An approach on the musical universe of "Chants populaires"

Abstract

Considering the relation the contemporary French poet Philippe Beck (1963- ) establishes between poetry and music, this article proposes to investigate the rhythmic phrasing of Chants populaires (2007), observing how the author turns the word into an object of thought through music. In fact, the distinctive, cutting sound of Beck’s verses lead the reader/listener to listen to them again to be able to build in meanings. Beck’s chants, a rewriting of 72 tales by Jacob and Wilhelm Grimm, retake issues concerning identity and nation that return in contemporary times.The author himself carries in his emotional memory traces of the disagreements between France and Germany, which shook the formation of the concept of national identity. Born in Strasbourg, Beck writes his poems in a « quasi-French » - as he calls it – a language crossed by historical forces. According to Beck, this Alsatian French makes the song of his poetry a tainted song, open to « a meaning always to be made », according to Jean-Luc Nancy. This article will focus on three central aspects of Beck’s poetry: the elision of articles; intensifications; and neologisms. These aspects will be based on the analysis of one of the poems in Chants populaires.