Anaïs Fléchet, « Si tu vas à Rio… » La musique populaire brésilienne en France au xxe siècle

« Comment écoutait-on le monde avant les “musiques du monde” ? » (21). L’ouvrage d’Anaïs Fléchet, maître de conférences en histoire culturelle à l’Université de Versailles Saint-Quentin-en-Yvelines, offre une analyse approfondie des échanges musicaux, transferts culturels, circulations et appropriations entre les deux rives de l’Atlantique, en retraçant, de manière chronologique, la longue histoire de la musique populaire brésilienne en France au xxe siècle. En mobilisant une grande diversité..

CRISIS AFAR: an international collaborative study of the impact of the COVID-19 pandemic on mental health and service access in youth with autism and neurodevelopmental conditions

BackgroundHeterogeneous mental health outcomes during the COVID-19 pandemic are documented in the general population. Such heterogeneity has not been systematically assessed in youth with autism spectrum disorder (ASD) and related neurodevelopmental disorders (NDD). To identify distinct patterns of the pandemic impact and their predictors in ASD/NDD youth, we focused on pandemic-related changes in symptoms and access to services.MethodsUsing a naturalistic observational design, we assessed parent responses on the Coronavirus Health and Impact Survey Initiative (CRISIS) Adapted For Autism and Related neurodevelopmental conditions (AFAR). Cross-sectional AFAR data were aggregated across 14 European and North American sites yielding a clinically well-characterized sample of N = 1275 individuals with ASD/NDD (age = 11.0 ± 3.6 years; n females = 277). To identify subgroups with differential outcomes, we applied hierarchical clustering across eleven variables measuring changes in symptoms and access to services. Then, random forest classification assessed the importance of socio-demographics, pre-pandemic service rates, clinical severity of ASD-associated symptoms, and COVID-19 pandemic experiences/environments in predicting the outcome subgroups.ResultsClustering revealed four subgroups. One subgroup-broad symptom worsening only (20%)-included youth with worsening across a range of symptoms but with service disruptions similar to the average of the aggregate sample. The other three subgroups were, relatively, clinically stable but differed in service access: primarily modified services (23%), primarily lost services (6%), and average services/symptom changes (53%). Distinct combinations of a set of pre-pandemic services, pandemic environment (e.g., COVID-19 new cases, restrictions), experiences (e.g., COVID-19 Worries), and age predicted each outcome subgroup.LimitationsNotable limitations of the study are its cross-sectional nature and focus on the first six months of the pandemic.ConclusionsConcomitantly assessing variation in changes of symptoms and service access during the first phase of the pandemic revealed differential outcome profiles in ASD/NDD youth. Subgroups were characterized by distinct prediction patterns across a set of pre- and pandemic-related experiences/contexts. Results may inform recovery efforts and preparedness in future crises; they also underscore the critical value of international data-sharing and collaborations to address the needs of those most vulnerable in times of crisis

