France Mainland

Source: Jean-Jacques Castéret

 

Multipart Singing in France

Multipart singing appears in southern mainland France, in four points located in the state periphery, zones of mountain and Piedmont.

Alps:

  • The most northern is Savoy (2 French departments “Savoie” close to the Italian multipart tradition of valley of Aosta)
  • Old Nice County (1 department close to Ligurian - Italian - multipart singing)

Pyrenees:

  • A West to East geographical continuum with northern Basque country - Basque language -, Béarn and Bigorre - Occitan language - (2 departments)
  • In the high Aude valley (near Carcassonne): 3 villages like Espéraza

In these regions the soloist performance exists but public performances are generally in multipart singing apart from the dances in the Pyrenees (No information for Alps).

Here, multipart singing presents singers in numerus apertus (Lortat-Jacob) and on the musical level, a melodic-horizontal type behaviour (I. Macchiarella). Process is multipart and simultaneous, homorythmic and for a large part, parallel.

However, at the rhythmic level, this collective performance, and above all numerus apertus singing, doesn't present classical rhythmic scheme, but asymmetric beats, complex asymmetric rhythmic segments …

This multipart singing is constructed on the cantus firmus or cantus prius factus by the creation of one high voice and one lower voice.
However, performance is not always three parts. The core is always in two parts with the higher and the lower parts whatever the number of singers may be. For example, one can find fifteen singers producing only two parts.

In the Pyrenees, according to the local discussion and the analysis, the difference comes from the combination of several parameters:

  • the capacity to create a third voice
  • the vocal quality. There are few low voices in this region

However there is no absolute specialization of voices. In fact, certain singers will sing a particular part but can, at any moment, that is even during a performance, and in an unplanned fashion, follow another part.

Another parameter:

  • the necessity to have enough good singers to assure the other voices in their tone and firmness.
  • A melody line of cantus that allows the high and low simultaneous voice accompaniments. In order to obtain three distinct and vertically complementary parts. The bass doubling at in octave lower than the high is not ordinarily used.

In fact the multipart singing is built musically according to strict rules, it uses four models (two polyphonic prototypes: parallelism and drone):

  • Model 1: Parallelism in the high part in thirds. An exception with the second degree that often presents third or fourth. Not as a single variation but as a system, in all French (and often European) multipart.
  • Model 2: Parallelism in the bass part in thirds except the first two notes of the scale, accompanied respectively in sixth (or octave) and fifth. To be found in Béarn, Bigorre, Basque country and Savoie. The Basque country uses sometimes a strict parallel bass model, too.
  • Model 3: A low drone on the first degree of the scale. This appears in Nice County and in the small gascon village of Came (near Béarn and Basque country border).
  • Model 4: A high drone on the fifth degree. This can be found (or is known for the moment) in Béarn.

From the physical point of view, harmonics appears. The singers knows vocal fusion and I can say that they aim at it. In Béarn singers speak about votz deus anjos: voice of angels.

This tradition presents only 4 multipart models but it is necessary to understand these models or prototypes for they are, according to the definition of the semiologist Jean Molino: The “ pure” forms explicit or implicit, from which the sung realisations can be more or less distant. The interest lies in unravelling the way in which multipart models form. In any case we cannot apprehend the model without looking at the conditions of a performance.

Performances in Béarn show a multipart variation and, may be, a sense in this variation.

For example in a table context, the multipart singing starts only with two parts. Here the number of singers is variable; usually three or four. The higher pitched part in a third. This part is varied also using, commonly, fourths and fifths, sometimes sixth, according to the “degrees” of the scale. In another context, the same singers on the same song, present another multipart process. For example in a “social over-excitement” context, the great voices, seems to prefer high drone to parallelism thirds and melodic variation.

The realisation of multipart models and the structuring of vocal parts seem to follow a sense; the vocal tension parallel to either the number of singers or the consummation of alcohol.

In all the regions, singers use the same basic vocabulary with the same general meaning. However, at a particular level, the same word can sometimes have a different meaning.

For the hight part: the high or first part; and for the lower one: the bass. For the cantus, they say song, tune and in Savoie first.
For the third voice, drone or parallel, they sometimes say contra-bass (double bass) or contra-alta. In Savoie, the high voice as third part: la piülta (the cheep voice).

