Chapter

Genre and Musical Representations of May

Eric Drott

in Music and the Elusive Revolution

Published by University of California Press

Published in print July 2011 | ISBN: 9780520268968
Published online May 2012 | e-ISBN: 9780520950085 | DOI: http://dx.doi.org/10.1525/california/9780520268968.003.0003
Genre and Musical Representations of May

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The uses ascribed to music during May and the après-mai period varied not only across musical and political formations, but also from one musical genre to another. This chapter examines this topic in detail and provides a framework for understanding how genre mediates political expression. The norms, ideologies, and discourses that govern different genres play a decisive role in determining what can or cannot be said through music, what uses a song can or cannot afford. Of particular importance is the correlation of genre and identity, inasmuch as the political agency imputed to a given social group conditions what functions will be attributed to the music(s) associated with this group. To flesh out this thesis, the chapter examines how the events of May were represented in different types of popular song. By examining songs drawn from the genres of the literary chanson (Léo Ferré's “L'été 68”), the revolutionary chanson (Dominique Grange's “Les nouveaux partisans”), and contemporary French pop music (Evariste's “La révolution”), it is shown how the conventions governing subject matter, rhetoric, imagery, and musical style in each influenced their depictions of May '68.

Keywords: music; May 1968; political expression; genre; identity; popular song

Chapter.  15926 words.  Illustrated.

Subjects: Musicology and Music History

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