Les représentations de la société grecque dans le rebetiko

This research derives from political sociology and is concerned with music, an uncommon entity in regard topolitical science. It explores rebetiko, an urban kind of Greek popular music, and postulates that the analysis ofpopular music offers a privileged access to the ambiguous representations of authority, to the participation topolitics and its legitimation. Constructing a dynamic theoretical frame, capable of undertaking constant change,musical and social, as well as capable of integrating form and content, external and internal approaches, resultsin adopting a pluralistic methodology: historical, musical and sociological. The first part attempts to revisit thehistory of rebetiko, to study the conditions of its production and reception during the period extending from theend of the 19th up to the dawn of the 20th century. Through press articles, I intend to highlight the constructionand fluidity of this musical category, its place in the broad entity of popular music, as well as the process of itsauthentication and its adherence to tradition. Furthermore, a corpus of twenty-five songs, still popular to this day,is analysed. Loans and adaptations are detected, traces of the past, as well as "reserved oblivion" (oublis deréserve). Finally, I survey the actual appreciation of rebetiko and interpret various stories told about this kind ofmusic, being collected by means of collective, non-directive interviews, enriched with the listening of musicalexcerpts. All along the way bridges are being built between the musical and the social realms; scaffolding in andout of rebetiko, multiple identity and memory configurations unveil the ambiguity of divisions andtransformations of the Greek society.Cette recherche relève de la sociologie politique et aborde la musique, objet peu commun en politologie. Elleexamine le rebetiko, une musique populaire urbaine grecque, en postulant que l'analyse de musiques populairesoffre un accès privilégié aux représentations ambivalentes du pouvoir, à la participation au politique et à salégitimation. La construction d'un cadre théorique dynamique, capable de prendre en compte le changementincessant, tant musical que social, et de faire fusionner forme et contenu, approches extérieures et intérieures,conduit à adopter une méthode plurielle : historique, musicale et sociologique. La première partie propose derevisiter l'histoire du rebetiko, d'examiner ses conditions de production et sa réception pour la période quis'étend de la fin du XIXe à l'aube du XXIe siècle. A travers des articles de presse, je mets en évidence laconstruction et la fluidité de cette catégorie musicale, sa place dans l'ensemble plus large de la musiquepopulaire, ainsi que les processus de son authentification et traditionalisation. Un corpus de vingt-cinq chansons,encore populaires aujourd'hui, est ensuite analysé. Y sont décelés emprunts et appropriations, traces du passé,mais aussi potentiels oublis de réserve. Enfin, j'explore la réception actuelle du rebetiko et interprète différentsrécits tissés sur cette musique, recueillis grâce à la méthode des entretiens collectifs non-directifs enrichie parl'écoute d'extraits musicaux. Tout au long du parcours, des passerelles entre le musical et le social sont établies.Echafaudées à partir et dans le rebetiko, de multiples configurations identitaires et mémorielles dévoilentl'ambiguïté des divisions et des transformations de la société grecque

Defining the people and its music: the left press debates on rebetiko during the Greek civil war and its aftermath (1946-1961)

This article examines the debates on Greek popular music published in the left-wing press from 1946 to 1961. At the time of the internal conflict and during the period that followed, left-wing intellectuals concentrate on the expressions of the people in order to find resistance and heroism, establish the persistence of struggles, but also demonstrate the continuity of repression. On several occasions, popular music becomes a central issue and divides the expressed opinions. Through the analyses of press archives, this article revisits these debates where, beyond the question “which is the popular music?”, the internal divisions of the left movement appear, ruptures and continuities in Greek music history are built, identifications and assignations are made, but also the outlines of the category “people” are designed

Representations of the Greek Society through Rebetiko

Cette recherche relève de la sociologie politique et aborde la musique, objet peu commun en politologie. Elleexamine le rebetiko, une musique populaire urbaine grecque, en postulant que l'analyse de musiques populairesoffre un accès privilégié aux représentations ambivalentes du pouvoir, à la participation au politique et à salégitimation. La construction d'un cadre théorique dynamique, capable de prendre en compte le changementincessant, tant musical que social, et de faire fusionner forme et contenu, approches extérieures et intérieures,conduit à adopter une méthode plurielle : historique, musicale et sociologique. La première partie propose derevisiter l'histoire du rebetiko, d'examiner ses conditions de production et sa réception pour la période quis'étend de la fin du XIXe à l'aube du XXIe siècle. A travers des articles de presse, je mets en évidence laconstruction et la fluidité de cette catégorie musicale, sa place dans l'ensemble plus large de la musiquepopulaire, ainsi que les processus de son authentification et traditionalisation. Un corpus de vingt-cinq chansons,encore populaires aujourd'hui, est ensuite analysé. Y sont décelés emprunts et appropriations, traces du passé,mais aussi potentiels oublis de réserve. Enfin, j'explore la réception actuelle du rebetiko et interprète différentsrécits tissés sur cette musique, recueillis grâce à la méthode des entretiens collectifs non-directifs enrichie parl'écoute d'extraits musicaux. Tout au long du parcours, des passerelles entre le musical et le social sont établies.Echafaudées à partir et dans le rebetiko, de multiples configurations identitaires et mémorielles dévoilentl'ambiguïté des divisions et des transformations de la société grecque.This research derives from political sociology and is concerned with music, an uncommon entity in regard topolitical science. It explores rebetiko, an urban kind of Greek popular music, and postulates that the analysis ofpopular music offers a privileged access to the ambiguous representations of authority, to the participation topolitics and its legitimation. Constructing a dynamic theoretical frame, capable of undertaking constant change,musical and social, as well as capable of integrating form and content, external and internal approaches, resultsin adopting a pluralistic methodology: historical, musical and sociological. The first part attempts to revisit thehistory of rebetiko, to study the conditions of its production and reception during the period extending from theend of the 19th up to the dawn of the 20th century. Through press articles, I intend to highlight the constructionand fluidity of this musical category, its place in the broad entity of popular music, as well as the process of itsauthentication and its adherence to tradition. Furthermore, a corpus of twenty-five songs, still popular to this day,is analysed. Loans and adaptations are detected, traces of the past, as well as "reserved oblivion" (oublis deréserve). Finally, I survey the actual appreciation of rebetiko and interpret various stories told about this kind ofmusic, being collected by means of collective, non-directive interviews, enriched with the listening of musicalexcerpts. All along the way bridges are being built between the musical and the social realms; scaffolding in andout of rebetiko, multiple identity and memory configurations unveil the ambiguity of divisions andtransformations of the Greek society

