Following the example of many French singers, as of 1969 folk singer Raimon converted into songs several poems by medieval and contemporary poets such as Ausiàs March and Salvador Espriu. This process suggests a definition of the mother tongue: a common language for the poet and the musician. He can manipulate the poem to turn it into music with some commonly-used instruments. Putting music to a poem is a micro lecture attentive to detail, prosody, accents, the expression of voices, because music permeates the analysis - another analysis - and gives it a meaning. This article aims to analyze some examples of Ausiàs March poems adapted by Raimon, as examples of a transformation process, translation -and betrayal-, as we go from the poem-text to the poem-song, along with other examples of transmediality

Ausiàs March i Raimon: del text a l’elapé (and beyond)

Bou, Enric
2019

Abstract

Following the example of many French singers, as of 1969 folk singer Raimon converted into songs several poems by medieval and contemporary poets such as Ausiàs March and Salvador Espriu. This process suggests a definition of the mother tongue: a common language for the poet and the musician. He can manipulate the poem to turn it into music with some commonly-used instruments. Putting music to a poem is a micro lecture attentive to detail, prosody, accents, the expression of voices, because music permeates the analysis - another analysis - and gives it a meaning. This article aims to analyze some examples of Ausiàs March poems adapted by Raimon, as examples of a transformation process, translation -and betrayal-, as we go from the poem-text to the poem-song, along with other examples of transmediality
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/10278/3714969
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