Poésies - RDDM (French Edition)

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View on persee. Vibrations - vol. Volume: 6 Page Numbers: Publication Date: The French journal of popular music studies , and Antoine Hennion. L'emploi permanent dans les lieux de musiques actuelles more. Popular Music. View on journals. Actions culturelles et musiques actuelles.

Cultural Policy and Popular Music. La diffusion dans les lieux de musiques actuelles Analyse statistique et territoriale sur la saison more. Economics and Popular Music. Our Conferences.

Compilation De Poemes - Livre Audio Francais - Full AudioBook French

Nantes, June , Lieu Unique Five years have passed since the inception of the ISMMS International Society for Metal Music Studies , an international association that has been triggering a new dynamic of collective research on hard rock, heavy metal and metal within the humanities and social sciences. Within that time span, academic research and events dedicated to metal studies books, scholarly journal issues, conferences, and workshops have multiplied all around the globe — a process confirmed by the creation in of Metal Music Studies Intellect Books , an interdisciplinary research journal.

Following the United States, Finland and Canada, France will thus be hosting the edition of this reference metal studies conference. After years of prosperous research and study, and six years after the birth of the ISMMS, the time has come to review knowledge on metal music and culture. View on francemetalstudies.

Within that time span, academic research and events dedicated to metal studies books, scholarly journal issues, conferences, and workshops have multiplied all around the globe — a process confirmed by the creation in of Metal Music Studies Intellect Books [4], an interdisciplinary research journal. Locations and positions can be understood in the proper sense, that of the geography, the territories or the physical spaces and places of metal practices, communities and scenes, as well as in the figurative sense, as social space. Perspectives francophones sur les musiques hip-hop more.

Rock and Violence is an international conference that will examine a growing issue for historians, specialists in youth movements, musicologists, sociologists, and performing arts professionals. This event is the first of two conferences, the second of which will take place in under the sponsorship of the History department at California State University, Long Beach United States.

The first component, at Rouen June , concentrates on Europe, while the second part, on the same theme, will focus on the situation in the Americas. The purpose of these two events is to gain an understanding of the place of rock in contemporary culture and to define its significance and impact in our societies.

From this starting point, the conferences will also endeavor to consider the part of legend that encompasses the myth of rock music. The association between rock and violence, however fantastical and artificially constructed, is a given which has penetrated the music's history during the second part of the twentieth century; in some ways, the recent dramatic events at the Bataclan have highlighted this in an extremely tragic manner.

Watching music - Music Video Cultures more. Comment envisager les rapports entre musiques et images? Quels sont les publics du clip? Que nous apprennent-ils sur les processus de construction identitaire contemporains? Popular Music and Video Analysis. View on philharmoniedeparis. Publication Date: Dec 19, Heavy Metal Music. The French journal of popular music studies , anthony pecqueux , and Pauline Nadrigny. Philosophy , Aesthetics , and Popular Music.

View on pouvoir-des-arts.

Bugzy Malone - Relegation Riddim Lyrics & Traduction

Changing the Tune: popular music and politics in the XXIst century more. The symbolic practices through which subcultures state and reinforce identities have been widely documented mainly in the field of Cultural, Gender and Postcolonial Studies , as has the increasingly political and revolutionary dimensions of popular music.

Yet little has been written about how the politics of popular music has reflected the social, geopolitical and technological changes of the late 20th and early 21st centuries, after the fall of Communism. Still, the music of the Arab Spring or of the Occupy and Indignados movements have been scarcely commented upon while they attest to significant changes in the way music is used by activists and revolutionaries today. This international conference therefore aims to explore the new political meanings and practices of music and to provide an impetus for their study.

Broadly the themes of the conference are divided into five main streams: 1.


Music as a Political Weapon The history of popular music cannot be divorced from that of social, cultural and political movements, and yet the question remains: if music is politically efficient, how can we measure its impact? It is not clear what role music plays in the struggle for political, ideological and social change. While musical practices and the writing of songs can strengthen existing activist groups, can it also truly change minds or upset the established order and destabilize it? If there are such things as soundtracks for rebellions and revolutions, do they merely accompany fights or can they quicken the pace and bring about change themselves?

