ATeM Archiv für Textmusikforschung
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Emanuela De Blasio: Il rap nel mondo arabo: una forma d’avanguardia. Analisi di un corpus di area vicinorientale. Zaragoza: Prensas de la Universidad de Zaragoza, 2019. ISBN 978-84-1340-042-6. 269 pagine.
Full text linkEric Pfeil: Azzurro. Mit 100 Songs durch Italien. Cologne: Kiepenheuer & Witsch, 2022. ISBN 9783462045536. 368 pages.
Full text linkMario Girard : Renée Claude. Donne-moi le temps. Montréal : Les Éditions La Presse, 2020. ISBN 9782897058593. 256 pages.
Full text linkLa musica tradizionale Makhuwa (Nord del Mozambico) fra contaminazioni e resistenze. Uno sguardo decoloniale
Full text linkThe emakhuwa language is spoken in a part of the centre and especially in the north of Mozambique. It is the expression of an original bantu culture, matrilineal and entangled with traditional values and cults. Music – together with dance – is one of the basic manifestations of the emakhuwa culture. This culture has been exposed to frequent external influences, as that of the Arabs – especially along the coast – and the Christian-Lusophone one. This research assumed as its main theoretical references post-colonial authors, as Gilroy and yet still more Ismaiel-Wendt. Its perspective is historical and anthropological, accentuating the contaminations as well as the local musical characteristics. Furthermore, the research here presented proposes a distinction inside the mmakhuwa world between rhythms and songs of the coast and of the interior. The methodology to interpret the collected empirical material has been based on the analysis of the rhythms and the instruments that are typical of the emakhuwa music, as well as on a brief discourse analysis of the selected texts. This study has given a particular emphasis to Tufo and its epistemological features, in order to show the current evolution of this style of music in the work of artists such as Mommad Aly Faque and Zena Bacar.The emakhuwa language is spoken in a part of the centre and especially in the north of Mozambique. It is the expression of an original bantu culture, matrilineal and entangled with traditional values and cults. Music – together with dance – is one of the basic manifestations of the emakhuwa culture. This culture has been exposed to frequent external influences, as that of the Arabs – especially along the coast – and the Christian-Lusophone one. This research assumed as its main theoretical references post-colonial authors, as Gilroy and yet still more Ismaiel-Wendt. Its perspective is historical and anthropological, accentuating the contaminations as well as the local musical characteristics. Furthermore, the research here presented proposes a distinction inside the mmakhuwa world between rhythms and songs of the coast and of the interior. The methodology to interpret the collected empirical material has been based on the analysis of the rhythms and the instruments that are typical of the emakhuwa music, as well as on a brief discourse analysis of the selected texts. This study has given a particular emphasis to Tufo and its epistemological features, in order to show the current evolution of this style of music in the work of artists such as Mommad Aly Faque and Zena Bacar.The emakhuwa language is spoken in a part of the centre and especially in the north of Mozambique. It is the expression of an original bantu culture, matrilineal and entangled with traditional values and cults. Music – together with dance – is one of the basic manifestations of the emakhuwa culture. This culture has been exposed to frequent external influences, as that of the Arabs – especially along the coast – and the Christian-Lusophone one. This research assumed as its main theoretical references post-colonial authors, as Gilroy and yet still more Ismaiel-Wendt. Its perspective is historical and anthropological, accentuating the contaminations as well as the local musical characteristics. Furthermore, the research here presented proposes a distinction inside the mmakhuwa world between rhythms and songs of the coast and of the interior. The methodology to interpret the collected empirical material has been based on the analysis of the rhythms and the instruments that are typical of the emakhuwa music, as well as on a brief discourse analysis of the selected texts. This study has given a particular emphasis to Tufo and its epistemological features, in order to show the current evolution of this style of music in the work of artists such as Mommad Aly Faque and Zena Bacar
‘Boom-ch-boom-chick’: Entangled (Hi)stories in the German Mainstream Rap of 2018 and 2019
