and Jamaican contaminations. Among the themes covered by the songwriters are the similar conditions of African and Southern Italian immigrants, the notorious crossings of the Mediterranean Sea by migrants reaching the Italian shores, and the musicians’ wish for a peaceful coexistence of peoplesand cultures
Jack Frusciante è uscito dal gruppo e Altri libertini: la musica come elemento narrativo identitario
Get PDFThis paper explores the entanglement between music and text in Brizzi’s Jack Frusciante è uscito dal gruppo and Tondelli’s Altri Libertini. Altri Libertini is Pier Vittorio Tondelli’s first novel and it has a specific approach to music: Many popular rock and punk rock songs become part of the narration as Tondelli tries to reproduce musicality in the flow of words and to assign a particular symbolic value to the songs he chooses for his short stories. Jack Frusciante è uscito dal gruppo has become a best-seller thanks to Brizzi’s original narration of this coming-of-age story. The writer uses music as an outlet for the characters’ emotions and it is through music that he describes the popular culture of a generation of young adults living in the 1990s. All in all, this essay intends to point out how the relation between the characters and music in coming-of-age novels can represent a way of creating and exploring a collective, a generational, or a single identity
Florian Mehltretter (Hg.): Wie semantisch ist die Musik? Beiträge zur Semiotik, Pragmatik und Ästhetik an der Schnittstelle von Musik und Text. Freiburg/Berlin/Wien: Rombach Verlag, 2016. ISBN 978-3-7930-9865-2. 205 Seiten.
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Madonna face à son public italien : analyse des concerts Ciao Italia de la tournée Who’s That Girl (1987)
Get PDFIn September 1987, two concerts were organized in Florence and Turin at the end of Madonna’s world tour Who’s That Girl. What was Madonna’s relationship to the Italian audience? In spite of the satisfaction to rediscover her ‘homeland’, her performances and speeches on stage are far from the celebration of a special event. They reveal Madonna’s strategies to embody a living and postmodern myth by the interpretation of several characters on stage. This analysis of the whole Turin concert from the DVD Ciao Italia (1999) mainly refers to the theory of performer as a persona by Philip Auslander. Madonna does not appear as much as a ‘real performer’ (an Italian girl). She succeeds in integrating the Italian audience to a show similar to the previous ones from her world tour
La chanson bâtarde de Stromae et Abd al Malik : Belgique, Afrique et francophonie
Get PDFSince its beginnings, French chanson has been full of mixed musical influences. Two present-day French singers, Abd Al Malik and Stromae, preserve this tradition and renew it at the same time. While singing about ‘elsewhere’ used to be a pretext for exoticism with commercial intentions, these two singers symbolise a generation where human mixity has become a major reality, which can also be observed in their songs. When Abd Al Malik, for instance, uses the pattern and inspiration of Jacques Brel’s “Amsterdam” for his own song “Gibraltar”, he changes both meaning and dynamics of the original song. Amsterdam’s port is a tearing dead end ; Abd Al Malik’s port is a place of transfiguration where you can ‘sublimize’ yourself and transform travelling into a productive initiation.On the same level, Stromae, metis and orphan himself, succeeds in sublimizing his pain in a dynamic danse with its success “Papaoutai” ; and he also succeeds in doing so in his song “Bâtard”, a true art poétique, where thanks to his own maestro’s abilities he presents hybridity as riches to be shared
Immagini e suoni di Milano nella canzone d’autore italiana
Get PDFSince the late 1950s Milan appears in many Italian songs: from the outskirts portrayed in the songs by Jannacci, Gaber, and Celentano, to the center, which appears in four songs from the mid-1960s, the city epitomizes the country’s contradictions during the years of the economic boom. The melancholic feeling of the French song meets the American rock and roll, but in Italian popular music the propensity to escape from the frenzy still prevails until the 1970s, when the characteristic attributes of Milan (fog, greyness) – until then seen as the objective correlative of the singer’s romantic attitude as an outsider – begin to be interpreted in a positive way (Finardi, Fortis). Even the alienation of immigrants can look funny
Anne Bongrain et al. (éds): Berlioz, encore et pour toujours. Actes du cycle Hector Berlioz, Arras 2015. Paris : Books on Demand, 2016. ISBN 978-2810628605. 216 pages.
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Badara Seck. Il contributo del griot e l’identità come frammento accessorio
Get PDFVocalist, composer, actor and director, Badara Seck was born in Senegal but has been active in Italy for many years. He identifies himself as a griot, and the vast range of his activities can be divided in three areas that are apparently different but can all be related to popular music. Firstly, Seck collaborated with many Italian pop artists, such as Massimo Ranieri and Mauro Pagani. While relying on the visibility earned within the pop scene, Seck articulated a complex strategy in order to be recognized as an authoritative, and “authentic”, voice of the migrant communities (second area). Nowadays Badara is mainly focused on leading his own band and releasing original productions (third area).The three areas are usually considered separately, as it is a hard task – for critics – to fully comprehend that the same Badara whose voice is featured in the soundtrack of the last Checco Zalone´s movie is also the author and interpreter of the poignant piece of musical theatre called Galghi. Drawing from Mark Burford’s analysis of Sam Cooke’s pop albums, I will look at the relationship between Italian popular music and representations of migration in the work of Badara. His work will therefore emerge as a set of “performances [that] conveyed an understanding of ethnicity as an identity that can affirm important solidarities, but also as an accessory to musical performance capable of giving pleasure in any number of ways” (Burford 2012, 141)