Popular music artists and whole genres can refuse to meddle in politics — and the non-referentiality of music makes it an ill-suited medium for the diffusion of clean-cut messages. It would therefore be ill-advised to consider popular music genres and artists as falling either into the political or apolitical categories. Music can also be violent in less political ways, and even carry nihilistic undertones — it can ignore or even mock its own alleged political power.

This should lead us to a re-evaluation of subcultural politics. Political Change, Musical Revolution? The Question of Artistic Legacy The musical styles that accompany social and political change are part of a musical continuum. This prompts the question of originality and relation to tradition. Has the new historical context shaken up the old codes for protest music?

What are the new politically conscious forms and genres of today, and how do they relate to older protest movements? The covering of songs from the Civil Rights era and the Great Depression in the aftermath of Katrina and the participation of singers from the s counterculture in the Occupy Wall Street movement raises the issue of correspondences between groups of artists and activists. We will also look at how contemporary movements connect with one another.

Can it be said that protest music is globalized today? Music, Identity and Nationalism Popular music has a hand in the building and solidification of sub cultural communities. Songs have expressed the emergence of new group identities in fall of Communism, the breakup of Yugoslavia and during other political schisms in Latin American countries more recently. People sing and play the old regimes away, or they use music to connect with fellow migrants or refugees in an upset political landscape.

Songs serve as a bridge between past and present by pairing traditional patterns to new instruments, new technology, and new media — by associating nostalgia with the wish for change. They can also smooth out the transition to a new life and a new identity as individuals and groups assimilate into another culture. Reversely, they can reflect new cultural antagonisms and class conflicts and follow the radicalization of group identities. In the Balkans, Eastern Europe and Russia, nationalist movements have their own anthems, too.

Aesthetics, digital practices and political significations The increased use of computing technology in musical practices as well as the advent of social networks has opened new aesthetic vistas with the increasing use of sampling, mashups, or shreds , as well as changed the way music is shared, advertised and composed. It's very refreshing! I like a lot of YG's album, surprisingly. That was a smooth transition to Foreigner, as well. So it seems like a lot of newer remixes of older songs just add a heavier beat, and that's about it? It seems to happen a lot in house music, especially, I think.

Jim sharpe has his recipe! I've played a couple of his beats already. He takes songs that are famous for having been sampled and dusts them off with a more modern production but keeping it simple and close to the original. Smart move in my opinion! Good for the radios!

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Paratextuality refers to the link between a text and its paratext, that is its title, subtitle, etc. In some poems by Geoffrey Philp, the paratext guides the reader in his reading of the poem through the use of the word "version". In Jamaican English, the word "version" can refer to the practice of recording an instrumental or DJ track on the B side of a Jamaican 45 rpm record, thus producing a new version of the original recording.

In the Encyclopedia of Jamaican Heritage , Olive Senior, quoting at times the musicologist Kenneth Bilby, gave the following definition of the term "version":. In the s, DJs at dances began to improvise "toasts" or "raps" over these instrumentals, thus giving birth to a poetic and musical style that became known as "Dub" He then continued to cut back and forth between the vocal and instrumental tracks, thus producing an unexpected effect of tension and release Hebdige These first "mixes" were the first "dub" records and King Tubby tested them at a dance where his sound system was playing, and they met with the crowd's approval.

In time, dub became a sub-genre of reggae music and went through a golden age in the s. A dub track normally features the original drum and bass pattern of the original track, but with the vocals removed and then mixed back in, or with a degree of echo and sound reverberation applied to the track. As Dick Hebdige wrote:. On the dub the original tune is still there but it is broken up. The rhythm might be slowed down slightly, a few snatches of song might be thrown in and then distorted with echo. The drums and bass will come right up to the listener and demand to be heard In this poem the voice we get to hear is a Creole, working-class voice and the persona is a lower-class black woman who works as a "mule", that is who makes a living by smuggling drugs abroad.

The title of the poem refers to a well-known rock-steady song by Count Prince Miller which is in fact a version of an old country and western tune. So the poem is a version of a song that is itself a version of another song. So ironies multiply as the original "Mule Train" was an American tune recorded by Frankie Laine in , and the situation recounted in Philp's poem concerns a person who smuggles drugs between America and Jamaica.

