ATeM Archiv für Textmusikforschung
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Personaggi nella prima produzione di Ligabue (1990-2000), tra canzoni, libri e film
Full text linkLuciano Ligabue is one of the most successful singer-songwriters in Italy since his debut in 1990. Often considered an Italian Bruce Springsteen, from an Italian perspective he is perceived partly as a rock star and partly as a cantautore, like Vasco Rossi. But unlike Rossi, he has directed three movies and published several books. This article will deal with a special aspect of Ligabue’s multimedia production from 1990 to 2000: the presence of recurring characters – such as the bartender Mario – in a broader representation of the Italian small-town reality of Correggio, Ligabue’s birthplace and setting for his songs, books, and movies. In a transmedia environment, fiction and reality blend together, and through rhetorical strategies and musical simplicity fans are embedded in a shared setting that recalls Federico Fellini and Charles Bukowski.Luciano Ligabue is one of the most successful singer-songwriters in Italy since his debut in 1990. Often considered an Italian Bruce Springsteen, from an Italian perspective he is perceived as partly a rock star, and partly a cantautore, like Vasco Rossi. But unlike Rossi, he directed three movies and published several books.
This article will deal with an aspect of Ligabue’s multimedia production from 1990 to 2000: the presence of recurring characters – such as the bartender Mario – in a broader representation of the Italian small-town reality of Correggio, Ligabue’s birthplace and setting for his songs, books, and movies. In a transmedia environment, fiction and reality blend together, and though rhetorical strategies and musical simplicity fans are embedded in a shared setting that resembles Federico Fellini and Charles Bukowski.Luciano Ligabue is one of the most successful singer-songwriters in Italy since his debut in 1990. Often considered an Italian Bruce Springsteen, from an Italian perspective he is perceived partly as a rock star and partly as a cantautore, like Vasco Rossi. But unlike Rossi, he has directed three movies and published several books. This article will deal with a special aspect of Ligabue’s multimedia production from 1990 to 2000: the presence of recurring characters – such as the bartender Mario – in a broader representation of the Italian small-town reality of Correggio, Ligabue’s birthplace and setting for his songs, books, and movies. In a transmedia environment, fiction and reality blend together, and through rhetorical strategies and musical simplicity fans are embedded in a shared setting that recalls Federico Fellini and Charles Bukowski.Luciano Ligabue is one of the most successful singer-songwriters in Italy since his debut in 1990. Often considered an Italian Bruce Springsteen, from an Italian perspective he is perceived partly as a rock star and partly as a cantautore, like Vasco Rossi. But unlike Rossi, he has directed three movies and published several books. This article will deal with a special aspect of Ligabue’s multimedia production from 1990 to 2000: the presence of recurring characters – such as the bartender Mario – in a broader representation of the Italian small-town reality of Correggio, Ligabue’s birthplace and setting for his songs, books, and movies. In a transmedia environment, fiction and reality blend together, and through rhetorical strategies and musical simplicity fans are embedded in a shared setting that recalls Federico Fellini and Charles Bukowski
Massimo Zamboni – musicista punk e romanziere di Berlino
Full text linkMassimo Zamboni, well known as the founder of Italian’s 1980’s punk band CCCP and nowadays also as a solo singer and since twenty years as a writer, published in 2017 his autobiographical work Nessuna voce dentro. The book tells us about the year 1981 he spent in Berlin, a year which became decisive for his musical career. The release of the CD La sonata a Kreuzberg, in cooperation with Angela Baraldi and Cristiano Roversi, in 2018, must be understood as the soundtrack to the book, as it illustrates the spirit of Berlin at the beginning of the 1980s, especially that of the alternative punk scene in Kreuzberg. The article shows also how the combination of novel and CD relies on a concept already used by Pier Vittorio Tondelli.Massimo Zamboni, well known as the founder of Italian’s 1980’s punk band CCCP and nowadays also as a solo singer and since twenty years as a writer, published in 2017 his autobiographical work Nessuna voce dentro. The book tells us about the year 1981 he spent in Berlin, a year which became decisive for his musical career. The release of the CD La sonata a