Many of Jacques Prévert's poems were produced as popular songs by music composers such as Joseph Kosma. Analyses of text-melody relations in these songs prove the composers' techniques can make use of the original poetry texts. Prévert's poems are characterized by his typical rhythm and rhyme structure, and by his poetic effects of repetition and refrain of phrases. These characteristics are synchronized to the rhythms and phrases of the accompanying melodies.
The unique beauties of poetry and music respectively make for a succesful marriage, and create a new aesthetic value, and an original poetic beauty for the song. Prévert's truly “popular” songs prove this assertion.

抄録全体を表示

In popular music, the concept of “musical work” is different from that of so-called “classical” music (western art music in the modern era). As music copyright shows, however, there are a number of discourses in which popular music is understood in the paradigm of “classical” musical works.
In this paper, by analyzing general discourses about popular music on a semiotic framework based on the theory of Joseph Margolis, the auther considers what logical structure maintains and produces the identity of the concept of musical works in popular music, and explains the difference from the concept of “classical” music. Then the auther discusses that the alternation of “musical work” has been generated from a new relation between musical practices and reproduction technology such as recording media.

抄録全体を表示