{"title":"Françoise Hardy: Personne d’autre. Parlophone/Warner Music France 0190295680176, 2018.","authors":"Andreas Bonnermeier","doi":"10.15203/ATEM_2018_2.11","DOIUrl":"https://doi.org/10.15203/ATEM_2018_2.11","url":null,"abstract":"","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116020062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Perle Abbrugiati’s article explores Coeur vagabond/Coracao vagabundo , the fourth record by the French-Brazilian artist Bia, released in 2006. The bilingual album comprises an equal number of Brazilian-Portuguese adaptations from French songs and French adaptations from Brazilian songs. The aim of the present article is to identify the strategies applied in the translation of songs. To this end, the article’s author herself uses translation within the framework of a comparative approach, confronting Bia’s translations with her own literal translations (not suitable to be sung) of the original lyrics. The objective is not to trace ‘mistranslations’ but to point out in how many different and intricate ways a translation can be faithful while being creative, and in what way and to what degree the song translator may take the liberty of ‘re-semantisation’.
{"title":"L’adaptation de chanson dans l’album Coeur vagabond de Bïa. Une brise de Brésil","authors":"P. Abbrugiati","doi":"10.15203/ATeM_2018_2.06","DOIUrl":"https://doi.org/10.15203/ATeM_2018_2.06","url":null,"abstract":"Perle Abbrugiati’s article explores Coeur vagabond/Coracao vagabundo , the fourth record by the French-Brazilian artist Bia, released in 2006. The bilingual album comprises an equal number of Brazilian-Portuguese adaptations from French songs and French adaptations from Brazilian songs. The aim of the present article is to identify the strategies applied in the translation of songs. To this end, the article’s author herself uses translation within the framework of a comparative approach, confronting Bia’s translations with her own literal translations (not suitable to be sung) of the original lyrics. The objective is not to trace ‘mistranslations’ but to point out in how many different and intricate ways a translation can be faithful while being creative, and in what way and to what degree the song translator may take the liberty of ‘re-semantisation’.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130544674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the multi-faceted influence of jazz music on Boris Vian’s writing process. As a jazz critic, a songwriter and a novelist, Vian did not merely write about jazz or use it as a prop. His writing displays a political conscience in tune with class and race issues as well as a strong measure of audacity and irreverence that characterized the music of the jazz artists he most admired. A closer look at his activity as a singer-songwriter and an analysis of his formal approach in chapter 32 of L’ecume des jours reveal a disdain for the conventional and point to traces of Vian’s own musical practice transposed to the page.
本文考察了爵士音乐对鲍里斯·维安写作过程的多方面影响。作为一名爵士乐评论家、词曲作者和小说家，维安不只是写爵士乐或把它当作道具。他的作品表现出了与阶级和种族问题相协调的政治良知，以及一种强烈的大胆和不敬，这是他最欣赏的爵士艺术家的音乐的特点。仔细观察他作为一名创作歌手的活动，并分析他在《L’ecume des jours》第32章中的正式方法，就会发现他对传统的蔑视，并指出维安自己的音乐实践的痕迹。
{"title":"Jouer avec la forme : politique et poétique du jazz dans la prose et les chansons de Boris Vian","authors":"Olivier Bourderionnet","doi":"10.15203/ATeM_2018_2.03","DOIUrl":"https://doi.org/10.15203/ATeM_2018_2.03","url":null,"abstract":"This article examines the multi-faceted influence of jazz music on Boris Vian’s writing process. As a jazz critic, a songwriter and a novelist, Vian did not merely write about jazz or use it as a prop. His writing displays a political conscience in tune with class and race issues as well as a strong measure of audacity and irreverence that characterized the music of the jazz artists he most admired. A closer look at his activity as a singer-songwriter and an analysis of his formal approach in chapter 32 of L’ecume des jours reveal a disdain for the conventional and point to traces of Vian’s own musical practice transposed to the page.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122376535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mehr als 50 Jahre Chansonproduktion auf La Réunion: Maxime Laope (1922-2005)","authors":"Reiner Ruft, Birgit Mertz-Baumgartner","doi":"10.15203/ATEM_2018_2.18","DOIUrl":"https://doi.org/10.15203/ATEM_2018_2.18","url":null,"abstract":"","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116093778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Rainer Simon: Konzert der Sinne. Dimensionen einer phänomenologischen Analyse der Wahrnehmung von Musikaufführungen. Freiburg i. Br./Berlin/Wien: Rombach Verlag, 2018. ISBN 978-3793098737. 423 Seiten.","authors":"Marco Agnetta","doi":"10.15203/ATEM_2018_2.09","DOIUrl":"https://doi.org/10.15203/ATEM_2018_2.09","url":null,"abstract":"","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115384710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
TM+ and Grand Magasin create a spectacle in order to explore the relation between music and text and to think about the experience of listening to music. Through a naive and referential listening, they encourage the public to define music and to understand what kind of pleasure they take in a concert. Moreover, it becomes clear that the text is sometimes a help for understanding the music and sometimes in competition with it. Lastly, the text suggests that the concert is a kind of ritual and that the pleasure conveyed by music is the pleasure of being together. The text is a means to include every member of the audience in this ritual: without it, people may feel excluded.
