131 research outputs found
Deng Atem
No full textabstract: Deng Atem witnessed his village being burned and people being killed. He was seven years old when the militia came into his village.
“Lost Boys Found” is an ongoing, interdisciplinary project that is collecting, recording and archiving the oral histories of the Lost Boys/Girls of Sudan. The collection is a work-in-progress, seeking to record the oral history of as many Lost Boys/Girls as are willing, and will be used in a future book.Age: 27Region: Bahr al GhazalThis picture and bio was donated to the Lost Boys Found project from The Arizona Lost Boys Cente
De Pomme à Paradis de Ben Mazué : un hymne à la nature
No full textIn this two-author article, we explore the cantological universes of two artists, Pomme and Ben Mazué, who have collaborated and come together around a relationship with nature that would be of the order of consolation or even refuge, and which thus re-enchants their respective universes. With this in mind, we will analyze their commitment and the way in which their songs express the values of sorority and conviviality, before developing the image of the sequoia to delve deeper into the songs and worlds of these two artists
“Semba Dilema”: On Transatlantic Musical Flows between Angola and Brazil
No full textIn 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
Patrick Modiano parolier (1967-1970) : à la recherche d’une voix
No full textPatrick 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
„Marguerite“ – Vom französischen Sonett zum deutschen Kinderlied
No full textAfter 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
“Mettimi giù due righe”: Sergio Caputo tra scrittura musicale e letteraria
No full textThe article focuses on the Roman singer-songwriter Sergio Caputo, known for his eclectic crossover between jazz and pop and his inventive and linguistically rich lyrics. A literary author since 2008, Caputo has developed an articulated dialogue between the two artistic identities – writer and musician. Here, I intend mostly to discuss the already literature-oriented nature of Caputo’s song lyrics, how they informed his actual literary works, and how, in turn, the latter tell us something about his songwriting. In between, Caputo’s specific literary influences, particularly the Beat Generation, and their role in both musical and literary writing, will be also discussed.The article focuses on the Roman singer-songwriter Sergio Caputo, known for his eclectic crossover between jazz and pop and his inventive and linguistically rich lyrics. A literary author since 2008, Caputo has developed an articulated dialogue between the two artistic identities – writer and musician. Here, I intend mostly to discuss the already literature-oriented nature of Caputo’s song lyrics, how they informed his actual literary works, and how, in turn, the latter tell us something about his songwriting. In between, Caputo’s specific literary influences, particularly the Beat Generation, and their role in both musical and literary writing, will be also discussed.L\u27articolo si concentra sul cantautore romano Sergio Caputo, noto per il suo eclettico crossover tra jazz e pop e per i suoi testi fantasiosi e linguisticamente ricchi. Autore letterario dal 2008, Caputo ha sviluppato un dialogo articolato tra le due identità artistiche: scrittore e musicista. Qui, intendo principalmente discutere la natura già orientata alla letteratura dei testi delle canzoni di Caputo, come questi abbiano informato le sue opere letterarie reali e come, a loro volta, queste ultime ci dicano qualcosa sulla sua scrittura. Nel contempo, verranno discusse anche le specifiche influenze letterarie di Caputo, in particolare la Beat Generation, e il loro ruolo nella scrittura sia musicale che letteraria.The article focuses on the Roman singer-songwriter Sergio Caputo, known for his eclectic crossover between jazz and pop and his inventive and linguistically rich lyrics. A literary author since 2008, Caputo has developed an articulated dialogue between the two artistic identities – writer and musician. Here, I intend mostly to discuss the already literature-oriented nature of Caputo’s song lyrics, how they informed his actual literary works, and how, in turn, the latter tell us something about his songwriting. In between, Caputo’s specific literary influences, particularly the Beat Generation, and their role in both musical and literary writing, will be also discussed
“Le donne, i cavalier, l’arme, gli amori”: lingua e poetica del primo Fabrizio De André
No full textThe essay shows how De André, from the very beginning, bases his career as a singer-songwriter on the opposition to the alleged ‘Italian song’ model. Compared to the latter, lighter and more consumeristic, De André presents himself as a minstrel engaged in the choice of themes and attentive to the message. To distinguish himself, De André ‘invents’ his own personal medieval tradition, partly drawn from the French chansonniers, and partly founded on literary sources. At the same time, he succeeds in distinguishing himself from the nascent author song, above all, for its apparently more traditional use of the language, for the sought-after vocabulary, which is often far from being colloquial, and for the recourse to closed metric forms
Badara Seck. Il contributo del griot e l’identità come frammento accessorio
No full textVocalist, 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)
Chanter le poète, et inversement. Evaristo Carriego dans le tango argentin
No full textThe once-forgotten poet Evaristo Carriego, since rediscovered by Jorge Luis Borges in his eponymous work Evaristo Carriego (1955), is considered today to be one of the leading Argentinian modernist poets, but also, and most importantly, the inventor of a ‘poetry of the outskirts’ and the creator of one of the major trends in the poetics of contemporary tango, tango canyengue (‘rabble’ tango). This article traces the singular trajectory of the poet: first, a singer of the ‘low life’ of the outskirts of Buenos Aires at the end of the 19th century, of the misfortunes and debauchery of outlaws, prostitutes and the working class; inventor of a ‘cantatory’ poetry, which draws on popular song and dance of the time, and which we propose to consider as a form of tanguera poetry. Secondly, his influence on the lyricists of contemporary tango leads us to consider him as the precursor of tango canyengue. Finally, he became a founding and guardian figure of contemporary tango, the object of tributes from the greatest composers, and whose name alone has become a poetic and musical trope that invokes a picturesque imagination of the end-of-the-century suburbs of Buenos Aires. Hence, we are faced with an intermedia corpus, that borrows from the world of popular song to produce a written, erudite and precious poetry, and which in turn becomes one of the main sources of popular song. Carriego’s tanguera poetry effectively interlaces word, sound and movement. This paper thus analyses the transmedia trajectory along which the poet sings the tango, and the tango then the poet, in a play of ‘inversions’ that are indicative of the reciprocal exchanges, transfers and mediations occurring between poetry, song and music, both textual and figurative, from the end of the 19th century to the present day. At the same time, we examine how song, music and dance can ‘inhabit’ poetry, and poetry ‘inhabit’ song and music, without constituting, strictly speaking, poetic material or an element of repertoire. It also shows how an authoritative author such as Borges has contributed to shaping the tango tradition by inventing its own genealogy
Le traducteur et l’arrangeur musical face à l’adaptation et la réception
No full textThis 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
- …
