ATeM Archiv für Textmusikforschung
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Non ‘stranieri’, ma ‘straneri’: hip hop, G2 e sensibilità diasporica in Italia
Full text linkThe studies on the ‘recontextualization’ phenomenon of European Hip hop in the 1990s highlight that Italy, if compared to France and Germany, stood out due to the almost total absence of migrant members in rap bands. This datum requires an attentive discussion, since it did not consider the critical factor given by the Italian intern diaspora, which characterized much of the Italian rap production of that period, with rappers of Southern origins immigrated to Northern cities and expressing their feeling of marginalization as ‘strangers in their own country’. In the 2000s, the same words are used to express the feeling of ‘second generation’ (or G2) rappers. My paper aims to give a brief overview of their production from the perspective of the ‘hybridization’ and ‘indigenization’ phenomena – that is, the capacity of Hip hop to encounter local discourse and to integrate into the cultural repertoires of a country, expressing and claiming multiple identities through its discourse modalities.The studies on the ‘recontextualization’ phenomenon of European Hip hop in the 1990s highlightthat Italy, if compared to France and Germany, stood out due to the almost total absence of migrantmembers in rap bands. This datum requires an attentive discussion, since it did not consider thecritical factor given by the Italian intern diaspora, which characterized much of the Italian rapproduction of that period, with rappers of Southern origins immigrated to Northern cities andexpressing their feeling of marginalization as ‘strangers in their own country’. In the 2000s, the samewords are used to express the feeling of ‘second generation’ (or G2) rappers. My paper aims to give a brief overview of their production from the perspective of the ‘hybridization’ and ‘indigenization’ phenomena – that is, the capacity of Hip hop to encounter local discourse and to integrate into the cultural repertoires of a country, expressing and claiming multiple identities through its discourse modalities.The studies on the ‘recontextualization’ phenomenon of European Hip hop in the 1990s highlight that Italy, if compared to France and Germany, stood out due to the almost total absence of migrant members in rap bands. This datum requires an attentive discussion, since it did not consider the critical factor given by the Italian intern diaspora, which characterized much of the Italian rap production of that period, with rappers of Southern origins immigrated to Northern cities and expressing their feeling of marginalization as “strangers in their own country”. In the 2000s, the same words are used to express the feeling of ‘second generation’ (or G2) rappers. My paper aims to give a brief overview of their production from the perspective of the ‘hybridization’ and ‘indigenization’ phenomena – that is, the capacity of Hip hop to encounter local discourse and to integrate into the cultural repertoires of a country, expressing and claiming multiple identities through its discourse modalities.No
Immaginari e rappresentazioni della transculturalità attraverso le voci rap/trap dei ‘nuovi italiani’
Full text linkThe aim of this study is to analyze the different ways how the rap/trap production of artists born or raised in Italy by foreign parents lends to questioning and describing contemporary society in the light of the dynamics of globalization. The hybrid nature and the ideological complexity which are at the basis of the rap and trap genre, collects, on one hand the legacy of colonialism and migration, and, on the other hand, it shows an innovative scenario in which sound and cultural diversity are an integral part of a transnational and transcultural process. By favoring an approach that transcends national boundaries, the analysis of the lyrics of these artists leads us to reflect on at least four points: the relationship between the trans/post-colonial condition and identity, linguistic syncretism as a reflection of trans-culture, the depiction of the foreigner between stereotypes and false representations, the proximity between the different ‘South’ present on the Italian territory.The aim of this study is to analyze the different ways how the rap/trap production of artists born or raised in Italy by foreign parents lends to questioning and describing contemporary society in the light of the dynamics of globalization. The hybrid nature and the ideological complexity which are at the basis of the rap and trap genre, collects, on one hand the legacy of colonialism and migration, and, on the other hand, it shows an innovative scenario in which sound and cultural diversity are an integral part of a transnational and transcultural process. By favoring an approach that transcends national boundaries, the analysis of the lyrics of these artists leads us to reflect on at least four points: the relationship between the trans/post-colonial condition and identity, linguistic syncretism as a reflection of trans-culture, the depiction of the foreigner between stereotypes and false representations, the proximity between the different ‘South’ present on the Italian territory.The aim of this study is to analyze the different ways how the rap/trap production of artists born or raised in Italy by foreign parents lends to questioning and describing contemporary society in the light of the dynamics of globalization. The hybrid nature and the ideological complexity which are at the basis of the rap and trap genre, collects, on one hand the legacy of colonialism and migration, and, on the other hand, it shows an innovative scenario in which sound and cultural diversity are an integral part of a transnational and transcultural process. By favoring an approach that transcends national boundaries, the analysis of the lyrics of these artists leads us to reflect on at least four points: the relationship between the trans/post-colonial condition and identity, linguistic syncretism as a reflection of trans-culture, the depiction of the foreigner between stereotypes and false representations, the proximity between the different ‘South’ present on the Italian territory
Juri Giannini: Interpretation zwischen Praxis und Ästhetik. Hans Swarowsky als Übersetzer von Opernlibretti. Wien: Hollitzer, 2019. ISBN 9783990127872. 311 Seiten.
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Le traducteur et l’arrangeur musical face à l’adaptation et la réception
Full text linkThis article proposes an analogy between two activities belonging to different fields: the translation of texts and the arrangement of pieces of music. These two practices are confronted with similar problematics and face the same questions concerning the way they adapt the text to be translated or the piece of music to be arranged, and the effect produced at reception: the erasure behind the original piece, the functionality of reception, the need to be faithful to both the author and the receiver are thus common issues that we discuss in the light of translation studies theories and musical practice
Le jour où le Poète reprit sa lyre. « Down by the Salley Gardens » ou la nostalgie des origines
Full text linkThe Irish poet Yeats tells the story that as he was walking one day in the Ballisodare countryside, he heard a woman singing some remnants of a very old song that moved him. The poem that he then wrote is, he assures us: “an attempt to reconstruct an old song from three lines imperfectly remembered by an old peasant woman in the village of Ballisodare, Sligo, who often sings them to herself” (Yeats 1889, 90).Weaving together reverie and thought in “Down by the Salley Gardens”, this poem of Yeats that became, in its turn a song again, I have tried to approach this land where poetry and music are still reaching out for each other, animated by an ever present longing for a common root: that of a time where words and sounds were not yet divided
„Quelque part entre Rome et Paris…“ – Regards croisés und Grenzgänge zwischen französischem Chanson und italienischer Canzone
Full text linkBorder crossings between the French chanson and the Italian canzone are more frequent that one may think. In the late 1950s and early 1960s, the French chanson inspires many of the cantautori and contributes to create the new genre of the Italian canzone d’autore. At the same time, French singers participate in the Sanremo Festival whereas Italian singers sing their songs in French and try to make a career in France. This works particularly in cases of singers with a binational background: Some of them manage to make a career in both countries. Finally, there are also homages to the songs of the respective other country or their singers, and we should not forget the number of songs dedicated to topics specific of the other country, such as Venice appearing in French chansons or Paris in Italian canzoni