In the Basque country the same meaning appears with many very interesting developments. The high part can be called too mehetik. Singers translate this term as the thin voice or the slim voice: “the thin voice which goes upwards”. Also, some singers associate mehetik with forcing the voice and the pride of what wants to be distinguished.
Besides, in Basque language, a too much dominant high-pitched voice, which breaks the balance with the other voices, or the voices that are too strained, close to a cry, diversely appreciated and accepted according to the context are called basatik; literally “by the wild”, or “that comes from the wild”. So, in the Basque country metalanguage - but this representation is the same in Béarn - places clearly the polyphonic construction in a dialectic nature/culture.

The similarity between multipart singing forms in France, moreover parallelism similarities (like the bass one), without geographical continuum (between the Alps and the Pyrenees), seem to prove the existence of an old common model. However, multipart oral practice is old in these countries, dating from before the XIXth century. But, this model may come from a writing practice, may be the Renaissance faux-bourdon with its sixth consonance. The Church may have been the common mediator in the past even if free multipart improvisation by the church congregation (farmer/herders) has been generally prohibited - or just tolerated - by the priests for, at least, eighty years (Pyrenees).

However, old popular manuscripts in Béarn (XIXth c.) and Nice County (XVIIIth c. in Valley of Vesubie), theoretical treaties, show similarities or identity with oral tradition. In addition, the two French departments of Savoy are close to the now Italian Valley of Aosta, where the popular word faux-bourdon means multipart singing (E. Lagnier).

Also, the identity of cadences in Corsica and mainland France, gives an idea as for the circulation of multipart singing forms in southern Europe and Mediterranean.

 

Textblock

Selected bibliography on multipart singing in France mainland

Compiled by Jean-Jacques Castéret: 2005

Introduction

This inventory of fixtures can in no way be regarded as exhaustive. In particular, some lack of balance can be noticed among aeras. Indeed, my research-work has so far targeted the Gascon Pyrénées. This discography / bibliography, however, reflects the heterogeneity of the multipart singing vitality in the four multipart singing areas of mailand France, the ignorance among folk music societies about multipart singing importance at the musicologic, ethnological and sociological levels; last but not least, the almost total deficiency in scientific productions.

Audio recordings

Introduction

As a result, a monolithic discography was a problem. It was difficult to mingle the few published recordings resulting from in vivo’ performances with certain performances which, awkward though they may sound at the stylistic level, are traditional regarding the plurivocality forms. I, therefore, intend to establish three discographical categories, no doubt, missing smoothness but interesting at first glance when one wants to get some insight into the multipart singing French traditions:

1. In vivo traditional performance (including scenic traditional genders)
2. In vitro traditional performance (studio…)
3. Organized / professional / artistic traditional multipart singing

1. In vivo traditional performance

Béarn / Bigorre

Dutertre, Jean-François. 1975. Musique traditionnelle des pays de France. Le chant du monde. 33 T. LDX74516 stéréo. Le Bourdon association. Paris. [Béarn: side B, Track 6, collected by Bernard Lortat-Jacob].

 

Castéret, Jean-Jacques. 2002. La vocalité dans les pays d’Europe méridionale et dans le bassin méditerranéen. In Actes du Colloque International de La Napoule, F.A.M.D.T., Modal. CD to the publication. [Béarn: Track 13 to 17].

 

Lomax, Alan. 2002. France, World library of folk and primitive music. Introduction by Yves Defrance and song notes by Claudie Marcel-Dubois & Yves Defrance, CD 82161-1836-2. Rounder. Cambridge. [Béarn: Track 29].

 

Toureille, Pierre (compil.). 1982 [1983]. Béarn/Biarn, Veillées en Vallée d’Ossau, Pierre Arrius Mesplé, Les amis / La famille. Les traditions Populaires en France, vol. 4, 33 T. Radio-France, Ocora, Paris. [Track 3, collected by Geneviève Clément].

Pays-Basque / Euskal Iparralde

Haran, Ximun. 2003. Xiberoko Kantüak. CD KD-638, [Tracks 12, 17, 19] Elkarlanean. Donostia (San Sebastian)

 

Sü Azia eta Elkarlanean (prod). 2000. Etxahun, 1907-1979. CD KD-534, Elkarlanean. Donostia (San Sebastian).

2. In vitro traditional performance

Béarn / Bigorre

1968. Festival de la Chanson Béarnaise de Siros, 45 T, Ed. Junqué-Oc., Jurançon.

 

1969. Festival de la Chanson Béarnaise de Siros, 33 T. Ed. Junqué-Oc., Jurançon.

 

1970. Festival de la Chanson Béarnaise de Siros, 33 T. Ed. Junqué-Oc., Jurançon.

 

1971. Festival de la Chanson Béarnaise de Siros, 33 T. Ed. Junqué-Oc., Jurançon.

 

1972. Festival de la Chanson Béarnaise de Siros, 33 T. Ed. Junqué-Oc., Jurançon.

 

1980. 3e Hesteyade de Bigorre, Ibos 26-27 avril 1980, Cassette AG 107, Agorila, Bayonne.

