Chansons de jadis et naguère. Autour de l’historicité de la chanson populaire – 1830-1940
Goupil-
Chansons de jadis et naguère. Autour de l’historicité de la chanson populaire – 1830-1940 - 2024.
96
Comment s’opère le tri, dans la production de chansons d’une époque, qui aboutit à conserver la mémoire de certaines chansons, airs et paroles, et pas d’autres ? Autrement dit, comment une chanson devient « historique » ? La notion de chanson ancienne émerge au xixe siècle en même temps que celle de « chanson populaire ». Cet article se propose de poser les jalons d’une histoire du processus de patrimonialisation de la chanson jusqu’au milieu du xxe siècle, parallèlement au développement de la chanson industrielle. Each century produces a certain amount of songs. How are they selected, melody and lyrics, by following generations? Why does a song become a heritage when another sinks in oblivion? The idea that popular songs are both an expression of earth and people echoes a theme developped by literary and musicological studies since the mid-19th century : the return to song “of yesteryear”. “Old song” and “popular song” are categories which have been coined at the same moment in the first part of 19th c. Between then and formerly, the chronological amplitude of this “formerly” however remains to be determined, especially since the terminology used is itself random. This paper aims at lighten the confusion that has gradually arisen between the notion of “popular” and “old” or “historical” song, which ennobles by the time some of popular songs that were nevertheless discredited at the time of their production, until giving them other uses, particularly in the political field. These lexical questions are at source of a process of patrimonialization of French song which began in the middle of 19th century, when the production of songs entered the era of mass music industry, which creates new categories necessary for its development. The place and function of the oldest repertoires of songs are then rethought because they are no longer listened like the “new songs” essentially produced for stage and entertainment. This paper ambitions to pave the way for a history of the process by which songs are selected and become historical, from the first half of the 19th c. to the middle of the 20th c., when songs began to be industrially produced.
Chansons de jadis et naguère. Autour de l’historicité de la chanson populaire – 1830-1940 - 2024.
96
Comment s’opère le tri, dans la production de chansons d’une époque, qui aboutit à conserver la mémoire de certaines chansons, airs et paroles, et pas d’autres ? Autrement dit, comment une chanson devient « historique » ? La notion de chanson ancienne émerge au xixe siècle en même temps que celle de « chanson populaire ». Cet article se propose de poser les jalons d’une histoire du processus de patrimonialisation de la chanson jusqu’au milieu du xxe siècle, parallèlement au développement de la chanson industrielle. Each century produces a certain amount of songs. How are they selected, melody and lyrics, by following generations? Why does a song become a heritage when another sinks in oblivion? The idea that popular songs are both an expression of earth and people echoes a theme developped by literary and musicological studies since the mid-19th century : the return to song “of yesteryear”. “Old song” and “popular song” are categories which have been coined at the same moment in the first part of 19th c. Between then and formerly, the chronological amplitude of this “formerly” however remains to be determined, especially since the terminology used is itself random. This paper aims at lighten the confusion that has gradually arisen between the notion of “popular” and “old” or “historical” song, which ennobles by the time some of popular songs that were nevertheless discredited at the time of their production, until giving them other uses, particularly in the political field. These lexical questions are at source of a process of patrimonialization of French song which began in the middle of 19th century, when the production of songs entered the era of mass music industry, which creates new categories necessary for its development. The place and function of the oldest repertoires of songs are then rethought because they are no longer listened like the “new songs” essentially produced for stage and entertainment. This paper ambitions to pave the way for a history of the process by which songs are selected and become historical, from the first half of the 19th c. to the middle of the 20th c., when songs began to be industrially produced.
Réseaux sociaux