{"title":"Apprendre à écouter : Anatomie de l’écoute de TM+ et Grand Magasin","authors":"M. Coste","doi":"10.15203/ATEM_2018_2.07","DOIUrl":"https://doi.org/10.15203/ATEM_2018_2.07","url":null,"abstract":"TM+ and Grand Magasin create a spectacle in order to explore the relation between music and text and to think about the experience of listening to music. Through a naive and referential listening, they encourage the public to define music and to understand what kind of pleasure they take in a concert. Moreover, it becomes clear that the text is sometimes a help for understanding the music and sometimes in competition with it. Lastly, the text suggests that the concert is a kind of ritual and that the pleasure conveyed by music is the pleasure of being together. The text is a means to include every member of the audience in this ritual: without it, people may feel excluded.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128460727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lello Savonardo: Pop music, media e culture giovanili. Dalla Beat Revolution alla Bit Generation. Milano: Egea, 2017. ISBN 978-88-238-2190-3. 144 pagine.","authors":"M. Paolillo","doi":"10.15203/ATEM_2018_2.14","DOIUrl":"https://doi.org/10.15203/ATEM_2018_2.14","url":null,"abstract":"","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126814441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For decades the Italian singer and songwriter Etta Scollo, born in Catania in 1958, has been living in Germany after moving from Sicily to Turin, then to Vienna and touring for an intense period through the US and Europe – always coming back, though, to her home island in terms of creating music as well as of performing in public on site. In her musical work, the absence of a place is paradoxically intermingled with a strong attachment to it, as her compositions oscillate between classical music, jazz, and avant-garde pop. While telling personal stories and composing a transmedia-related mix of stylistic devices and poetic elements, Scollo’s work displays an extraordinary openness with regard to other genres and cultures. By recalling the migratory past of the Sicilian island and Catania –birthplace of the romantic composer and father of the bel canto Vincenzo Bellini (1801-1835), of Sicilian folk songs (including the cunti, the tarantella, etc.) and the traditional use of special instruments (such as scacciapensieri, ciarameddu, tambureddu, guatrara, etc.) – Scollo not only intends to highlight the suffering of Sicilian people, but also points out their unfailing poeticity and authentic aesthetic potential. Focusing on a total hybridity and transmitting a genuine and dynamic transcultural movement, her suggestive songs can be analyzed productively by referring to the nomadism first envisioned by the French poststructuralists Gilles Deleuze and Felix Guattari (Teatrise on Nomadology, 1986 [1980]). Scollo’s texts describe and sing about an intriguing poetry of displacement and mobility, rooted in history and future-oriented at the same time. From this narrative and its empathic and syncretistic ethos emerges a musical oeuvre that is highly intellectual and spans thirty years of prolific performance to this day. Its stylistic integrity is based on various crossover devices and pastiche techniques which profess a different, postmodern freedom and deal with dislocation, musical migrations and with shifts into a global world, without homogenizing or reducing cultural values.