Kreuzberg, in cooperation with Angela Baraldi and Cristiano Roversi, in 2018, must be understood as the soundtrack to the book, as it illustrates the spirit of Berlin at the beginning of the 1980s, especially that of the alternative punk scene in Kreuzberg. The article shows also how the combination of novel and CD relies on a concept already used by Pier Vittorio Tondelli.Massimo Zamboni, well known as the founder of Italian’s 1980’s punk band CCCP and nowadays also as a solo singer and since twenty years as a writer, published in 2017 his autobiographical work Nessuna voce dentro. The book tells us about the year 1981 he spent in Berlin, a year which became decisive for his musical career. The release of the CD La sonata a Kreuzberg, in cooperation with Angela Baraldi and Cristiano Roversi, in 2018, must be understood as the soundtrack to the book, as it illustrates the spirit of Berlin at the beginning of the 1980s, especially that of the alternative punk scene in Kreuzberg. The article shows also how the combination of novel and CD relies on a concept already used by Pier Vittorio Tondelli
Patrick Modiano parolier (1967-1970) : à la recherche d’une voix
Full text linkPatrick Modiano, Nobel Prize for Literature 2014, has had an abundant activity as a songwriter between 1967 and 1970. Together with his friend from prep school. Hughes de Courson, they were writing songs for artists as prestigious as Françoise Hardy,Régine and Myriam Anissimov, famous for her biographies of Primo Levi and Romain Gary.Patrick Modiano, Nobel Prize for Literature 2014, has had an abundant activity as a songwriter between 1967 and 1970. Together with his friend from prep school. Hughes de Courson, they were writing songs for artists as prestigious as Françoise Hardy,Régine and Myriam Anissimov, famous for her biographies of Primo Levi and Romain Gary.
In this article, we explore the core themes of some of those songs, asking us to what extent they reflect literary themes and characters Modiano develops in his novels. We argue that his years of songwriting have allowed Modiano to find his voice as an author. With Modianp having found the sober elegance which is still marking his writing in Les Boulevards de ceinture, he stopped abrubtly writing songs, with one exception in 2018.Patrick Modiano, Nobel Prize for Literature 2014, has had an abundant activity as a songwriter between 1967 and 1970. Together with his friend from prep school. Hughes de Courson, they were writing songs for artists as prestigious as Françoise Hardy,Régine and Myriam Anissimov, famous for her biographies of Primo Levi and Romain Gary
Atahualpa Yupanqui en la búsqueda de lo auténtico argentino
Full text linkHéctor Roberto Chavero (*1908, Province of Buenos Aires) travels through the whole country due to his father’s profession as a railroader and later because of his personal interest. In 1920 he calls himself Atahualpa Yupanqui and starts to work as a guitarist and singer. 25 years later, he joins the Argentine Communist Party and expresses his political ideals by playing Argentinian and Latin American folklore and by emphasizing indigenous elements to claim ‘authenticity’. This article reflects on the constructedness of Yupanqui’s ‘Argentinity’ through formerly silenced indigenous elements that are essentialized as soon as they are being attributed ‘authenticity’.Héctor Roberto Chavero (*1908, Province of Buenos Aires) travels through the whole country due to his father’s profession as a railroader and later because of his personal interest. In 1920 he calls himself Atahualpa Yupanqui and starts to work as a guitarist and singer. 25 years later, he joins the Argentine Communist Party and expresses his political ideals by playing Argentinian and Latin American folklore and by emphasizing indigenous elements to claim ‘authenticity’. This article reflects on the constructedness of Yupanqui’s ‘Argentinity’ through formerly silenced indigenous elements that are essentialized as soon as they are being attributed ‘authenticity’.Héctor Roberto Chavero (*1908, Province of Buenos Aires) travels through the whole country due to his father’s profession as a railroader and later because of his personal interest. In 1920 he calls himself Atahualpa Yupanqui and starts to work as a guitarist and singer. 25 years later, he joins the Argentine Communist Party and expresses his political ideals by playing Argentinian and Latin American folklore and by emphasizing indigenous elements to claim ‘authenticity’. This article reflects on the constructedness of Yupanqui’s ‘Argentinity’ through formerly silenced indigenous elements that are essentialized as soon as they are being attributed ‘authenticity’.Héctor Roberto Chavero (*1908, Province of Buenos Aires) travels through the whole country due to his father’s profession as a railroader and later because of his personal interest. In 1920 he calls himself Atahualpa Yupanqui and starts to work as a guitarist and singer. 25 years later, he joins the Argentine Communist Party and expresses his political ideals by playing Argentinian and Latin American folklore and by emphasizing indigenous elements to claim ‘authenticity’. This article reflects on the constructedness of Yupanqui’s ‘Argentinity’ through formerly silenced indigenous elements that are essentialized as soon as they are being attributed ‘authenticity’