Full text linkFrom April 2018 to December 2019, 25 German rap songs with remarkably similar sonic patterns reached the number-one position in the all-genre single charts in Austria. The article takes these songs as starting point for retracing the processes which led to the entering of this music into the glocal mainstream frame of cultural debate. It disentangles the historical backdrops, social and identity practices, as well as aesthetics that postmigrant rap artists in Austria and in Germany have successfully intermingled into their own narratives. The article argues that the two dominating beats, ‘trap’ and ‘dembow’, were able to carry and connect these idiosyncratic encounters against the background of their postcolonial charge and international popularity wave.From April 2018 to December 2019, 25 German rap songs with remarkably similar sonic patterns reached the number-one position in the all-genre single charts in Austria. The article takes these songs as starting point for retracing the processes which led to the entering of this music into the glocal mainstream frame of cultural debate. It disentangles the historical backdrops, social and identity practices, as well as aesthetics that postmigrant rap artists in Austria and in Germany have successfully intermingled into their own narratives. The article argues that the two dominating beats, ‘trap’ and ‘dembow’, were able to carry and connect these idiosyncratic encounters against the background of their postcolonial charge and international popularity wave.From April 2018 to December 2019, 25 German rap songs with remarkably similar sonic patterns reached the number-one position in the all-genre single charts in Austria. The article takes these songs as starting point for retracing the processes which led to the entering of this music into the glocal mainstream frame of cultural debate. It disentangles the historical backdrops, social and identity practices, as well as aesthetics that postmigrant rap artists in Austria and in Germany have successfully intermingled into their own narratives. The article argues that the two dominating beats, ‘trap’ and ‘dembow’, were able to carry and connect these idiosyncratic encounters against the background of their postcolonial charge and international popularity wave
Entangled Histories. Réflexions et conceptualisations artistiques. Napoleon Maddox – Lino – Rocé
No full textThe three artists discussed in this article – Napoleon Maddox, Lino, Rocé – thematise in theirworks ‘histories of violence’ that have not been brought together by historians, either because of thehistorical or geographical distance of the events, or because of a restricted, often national research perspective. Like archaeologists these artists excavate aforementioned relations and thus make visible their intertwining. Maddox’ performance, Lino’s rap and Rocé’s compilation of songs can be understood as reflections on the relational and transnational character of history, on the necessity of rewriting history from a global perspective and of teaching these entangled histories to younger generations. The artistic creations of these rapper-philosophers (Rocé) are certainly protesting, but above all metahistorical and metamnemonic, they are philosophical reflections in the form of works of art.The three artists discussed in this article – Napoleon Maddox, Lino, Rocé – thematise in theirworks ‘histories of violence’ that have not been brought together by historians, either because of thehistorical or geographical distance of the events, or because of a restricted, often national research perspective. Like archaeologists these artists excavate aforementioned relations and thus make visible their intertwining. Maddox’ performance, Lino’s rap and Rocé’s compilation of songs can be understood as reflections on the relational and transnational character of history, on the necessity of rewriting history from a global perspective and of teaching these entangled histories to younger generations. The artistic creations of these rapper-philosophers (Rocé) are certainly protesting, but above all metahistorical and metamnemonic, they are philosophical reflections in the form of works of art.The three artists discussed in this article – Napoleon Maddox, Lino, Rocé – thematise in theirworks ‘histories of violence’ that have not been brought together by historians, either because of thehistorical or geographical distance of the events, or because of a restricted, often national research perspective. Like archaeologists these artists excavate aforementioned relations and thus make visible their intertwining. Maddox’ performance, Lino’s rap and Rocé’s compilation of songs can be understood as reflections on the relational and transnational character of history, on the necessity of rewriting history from a global perspective and of teaching these entangled histories to younger generations. The artistic creations of these rapper-philosophers (Rocé) are certainly protesting, but above all metahistorical and metamnemonic, they are philosophical reflections in the form of works of art
“Chillu soldate, come chiagneva”. La questione coloniale negli archivi sonori italiani
Full text linkThe main goal of this article is to use Zarano’s song and other similar examples to investigate how the memory of the Italian colonial project remained within musical traditions in Italian regions, as they were analyzed and documented by Italian ethnomusicologists.In 1972 ethnomusicologists Diego Carpitella and Rudi Assuntino recorded Teresa Zarano in the town of Marcianise, near Caserta. The 49 year-old woman sang some verses of a song that tells the story of a young soldier who comes back from Africa only to discover that his mother is severely ill. The verses – as Zarano already knew– use the same melody of “Faccetta nera”, a song that was composed during the preparation of the Ethiopian invasion and that later became a hymn of the regime and a symbol of fascist nostalgia.
The main goal of this article is to use Zarano’s song and other similar examples to investigate how the memory of the Italian colonial project remained within musical traditions in Italian regions, as they were analyzed and documented by Italian ethnomusicologists.