 

1984. 7e Hesteyade de Bigorre, Ibos abriu 1984, Cassette SB 2184, Sono Bigorre, Ibos.

 

1987. 10e Hesteyade de Bigorre, Ibos abriu 1987, Cassette EMX 10, Sono Bigorre, Ibos.

 

1989. 12e Hesteyade de Bigorre, Ibos 29-30 abriu 1989, Cassette, autoproduction, Ibos.

 

1993. 16e Hesteyade de Bigorre, Ibos 24-25 abriu 1993, Cassette, autoproduction, Ibos.

 

1994. 17e Hesteyade de Bigorre, Ibos abriu 1994, Cassette, autoproduction, Ibos.

 

1998. 21e Hesteyade de Bigorre, Ibos abriu 1998, Cassette, autoproduction, Ibos.

 

1999. 22e Hesteyade de Bigorre, Ibos abriu 1999, Cassette, production Philippe Carrère, Sénac.

 

1973. Les Bergers de Lourdios, 33 T, Ed. Junqué-Oc, Jurançon.

 

1980. Les chanteurs de Lanne, Chants traditionnels de veillée par les chanteurs de Lanne-en-Barétous, 33 T, Ed. Junqué-Oc, Jurançon.

 

1982. Lous Cantayres de Came 3. Cassette AG 530, Agorila, Bayonne.

 

1985. Lous cantayres de Came 4. Cassette.AG 540, Agorila, Bayonne.

 

Cantayres de Came, 1996. Les Cantayres de Came chantent les bateliers.CD 116, Agorila, Bayonne.

 

Menestrèrs Gascons, La Civada, Ostau Biarnés (eds). 1986. Antologia de la canta pirenenca, Co-production. 2 cassettes: Volume 1 alls, Volume 2: side A) Tracks 2 and 4, side B) tracks 2, 4 and 6.

 

GEMP/LA TALVERA. 1994. Pierre Arrius-Mesplé, avec ses amis chanteurs et musiciens, Chants de la vallée d’Ossau. CD Mémoires sonores. GEMP/LA TALVERA, Cordes-sur-Ciel, Tracks 5, 8, 9, 11.

Comté de Nice

Zéphirin Castellon. 1992. Siblar e cantar en Vesubia. CD Y225205, réalisé par Patrick Vaillant & Emmanuelle Olivier, Silex Auvidis, Gentilly.

Haute vallée de l’Aude

G.E.S.P.P.E. 1993. Espéraza. Cassette, Autoproduit.

 

G.E.S.P.P.E. 1995. Espéraza. Cassette. Autoproduit.

Pays-Basque / Euskal Iparralde

1967. « Orhiko Khantariak », Danses ancestrales et vieilles chansons du Pays de Soule, Chœurs de la pastorale "Le Comte de Tréville", 33 T, AG 30-08, Agorila, Bayonne.

 

1973. Agour Chiberoua, Chants et danses basques de la Soule, 33 T, AG 70-16, Agorila, Bayonne.

 

1976. Pierre Topet Etchahun, 33 T., B.24.649/76, Edigsa, Barcelona.

 

2001. Etxahun Iruri Pastorala, AG CD 306, Agorila, Bayonne.

 

Héguiaphal, Marcelin and Pierre (dir.). 1984. Festival des chanteurs souletins.Cassette AG 540, Agorila, Bayonne.

3. Organized / professional / artistic traditional multipart singing

Béarn / Bigorre

1984. Los Pagalhós que cantan lo Biarn. 33 T. Menestrers Gascons /Los Pagalhós, Pau.

 

1987. Sonque l'enveja de marchar.33 T. Menestrers Gascons / Los Pagalhós, Pau.

 

1995. Hami de víver, CD LPG3. Auto-production Los Pagalhós. [Tracks 3, 4, 7, 9, 13.]

 

1995. Mistèri de Nadau, Pastorale Béarnaise Cathédrale de Lescar 1994, Esquireta, Cassette, Autoproduit (association Esquireta).

 

Balaguèra. 2003. La votz deus anjos, polyphonies du Béarn et des Pyrénées gasconnes, Alpha 506, Paris.

 

Los de Laruntz. 2000. O Mon País, CD autoproduit, Laruns.

