The similarities between the chanson franÃ§aise and the canzone d'autore have been often noted but never fully explored. Both genres are national forms which involve the figure of the singer-songwriter, both experienced their golden age of production in the post-World War II period and both are enduringly popular, still accounting for a large proportion of record sales in their respective countries. Rachel Haworth looks beyond these superficial similarities, and investigates the nature of the relationship between the two genres. Taking a multidisciplinary approach, encompassing textual analysis of song lyrics, cultural history and popular music studies, Haworth considers the different ways in which French and Italian song is thought about, written about and constructed. Through an in-depth study of the discourse surrounding chanson and the canzone d'autore, the volume analyses the development of the genres' rules and rhetoric, identifying the key themes of Authority, Authenticity and Influence. The book finally considers the legacy of major artists, looking at modern perspectives on Georges Brassens, Jacques Brel, Léo Ferré, Fabrizio De André and Giorgio Gaber, ultimately affording a deeper understanding of the notions of quality and value in the context of chanson franÃ§aise and the canzone d'autore.
"The book offers an overview of the rhetoric and ideological rules governing canzone d’autore and chanson, of their rarely investigated connections, and of their shifting but persisting popularity today, thus signalling a growing anglophone interest in French popular music and a new emerging attention to Italian canzone."
- Vincenzo Perna in VOLUME!
Contents: Preface; Introduction; Thinking the chanson franÃ§aise and the canzone d’autore; Writing about chanson in the 1950s and 1960s; Brassens, Brel and Ferré as paradigms of chanson; Brassens, Brel and Ferré in their own words; Italian popular music prior to 1960: the Sanremo Festival and the Cantacronache; Italian popular music discourse in the 1960s and 1970s; Relationships and influences between the cantautore and the auteur-compositeur-interprète: Fabrizio De André and Georges Brassens; Relationships and influences between the cantautore and the auteur-compositeur-interprète: Giorgio Gaber and Jacques Brel; Contemporary perceptions of the chanson franÃ§aise and the canzone d’autore; Conclusion: authenticity, authority and influence in the context of the chanson franÃ§aise and the canzone d’autore; Bibliography; Index.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.