Using the theoretical framework of the ‘entangled histories’, I will show how songs composed during the first and second Italo-Ethiopian wars have been acquired and reshaped, by soldiers as well as by their parents and communities, during and after the colonial experience.
Simultaneously, the analysis will deal with the fluid passages from the media-dominated space of popular music and the realm of oral tradition. Such passages are never linear and have often been dismissed by researchers. To investigate these processes constitutes a fundamental task that allows a different understanding of the historical entanglements as well as of the significant relics that the colonial experience left through and within musical practices.In 1972 ethnomusicologists Diego Carpitella and Rudi Assuntino recorded Teresa Zarano in the town of Marcianise, near Caserta. The 49 year-old woman sang some verses of a song that tells the story of a young soldier who comes back from Africa only to discover that his mother is severely ill. The verses – as Zarano already knew– use the same melody of “Faccetta nera”, a song that was composed during the preparation of the Ethiopian invasion and that later became a hymn of the regime and a symbol of fascist nostalgia.
The main goal of this article is to use Zarano’s song and other similar examples to investigate how the memory of the Italian colonial project remained within musical traditions in Italian regions, as they were analyzed and documented by Italian ethnomusicologists.
Using the theoretical framework of the ‘entangled histories’, I will show how songs composed during the first and second Italo-Ethiopian wars have been acquired and reshaped, by soldiers as well as by their parents and communities, during and after the colonial experience.
Simultaneously, the analysis will deal with the fluid passages from the media-dominated space of popular music and the realm of oral tradition. Such passages are never linear and have often been dismissed by researchers. To investigate these processes constitutes a fundamental task that allows a different understanding of the historical entanglements as well as of the significant relics that the colonial experience left through and within musical practices
Transcultural and Transnational Connections in Neapolitan Song during the Colonial Period. Raffaele Viviani’s O tripulino napulitano (1925) as Case Study
Full text linkThis article analyzes the perception and representation of alterity in Neapolitan song, with a specificfocus on Raffaele Viviani’s “‘O tripulino napulitano” (1925). My interest in this lesser-known work is twofold: first, it attests to the perception of Libyans during fascist colonialism and to the ways in which Italians negotiate their identity through an intimate relationship with North African people; second, it anticipates some elements found in later Neapolitan song production, namely Renato Carosone’s “Tu vuò fa’ l’americano”, “Caravan petrol”, “‘O Pellirossa”, and “Torero”. However, unlike Carosone, Viviani does not limit his macchietta-style portrayal to a list of stereotypes. The lyrics proclaim a shared condition of subalternity with the North Africans unveiling a transcultural approach that emerges in later Neapolitan works starting from the mid-1970s.This article analyzes the perception and representation of alterity in Neapolitan song, with a specific focus on Raffaele Viviani’s “O’ tripulino napulitano” (1925). My interest in this lesser-known work is twofold: first, it attests to the perception of Libyans during fascist colonialism and to the ways in which Italians negotiate their identity through an intimate relationship with North African people; second, it anticipates some elements found in later Neapolitan song production, namely Renato Carosone’s “Tu vuò fa’ l’americano”, “Caravan petrol”, “‘O Pellirossa”, and “Torero”. However, unlike Carosone, Viviani does not limit his macchietta-style portrayal to a list of stereotypes. The lyrics proclaim a shared condition of subalternity with the North Africans unveiling a transcultural approach that emerges in later Neapolitan works starting from the mid-1970s
International and Italian Reggae as a Tool of Counter-narrative: Songs and Lyrics on the Colonial Experience in Ethiopia
Full text linkThis contribution addresses the role of popular music as an effective tool of counter-narrative, a significant yet scarcely investigated issue in the context of post-colonial studies. The main objective is to shed light on the musical production addressing the historical events related to the Italian invasion and occupation of Ethiopia (1935-1941), describing how, besides the propaganda songs of the Fascist regime, there is a large alternative repertoire of contemporary music, mainly pertaining to the Reggae genre. While historical studies have focused on the reconstruction of dynamics and events, the artistic and musical production deserves further investigation, in particular for what concerns the voice of the Italian artists in response to the colonial policies of their nation.The contribution provides the analysis of a selection of song lyrics by international (J. Miller, Culture, The Rastafarians, Barry Issac, Damian Marley, Sizzla, Midnite, Starkey Banton, Soulmedic, The Informative History Man) and Italian (Alborosie, Dan-I, Jahmento, Magadog, Babaman, Ras Caleb, Hobo, Ras Tewelde) Reggae artists, highlighting historiographical elements challenging the fascist narrative and the dominant discursive dynamics that erase or minimize historical colonial crimes.Summary
This contribution addresses the role of popular music as an effective tool of counter-narrative, a significant yet scarcely investigated issue in the context of post-colonial studies. The main objective is to shed light on the musical production addressing the historical events related to the Italian invasion and occupation of Ethiopia (1935-1941), describing how, besides the propaganda songs of the Fascist regime, there is a large alternative repertoire of contemporary music, mainly pertaining to the Reggae genre.