Comté de Nice

Corou de Berra. 1994. Asa Nisi Masa. CD 92607-2. Buda Musique, collection Musiques du monde, Paris.

 

Corou de Berra. 1996. Très & Mès, CD 92665-2. Buda Musique, collection Musiques du monde, Paris.

 

Corou de Berra. 2000. Chants folkloriques de la Côté d’Azur du mois d’août à nos jours, VOL 4, CD 92762-2, Buda Musique, Distribution Universal. Paris.

 

Corou de Berra. 2001. Caléna, Noëls provençaux et niçois, CD 1983082, Buda Musique, Distribution Universal, Paris.

 

Corou de Berra & Roundelet déflibréen de Castèu Goumbert. 1999. Polyphonies provençales. CD Universal Polygram.

 

En Prals. 2000. Cants d’en amont, Chants traditionnels de la Vésubie-Traditional songs from south of France, CD ED 13112, L’Empreinte digitale, Marseille.

Pays-Basque / Euskal Iparralde

1969 [CD s. d.]. Peio Ospital eta Pantxoa Carrere, KD-6/7, 1er ed., Ed. Elkar, Donostia (San Sebastian).

 

[CD s. d.] 1969-1991 Pantxoa eta Peio, CD KD-271/272, Elkarlanean, Donostia (San Sebastian).

 

Etxamendi eta Larralde. 1998. Antologia, KD- 509/510, 2 CDs. Elkarlanean, Donostia (San Sebastian).

Savoie

La Kinkerne. 1995. Music Alpina, CD Production Musik'Alpes / Alain Claude, 1 titre (« La Desarpa »).

 

Robine, Marc (dir.). 1994. Anthologie de la Chanson française. Albin Michel / EPM Musique, 14VC99. Paris. 919 p. / 14 CD. Cf La Kinkerne: Je suis le petit savoyard; Filles du hameau; Les scieurs de long; Je connais une fille brune (Ninon).

Audio recordings - alphabetical

The entries without author are displayed at the top of the list.

1968. Festival de la Chanson Béarnaise de Siros, 45 T, Ed. Junqué-Oc., Jurançon.
1969. Festival de la Chanson Béarnaise de Siros, 33 T. Ed. Junqué-Oc., Jurançon.
1970. Festival de la Chanson Béarnaise de Siros, 33 T. Ed. Junqué-Oc., Jurançon.
1971. Festival de la Chanson Béarnaise de Siros, 33 T. Ed. Junqué-Oc., Jurançon.
1972. Festival de la Chanson Béarnaise de Siros, 33 T. Ed. Junqué-Oc., Jurançon.

1980. 3e Hesteyade de Bigorre, Ibos 26-27 avril 1980, Cassette AG 107, Agorila, Bayonne.
1984. 7e Hesteyade de Bigorre, Ibos abriu 1984, Cassette SB 2184, Sono Bigorre, Ibos.
1987. 10e Hesteyade de Bigorre, Ibos abriu 1987, Cassette EMX 10, Sono Bigorre, Ibos.
1989. 12e Hesteyade de Bigorre, Ibos 29-30 abriu 1989, Cassette, autoproduction, Ibos.
1993. 16e Hesteyade de Bigorre, Ibos 24-25 abriu 1993, Cassette, autoproduction, Ibos.
1994. 17e Hesteyade de Bigorre, Ibos abriu 1994, Cassette, autoproduction, Ibos.
1998. 21e Hesteyade de Bigorre, Ibos abriu 1998, Cassette, autoproduction, Ibos.
1999. 22e Hesteyade de Bigorre, Ibos abriu 1999, Cassette, production Philippe Carrère, Sénac.

1967. « Orhiko Khantariak », Danses ancestrales et vieilles chansons du Pays de Soule, Chœurs de la pastorale "Le Comte de Tréville", 33 T, AG 30-08, Agorila, Bayonne.

1969 [CD s. d.]. Peio Ospital eta Pantxoa Carrere, KD-6/7, 1er ed., Ed. Elkar, Donostia (San Sebastian).

[CD s. d.] 1969-1991 Pantxoa eta Peio, CD KD-271/272, Elkarlanean, Donostia (San Sebastian).

1973. Agour Chiberoua, Chants et danses basques de la Soule, 33 T, AG 70-16, Agorila, Bayonne.

1973. Les Bergers de Lourdios, 33 T, Ed. Junqué-Oc, Jurançon.

1976. Pierre Topet Etchahun, 33 T., B.24.649/76, Edigsa, Barcelona.

1980. Les chanteurs de Lanne, Chants traditionnels de veillée par les chanteurs de Lanne-en-Barétous, 33 T, Ed. Junqué-Oc, Jurançon.

