ATeM Archiv für Textmusikforschung
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Raffella Carrà und Loretta Goggi – zwei Ikonen des italienischen Fernsehens und ihre Lieder
No full textSince the early times of television, music has played a major role in many television programs, with some of the presenters even acting as singers. In Italy, Loretta Goggi and Raffaella Carrà have managed to realize a double career as television stars and singers, especially in the 1970s and 1980s. Both of them had several hits and were present in the charts, not only in Italy, but also in othercountries like Germany or Spain. They both presented the Sanremo Music Festival of the Italian Canzone and Loretta Goggi even took part in the competition. In Italy, they are also well known as singers of famous television themes and have created many emblematic songs that have contributed to their popularity even among the younger generations. In fact, Loretta Goggi and Raffaella Carràmade a comeback in the new millennium with new television programs and reached the status of icons of the Italian song and Italian television. Raffaella Carrà’s death in 2021 triggered a wave of national mourning across the generations, thus transforming her into a modern legend
“Parlo solo di droga, ma mi danno del poeta”. A linguistic analysis of Kid Yugi’s rap
No full textThis paper aims to analyze from a linguistic perspective the music of Kid Yugi, italian rapper from Massafra (province of Taranto, Puglia), who reached the top of the charts thanks to an original blend of themes typical of the trap subgenre (crimes, violence, drugdealing) with systematic intertextual references to literary, theatrical, and cinematic works. This contrast is even more enhanced by an assorted code-switching between italian, dialect, anglicisms from U.S. slang and exoticisms. The article examines Kid Yugi’s whole discography (The Globe, Quarto di Bue and I nomi del diavolo).This paper aims to analyze from a linguistic perspective the music of Kid Yugi, Italian rapper fromMassafra (province of Taranto, Puglia), who reached the top of the charts thanks to an original blend of themes typical of the trap subgenre (crimes, violence, drugdealing) with systematic intertextual references to literary, theatrical, and cinematic works. This contrast is even more enhanced by an assorted mix between Italian, dialect, anglicisms from U.S. slang and exoticisms. The article examines Kid Yugi’s whole discography (The Globe, Quarto di bue and I nomi del diavolo).Il presente contributo intende approfondire da una prospettiva linguistica la canzone di Kid Yugi, rapper originario di Massafra (provincia di Taranto), arrivato in cima alle classifiche di vendita grazie ad un originale connubio fra le tematiche tipiche del sottogenere trap (criminalità, violenza, spaccio e abuso di droghe) e sistematici rimandi intertestuali a opere letterarie, teatrali e cinematografiche. Tale contrasto è ulteriormente rafforzato da una variegata veste linguistica, nella quale si alternano italiano, dialetto e lingue straniere. Nel lavoro è stata esaminata integralmente l’attuale discografia di Kid Yugi (The Globe, Quarto di bue e I nomi del diavolo)
Crossing the Mediterranean (Sea) in Opera: the case of Aida
Full text linkBased on interactions between music and cultural studies, my contribution approaches GiuseppeVerdi’s Aida, which is part of the cultural archive of western modernity. Since the political andcultural context in which Verdi worked on Aida from 1870 to 1871 included not only Italy but alsoimperialist Europe and viceroyal Egypt, I would like to take up the concept of contrapuntal reading developed by Edward Said, who adopted the term from music theory in order to adequately capture the relationship between dominant and subaltern voices in literary texts, including the genre of opera. A contrapuntal reading is aware of both “the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts” (Said 1994, 63). Therefore, the creation of Aida is first examined with a view to the historical context of the time; in a second step, the question is whether the almost unheard voices, melodies and stories silenced by hegemonic powers can possibly find expression in music.Based on interactions between music and cultural studies, in my contribution I will reread Giuseppe Verdi’s Aida (1871), which is part of the cultural archive of western modernity. Since the political and cultural context in which Verdi worked on Aida from 1870 to 1871 included not only Italy, but also imperialist Europe and viceroyal Egypt, the creation of Aida will first be examined in the context of transmediterranean relations with a view to the role of French Egyptologist Auguste Mariette-Bey, who can be seen as the initiator of the opera project. In a second step, I will elaborate the hypothesis that the almost unheard voices, melodies and stories silenced by hegemonic powers can possibly find expression in music
Florian Homann: Cante flamenco y memoria cultural. Lo performativo de la tradición, las redes de intertextos y las nuevas dinámicas en la poesía del cante. Madrid/Fráncfort del Meno: Iberoamericana/Vervuert, 2021. ISBN 9788491922230. 788 páginas.
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„Marguerite“ – Vom französischen Sonett zum deutschen Kinderlied
Full text linkAfter the fall of the Paris Commune, Eugène Pottier, author of the “Internationale”, wrote a sonnet for his young daughter, portraying her as a content child growing up in a world without religion. On the occasion of the 150th anniversary of the Paris Commune in 2021, the sonnet was transformed into a song by Pauline Floury and Séverin Valière. Suli Puschban translated the song into German andperformed it, too. In this contribution, we will examine this process, focusing on the transformation from sonnet to song, on the translation itself, and on the symbolic depiction of ‘spring’, ‘morning’ and the color red
La multivocalità di Gabriella Ghermandi: memorie postcoloniali, world music ed ethiojazz
Full text linkThis article discusses the work of Gabriella Ghermandi as a singer by adopting the concept of multivocality. First, the analysis focuses on the theme of the memories of Italian colonial pasts, as it is central both in the novel that Ghermandi wrote and published in 2007 and in the first release of Atse Tewdros Project, the musical band that she founded and leads. The idea of tizita, as it is conceived in the Amharic language and in the Ethiopian culture in order to express a complex approach to memory has been incorporated in the analysis. Later, the investigation delves into Ghermandi’s musical choices and experiences while presenting the categories of world music and ethio-jazz. Finally, the second release of Atse Tewodros Project will be considered highlighting the ideas of mobility and multivocality. The standpoint presented draws from both popular music studies and ethnographic observations. The analyses of musical releases and musical elements has been supported by multiple conversations and interviews with Ghermandi and her band members, and by the observation ofseveral concerts and performances.This article discusses the work of Gabriella Ghermandi as a singer by adopting the concept of multivocality. First, the analysis focuses on the theme of the memories of Italian colonial pasts, as it is central both in the novel that Ghermandi wrote and published in 2007 and in the first release of Atse Tewdros Project, the musical band that she founded and leads. The idea of tizita, as it is conceived in the Amharic language and in the Ethiopian culture in order to express a complex approach to memory has been incorporated in the analysis. Later, the investigation delves into Ghermandi’s musical choices and experiences while presenting the categories of world music and ethio-jazz. Finally, the second release of Atse Tewodros Project will be considered highlighting the ideas of mobility and multivocality. The standpoint presented draws from both popular music studies and ethnographic observations. The analyses of musical releases and musical elements has been supported by multiple conversations and interviews with Ghermandi and her band members, and by the observation ofseveral concerts and performances