In the poem, the persona is in a queue at some airport and is terrified at the idea that she might be arrested. In fact she is trapped: even if she "mek it", her health will have been damaged. In "Mule Train: Version", the word "version" is a paratextual distant allusion to another genre, the popular song, and the meaning of the poem will thus be determined by the reader's familiarity with Frankie Laine's song or with Count Prince Miller's version—or with both!

Prayer meetings were then held in "balmyards". But the title of the poem also echoes a famous reggae song by the Jamaican band Stanley and the Turbines. By alluding to that song in the title of his poem, Philp may have attempted to point out the survival of Jamaican religious practices and the popularity of reggae music in Miami. So the whole poem could be seen as a comment on the diasporic nature of Jamaican music today:.

In this reggae-influenced rewriting of his earlier piece, Philp replaced the sonnet form with tercets and used enjambment to telling effect:. This poem is a version of the earlier one from the point of view of form, and also from the point of view of content. Indeed the earlier poem told a woeful tale of death and violence, but the new version insists on the healing power of reggae music and on its ability to act as a balm for the poor.

In this poem, the word "version" carries all kinds of associations with reggae culture, as is evidenced by the reference to Gregory Isaacs , a legendary reggae singer who was known as the "Cool Ruler" and who sang romantic ballads. These cultural associations work with the word "version" in the title to make Philp's piece more than a mere retelling of his earlier poem. Tony Mc Neill was one of the first post-Independence Jamaican poets to deal with the theme of Rastafarianism in his poetry, and to present Rastafarians as important figures in Jamaican society.

The main character in his "Ode to Brother Joe" is a Rastafarian who gets arrested by the police for smoking marijuana whereas he was using this herb for religious purposes. Brother Joe is presented as a devout Rastaman who reads the Bible and praises his god. But "the law thinks different" Dawes , and he is arrested for smoking marijuana and sent to jail. His wife tries to find a lawyer for him, his friends feel sorry for him, but his god "couldn't care less".

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The poet is broadly sympathetic to Rastafarians but seems to imply that they are fighting a losing battle. The last words of the poem "But the door is real and remains shut" make it clear that the poet distances himself from the Rastas' optimism and idealism and questions the Rastafarian ethos. His wife is still trying to find a lawyer for him and his "brethren" are still "burning the weed and beating the drums", are still trying to find a new prophet to save the black race, and the whole island. The poem seems to imply that nothing has really changed since the time when McNeill wrote his "ode" and that Rastafarians are still oppressed by Jamaican society and are still relying on the same myths and beliefs.

But the conclusion of the poem is significantly different from McNeill's ode as the persona includes himself "we and him" among the people supporting Brother Joe and waiting for the door to "open":. It is a "version" which is deeply influenced by the reggae aesthetics identified by Dawes in his Natural Mysticism , with its reliance on Creole "still catching hell" , Rasta talk and the themes of race and history.

Philp's version is different from a mere "re-writing" of a poem because of the cultural associations implied by the word "version" in the title, and because of the Rasta-influenced ethos which dominates the poems: the persona obviously identifies with the Rastafarians and is sympathetic to their cult. That definition also sets this type of poetry apart from conventional dub poetry, with its reggae-based rhythms and social themes. But dub remains a potent source of inspiration for Philp and his creative use of the concept of versioning sets his poetry in the context of Jamaican popular music and makes it possible for him to replicate in a literary context some of the techniques used by Jamaican sound engineers like echo and sound reverberation.

In the process, Philp produces his own "version" of intertextuality in a post-colonial context through a dialogue with reggae music and its "bass culture" Johnson Agard, John. Limbo Dancer in Dark Glasses. London: Greenheart, Allsopp, Richard. Dictionary of Caribbean English Usage. Oxford: Oxford University Press, Brathwaite, Edward Kamau. London: Oxford University Press, Dawes, Kwame. Leeds: Peepal Tree Press, Cuddon, J. Dictionary of Literary Terms and Literary Theory. London: Penguin, Doumerc, Eric. Escola, Marc. Hebdige, Dick.