{"title":"Le migrazioni musicali della cantastorie Etta Scollo: trenta anni di canzoni nomadi tra i generi e le culture","authors":"D. Reichardt","doi":"10.15203/ATEM_2018.11","DOIUrl":"https://doi.org/10.15203/ATEM_2018.11","url":null,"abstract":"For decades the Italian singer and songwriter Etta Scollo, born in Catania in 1958, has been living in Germany after moving from Sicily to Turin, then to Vienna and touring for an intense period through the US and Europe – always coming back, though, to her home island in terms of creating music as well as of performing in public on site. In her musical work, the absence of a place is paradoxically intermingled with a strong attachment to it, as her compositions oscillate between classical music, jazz, and avant-garde pop. While telling personal stories and composing a transmedia-related mix of stylistic devices and poetic elements, Scollo’s work displays an extraordinary openness with regard to other genres and cultures. By recalling the migratory past of the Sicilian island and Catania –birthplace of the romantic composer and father of the bel canto Vincenzo Bellini (1801-1835), of Sicilian folk songs (including the cunti, the tarantella, etc.) and the traditional use of special instruments (such as scacciapensieri, ciarameddu, tambureddu, guatrara, etc.) – Scollo not only intends to highlight the suffering of Sicilian people, but also points out their unfailing poeticity and authentic aesthetic potential. Focusing on a total hybridity and transmitting a genuine and dynamic transcultural movement, her suggestive songs can be analyzed productively by referring to the nomadism first envisioned by the French poststructuralists Gilles Deleuze and Felix Guattari (Teatrise on Nomadology, 1986 [1980]). Scollo’s texts describe and sing about an intriguing poetry of displacement and mobility, rooted in history and future-oriented at the same time. From this narrative and its empathic and syncretistic ethos emerges a musical oeuvre that is highly intellectual and spans thirty years of prolific performance to this day. Its stylistic integrity is based on various crossover devices and pastiche techniques which profess a different, postmodern freedom and deal with dislocation, musical migrations and with shifts into a global world, without homogenizing or reducing cultural values.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127496194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Vocalist, 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).
{"title":"Badara Seck. Il contributo del griot e l’identità come frammento accessorio","authors":"G. Chiriacò","doi":"10.15203/ATEM_2018.09","DOIUrl":"https://doi.org/10.15203/ATEM_2018.09","url":null,"abstract":"Vocalist, 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).","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"59 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132546802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While documentaries, films, and plays are currently examining the humanitarian tragedy of mass exodus from former Mesopotamia and parts of sub-Saharan Africa, what can be said about the French popular song? After P. Perret, G. Manset, A. Souchon, B. Lavilliers, and J. Clerc, who dealt with migration and exile between the end of the 1980s and the first decade of the new millenium, who are the songwriters and singers that evoke the tragedies of today’s migrants? Do they have sufficient visibility in the French song? Which musical genres are chosen to represent them? The present paper tries to establish a brief panorama of the migration issue in the current French song by analysing a number of fundamentally different songs, such as “La ballade des clandestins” by Arthur H (Soleil dedans, 2014), “El dulce de leche” adapted by L.E.J. (En attendant l’album, 2015), and “Grand dereglement” by Francois and the Atlas Mountains (Solide mirage, 2017).
当纪录片、电影和戏剧都在检视前美索不达米亚和撒哈拉以南非洲部分地区的大规模流亡所造成的人道主义悲剧时，对于这首法国流行歌曲又能说些什么呢?在P. Perret、G. Manset、A. Souchon、B. Lavilliers和J. Clerc研究了20世纪80年代末到新千年的第一个十年之间的移民和流亡之后，谁是唤起今天移民悲剧的词曲作者和歌手?他们在法语歌曲中有足够的可见度吗?选择哪些音乐类型来代表它们?本文试图通过分析一些根本不同的歌曲，如Arthur H的“La ballade des clandestins”(Soleil dedans, 2014)， L.E.J.改编的“El dulce de leche”(En attendant l’album, 2015)，以及Francois and The Atlas Mountains的“Grand dereglement”(Solide mirage, 2017)，来建立当前法国歌曲中移民问题的简要全景。
{"title":"La question migratoire dans la chanson française actuelle : trois études de cas","authors":"Audrey Coudevylle-Vue","doi":"10.15203/ATeM_2018.05","DOIUrl":"https://doi.org/10.15203/ATeM_2018.05","url":null,"abstract":"While documentaries, films, and plays are currently examining the humanitarian tragedy of mass exodus from former Mesopotamia and parts of sub-Saharan Africa, what can be said about the French popular song? After P. Perret, G. Manset, A. Souchon, B. Lavilliers, and J. Clerc, who dealt with migration and exile between the end of the 1980s and the first decade of the new millenium, who are the songwriters and singers that evoke the tragedies of today’s migrants? Do they have sufficient visibility in the French song? Which musical genres are chosen to represent them? The present paper tries to establish a brief panorama of the migration issue in the current French song by analysing a number of fundamentally different songs, such as “La ballade des clandestins” by Arthur H (Soleil dedans, 2014), “El dulce de leche” adapted by L.E.J. (En attendant l’album, 2015), and “Grand dereglement” by Francois and the Atlas Mountains (Solide mirage, 2017).","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124760538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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