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547.More information
This article examines the problem of identity, a concept related to unity and uniqueness, in a musical world marked by a spirit of plurality. International contemporary music festivals of the last ten years point to a trend in musical works that question identity, as much from a personal point of view (the identity of the composer) as from a social point of view (the national identity). Can the pursuit of social and personal identities in music really coexist? Is it possible to locate identity, and therefore the uniqueness of a work, a composer, a nation, over and above the diversity that inhabits it? The article opens with multiple avenues of reflection, both ontological and sociological, and asks questions that concern both today's musical work, its creator, its audience and the milieu in which they evolve.
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548.More information
As a resident at the Villa Medici in Rome between 1901 and 1904, Florent Schmitt discovered Edgar Poe's poem “The Haunted Palace,” which inspired him to write Étude symphonique d'après des sensations diverses (1904), soon renamed Étude symphonique pour le Palais hanté and Étude pour le Palais hanté d'Edgar Poe. Schmitt's association with the American writer appears in the second title, but remains distant, as evidenced by the “warning” he wrote in 1905: his music “does not attempt to follow the poem literally,” but aims to render “an impression of the fantastic and imprecise vision that [Stéphane] Mallarmé's translation gives rise to.” This article traces the genesis of this powerfully evocative work, highlighting the salient points of its composition and reception, in relation to the poem that inspired it.
Keywords: fantastique, orchestre, musique à programme, Edgar Allan Poe, Florent Schmitt, fantasy, orchestral music, Edgar Allan Poe, program music, Florent Schmitt
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549.More information
The music from Le Pacha (Georges Lautner, 1968), composed by Serge Gainsbourg and Michel Colombier, is inextricably linked to the song “Requiem pour un con,” but not limited to it. The opening credits and the performance of Gainsbourg himself in a classic face-off with Jean Gabin was so memorable that it overshadowed the recurring bass and drums riff and the instrumental arrangements of the song, as well as a batucada, a jerk for sitar, and even “Harley Davidson.” By studying both the intrinsic qualities of the different compositions and the use made of them by Georges Lautner, this article aims to show the importance of a soundtrack fully anchored in its time and completely aligned with the artistic process of its creators, including the director.
Keywords: musique de film, bande-son, chanson, arrangement, Serge Gainsbourg, film music, soundtrack, song, arrangement, Serge Gainsbourg
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