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Although the song is often the subject of monographs, one of its
forms remains insufficiently researched: the vocalised song,
communicated to the spectator through performance. The study of the
song takes one back to the study of vocal practices, from aesthetic
objects to forms and to plural styles. To conceive a song means
approaching it in its different instances of creation as well as
its linguistic diversity. Jean Nicolas De Surmont proposes ways of
research and analysis useful to musicians, musicologists, and
literary critics alike. In his book he takes up the issue of vocal
poetry in addition to examining the theoretic aspects of song
objects. Rather than offering an autonomous model of analysis, De
Surmont extends the research fields and suggests responses to
debates that have involved everyone interested in vocal poetic
forms.
The terminology of genres of song has aroused the interest of
musicologists, medievalists, and ethnomusicologists who hope with
it to achieve a better understanding of their fields. The analysis
presented here of the French vocabulary connected with a ~chansona
(TM) starts from a literary genre referred to by the word chanson.
A corpus of 400 dictionaries and 900 studies and essays is used to
examine the word chanson and its associated word family from their
beginnings in Old French up to the modern French language.
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