French chanson as a phenomenon of the world culture: history and performance fate of the genre

Section 1. World music: retrospections and modernity

Abstract

Statement of the problem. The actualization of the French song, which is the subject of interest for modern singers, is studied. In the light of new historiography the axiological problem of the genre is discussed. On the one hand, the chanson is turned to the democratic past, on the other hand, it is a carrier of the resemantization of the romantic theme of “eternal love” in the conditions of the performance practice of the 21st century. Objectives, methods, and novelty of the research. The purpose of the article is to summarize the latest historiography devoted to French song in the light of its national stylistic tradition and the discussion around its nature at the current stage of the genre’s existence. The scientific novelty of the article lies in an attempt to discuss the problems of the modern axiology of the chanson genre, which is in demand in the practice of Ukrainian vocal art, in a foreign cultural environment. The study used such methods as historical; genre and stylistic; the method of performance interpretation analysis. Research results. Certain aspects of the functioning of the chanson in the time- space of 20th century art are quite inclusive. D. Desmont compiled a historical typology of the chanson: from the Middle Ages to the present. The co-authors Pierre Saka and Yann Plougastel marked the stages of national interest in this phenomenon with detailed characteristics. Rudent, Catherine in the article “La chanson française: un genre sans identité musicale” presents an extremely subjective concept that provokes discussion. The historiography and genre-stylistic analysis of the chanson have shown a close connection between poetic words and singing intonation; the core of the genre is the lyrics: the theme of Love becomes of its emblem. The vocal ans instrumental style of the song performed by Yves Montand became an “icon” of his unique style, congenial to the song itself. From troubadour to blues, from piano to synthesizer, from singing to instrumental jazz standard – such semantic “arches at the distance ” can be established on the path of evolution of the brilliant brand of the song culture of France. The performing analysis of the song “Fallen Leaves” by Joseph Kosma performed by Yves Montand has been provided. His unsurpassed interpretation embodies the mental qualities of the French style declared in the song (melodic declamation, sophistication of instrumental accompaniment, clarity of form in the embodiment of poetic symbolism, cult of feeling with internal restraint, artistic charm – through stage image, dance plasticity of movements). Conclusion. The chanson specifics is comprised in the preservation of the national “genetic code” (language-style complex) and the influence of French chansonniers on the “foreign” pop-song repertoire, which prevents the national phenomenon from "dissolving" in the processes of cultural globalization. Moreover, it is against the background of foreign song traditions that the French nature of this phenomenon becomes apparent.