Parole, parole: Tautegory and the Musicology of the (Pop) Song
Parole, parole: Tautegory and the Musicology of the (Pop) Song
The (pop) song often presents itself as a tautegory: it utters itself by “seeking for itself”, as Nietzsche put it in The Birth of Tragedy, a “parallel appearance” in words. This self-utterance of the song, exemplified by (among others) Marguerite Duras’ India Song, could also be described as its musicology, the song being both the object and the subject of its own discourse. Thus, adding to the two famous statements attributed respectively to Salieri and Monteverdi (prima la musica e poi le parole and che l’oratione sia padrona del armonia), the (pop) song requires us to think a third one: Parole, parole, parole, title of a famous Italian hit by Mina.
Keywords: Popular song, Tautegory, Musicology, Marguerite Duras, Mina
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