While historical studies have focused on the reconstruction of dynamics and events, the artistic and musical production deserves further investigation, in particular for what concerns the voice of the Italian artists in response to the colonial policies of their nation.
The contribution provides the analysis of a selection of song lyrics by international (J. Miller, Culture, The Rastafarians, Barry Issac, Damian Marley, Sizzla, Midnite, Starkey Banton, Soulmedic, The Informative History Man) and Italian (Alborosie, Dan-I, Jahmento, Magadog, Babaman, Ras Caleb, Hobo, Ras Tewelde) Reggae artists, highlighting historiographical elements challenging the fascist narrative and the dominant discursive dynamics that erase or minimize historical colonial crimes.This contribution addresses the role of popular music as an effective tool of counter-narrative, a significant yet scarcely investigated issue in the context of post-colonial studies. The main objective is to shed light on the musical production addressing the historical events related to the Italian invasion and occupation of Ethiopia (1935-1941), describing how, besides the propaganda songs of the Fascist regime, there is a large alternative repertoire of contemporary music, mainly pertaining to the Reggae genre. While historical studies have focused on the reconstruction of dynamics and events, the artistic and musical production deserves further investigation, in particular for what concerns the voice of the Italian artists in response to the colonial policies of their nation.The contribution provides the analysis of a selection of song lyrics by international (J. Miller, Culture, The Rastafarians, Barry Issac, Damian Marley, Sizzla, Midnite, Starkey Banton, Soulmedic, The Informative History Man) and Italian (Alborosie, Dan-I, Jahmento, Magadog, Babaman, Ras Caleb, Hobo, Ras Tewelde) Reggae artists, highlighting historiographical elements challenging the fascist narrative and the dominant discursive dynamics that erase or minimize historical colonial crimes
“Semba Dilema”: On Transatlantic Musical Flows between Angola and Brazil
Full text linkIn the song “Semba Dilema”, Dom Caetano traces the intimate musical connection between Angola and Brazil back to the dramatic experience of the slave trade. To do so, the Angolan singer recalls an old and lively debate about the origins of samba, according to which the Brazilian genre would have originated from the Angolan musical style known as semba. Taking a cue from this song and a dialogue with its composer, the article explores some of the real and imagined, historical and contemporary affinities between semba and samba. It thus resorts to historical resources and theories, and ethnographic materials that the author collected in Luanda in June and July 2018, in an attempt to eventually suggest new questions and research avenues on the study of music in the Atlantic Lusophone world.In the song “Semba Dilema”, Dom Caetano traces the intimate musical connection between Angola and Brazil back to the dramatic experience of the slave trade. To do so, the Angolan singer recalls an old and lively debate about the origins of samba, according to which the Brazilian genre would have originated from the Angolan musical style known as semba. Taking a cue from this song and a dialogue with its composer, the article explores some of the real and imagined, historical and contemporary affinities between semba and samba. It thus resorts to historical resources and theories, and ethnographic materials that the author collected in Luanda in June and July 2018, in an attempt to eventually suggest new questions and research avenues on the study of music in the Atlantic Lusophone world.In the song “Semba Dilema”, Dom Caetano traces the intimate musical connection between Angola and Brazil back to the dramatic experience of the slave trade. To do so, the Angolan singer recalls an old and lively debate about the origins of samba, according to which the Brazilian genre would have originated from the Angolan musical style known as semba. Taking a cue from this song and a dialogue with its composer, the article explores some of the real and imagined, historical and contemporary affinities between semba and samba. It thus resorts to historical resources and theories, and ethnographic materials that the author collected in Luanda in June and July 2018, in an attempt to eventually suggest new questions and research avenues on the study of music in the Atlantic Lusophone world