Prosodie chez Charles Trenet : la métrique du français, le rythme de jazz et les jeux vocaux de l’interprète
Full text linkCharles Trenet is a songwriter and an artist with a very recognisable singing manner. He plays with multiple music and vocal styles, inheriting the traditions of the French ‘chanson de café-concert’ and combining them with modern swing rhythms of his time. As a singer, Trenet is very precise in his choice of rhythmic accents, shifts of tempo, timbre and intonation. The article examines several recorded songs of the artist, trying to identify his key prosodic strategies and the semantic and stylistic effects of his vocal manner, which made him at the same time a ‘singing fool’ and a French ‘swing revolutionist’.Charles Trenet is a songwriter and an artist with a very recognisable singing manner. He plays with multiple music and vocal styles, inheriting the traditions of the French ‘chanson de café-concert’ and combining them with modern swing rhythms of his time. As a singer, Trenet is very precise in his choice of rhythmic accents, shifts of tempo, timbre and intonation. The article examines several recorded songs of the artist, trying to identify his key prosodic strategies and the semantic and stylistic effects of his vocal manner, which made him at the same time a ‘singing fool’ and a French ‘swing revolutionist’.Charles Trenet is a songwriter and an artist with a very recognisable singing manner. He plays with multiple music and vocal styles, inheriting the traditions of the French ‘chanson de café-concert’ and combining them with modern swing rhythms of his time. As a singer, Trenet is very precise in his choice of rhythmic accents, shifts of tempo, timbre and intonation. The article examines several recorded songs of the artist, trying to identify his key prosodic strategies and the semantic and stylistic effects of his vocal manner, which made him at the same time a ‘singing fool’ and a French ‘swing revolutionist’
Sylvain Bertot : Ladies first. Une anthologie du rap au féminin. Marseille : Le Mot et le Reste, 2019. ISBN 9782361390945. 288 pages.
Full text linkBarbara Lebrun : Dalida. Mythe et mémoire. Marseille : Le Mot et le Reste, 2020. ISBN 9782361393977. 341 pages.
Full text linkJuliane Ebert: Das französische Chanson. Genre und Mythos. Berlin: De Gruyter, 2020. ISBN 9783110686029. 320 Seiten.
Full text linkCali : de la chanson au roman, une écriture écorchée vive
Full text linkThe many cases of French singers who decided to write novels raise the question of the continuity between the two types of writing. In Cali\u27s case, the fusion is complete and is based on mechanisms of autotextuality. A whole network of echoes and recurrences is set up, in order to elaborate an emotional autobiography that flouts the usual boundaries between song and narrative. This strategy makes the question of enunciation and the status of the narrator very subtle in Cali’s novels, written by a singer and conceived as an extension of his musical work.The many cases of French singers who decided to write novels raise the question of the continuity between the two types of writing. In Cali\u27s case, the fusion is complete and is based on mechanisms of autotextuality. A whole network of echoes and recurrences is set up, in order to elaborate an emotional autobiography that flouts the usual boundaries between song and narrative. This strategy makes the question of enunciation and the status of the narrator very subtle in Cali’s novels, written by a singer and conceived as an extension of his musical work.The many cases of French singers who decided to write novels raise the question of the continuity between the two types of writing. In Cali\u27s case, the fusion is complete and is based on mechanisms of autotextuality. A whole network of echoes and recurrences is set up, in order to elaborate an emotional autobiography that flouts the usual boundaries between song and narrative. This strategy makes the question of enunciation and the status of the narrator very subtle in Cali’s novels, written by a singer and conceived as an extension of his musical work