Representations of the Greek Society through Rebetiko

Cette recherche relève de la sociologie politique et aborde la musique, objet peu commun en politologie. Elleexamine le rebetiko, une musique populaire urbaine grecque, en postulant que l’analyse de musiques populairesoffre un accès privilégié aux représentations ambivalentes du pouvoir, à la participation au politique et à salégitimation. La construction d’un cadre théorique dynamique, capable de prendre en compte le changementincessant, tant musical que social, et de faire fusionner forme et contenu, approches extérieures et intérieures,conduit à adopter une méthode plurielle : historique, musicale et sociologique. La première partie propose derevisiter l’histoire du rebetiko, d’examiner ses conditions de production et sa réception pour la période quis’étend de la fin du XIXe à l’aube du XXIe siècle. A travers des articles de presse, je mets en évidence laconstruction et la fluidité de cette catégorie musicale, sa place dans l’ensemble plus large de la musiquepopulaire, ainsi que les processus de son authentification et traditionalisation. Un corpus de vingt-cinq chansons,encore populaires aujourd’hui, est ensuite analysé. Y sont décelés emprunts et appropriations, traces du passé,mais aussi potentiels oublis de réserve. Enfin, j’explore la réception actuelle du rebetiko et interprète différentsrécits tissés sur cette musique, recueillis grâce à la méthode des entretiens collectifs non-directifs enrichie parl’écoute d’extraits musicaux. Tout au long du parcours, des passerelles entre le musical et le social sont établies.Echafaudées à partir et dans le rebetiko, de multiples configurations identitaires et mémorielles dévoilentl’ambiguïté des divisions et des transformations de la société grecque.This research derives from political sociology and is concerned with music, an uncommon entity in regard topolitical science. It explores rebetiko, an urban kind of Greek popular music, and postulates that the analysis ofpopular music offers a privileged access to the ambiguous representations of authority, to the participation topolitics and its legitimation. Constructing a dynamic theoretical frame, capable of undertaking constant change,musical and social, as well as capable of integrating form and content, external and internal approaches, resultsin adopting a pluralistic methodology: historical, musical and sociological. The first part attempts to revisit thehistory of rebetiko, to study the conditions of its production and reception during the period extending from theend of the 19th up to the dawn of the 20th century. Through press articles, I intend to highlight the constructionand fluidity of this musical category, its place in the broad entity of popular music, as well as the process of itsauthentication and its adherence to tradition. Furthermore, a corpus of twenty-five songs, still popular to this day,is analysed. Loans and adaptations are detected, traces of the past, as well as “reserved oblivion” (oublis deréserve). Finally, I survey the actual appreciation of rebetiko and interpret various stories told about this kind ofmusic, being collected by means of collective, non-directive interviews, enriched with the listening of musicalexcerpts. All along the way bridges are being built between the musical and the social realms; scaffolding in andout of rebetiko, multiple identity and memory configurations unveil the ambiguity of divisions andtransformations of the Greek society

Steven Feld, Jazz Cosmopolitanism in Accra: Five Musical Years in Ghana. Durham, NC: Duke University Press, 2012. 328 pp. ISBN 978-0-8223-5148-1 (hbk), 978-0-8223-5162-7 (pbk). 84.95/84.95/23.95.

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