1982. Lous Cantayres de Came 3. Cassette AG 530, Agorila, Bayonne.

1984. Los Pagalhós que cantan lo Biarn. 33 T. Menestrers Gascons / Los Pagalhós, Pau.

1985. Lous cantayres de Came 4. Cassette.AG 540, Agorila, Bayonne.

1987. Sonque l'enveja de marchar. 33 T. Menestrers Gascons / Los Pagalhós, Pau.

1995. Hami de víver, CD LPG3. Auto-production Los Pagalhós. [Tracks 3, 4, 7, 9, 13.]

1995. Mistèri de Nadau, Pastorale Béarnaise Cathédrale de Lescar 1994, Esquireta, Cassette, Autoproduit (association Esquireta).

2001. Etxahun Iruri Pastorala, AG CD 306, Agorila, Bayonne.

 

Balaguèra. 2003. La votz deus anjos, polyphonies du Béarn et des Pyrénées gasconnes, Alpha 506, Paris.

Cantayres de Came, 1996. Les Cantayres de Came chantent les bateliers. CD 116, Agorila, Bayonne.

Castéret, Jean-Jacques. 2002. La vocalité dans les pays d’Europe méridionale et dans le bassin méditerranéen. In Actes du Colloque International de La Napoule, F.A.M.D.T., Modal. CD to the publication. [Béarn: Track 13 to 17].

Corou de Berra. 1994. Asa Nisi Masa. CD 92607-2. Buda Musique, collection Musiques du monde, Paris.

Corou de Berra. 1996. Très & Mès, CD 92665-2. Buda Musique, collection Musiques du monde, Paris.

Corou de Berra. 2000. Chants folkloriques de la Côté d’Azur du mois d’août à nos jours, VOL 4, CD 92762-2, Buda Musique, Distribution Universal. Paris.

Corou de Berra. 2001. Caléna, Noëls provençaux et niçois, CD 1983082, Buda Musique, Distribution Universal, Paris.

Corou de Berra & Roundelet déflibréen de Castèu Goumbert. 1999. Polyphonies provençales. CD Universal Polygram.

Dutertre, Jean-François. 1975. Musique traditionnelle des pays de France. Le chant du monde. 33 T. LDX74516 stéréo. Le Bourdon association. Paris. [Béarn: side B, Track 6, collected by Bernard Lortat-Jacob].

En Prals. 2000. Cants d’en amont, Chants traditionnels de la Vésubie-Traditional songs from south of France, CD ED 13112, L’Empreinte digitale, Marseille.

Etxamendi eta Larralde. 1998. Antologia, KD- 509/510, 2 CDs. Elkarlanean, Donostia (San Sebastian).

G.E.S.P.P.E. 1993. Espéraza. Cassette, Autoproduit.

G.E.S.P.P.E. 1995. Espéraza. Cassette. Autoproduit.

GEMP/LA TALVERA. 1994. Pierre Arrius-Mesplé, avec ses amis chanteurs et musiciens, Chants de la vallée d’Ossau. CD Mémoires sonores. GEMP/LA TALVERA, Cordes-sur-Ciel, Tracks 5, 8, 9, 11.

Haran, Ximun. 2003. Xiberoko Kantüak. CD KD-638, [Tracks 12, 17, 19] Elkarlanean. Donostia (San Sebastian)

Héguiaphal, Marcelin and Pierre (dir.). 1984. Festival des chanteurs souletins. Cassette AG 540, Agorila, Bayonne.

La Kinkerne. 1995. Music Alpina, CD Production Musik'Alpes / Alain Claude, 1 titre (« La Desarpa »).

Los de Laruntz. 2000. O Mon País, CD autoproduit, Laruns.

Lomax, Alan. 2002. France, World library of folk and primitive music. Introduction by Yves Defrance and song notes by Claudie Marcel-Dubois & Yves Defrance, CD 82161-1836-2. Rounder. Cambridge. [Béarn: Track 29].

Menestrèrs Gascons, La Civada, Ostau Biarnés (eds). 1986. Antologia de la canta pirenenca, Co-production. 2 cassettes: Volume 1 alls, Volume 2: side A) Tracks 2 and 4, side B) tracks 2, 4 and 6.

Robine, Marc (dir.). 1994. Anthologie de la Chanson française. Albin Michel / EPM Musique, 14VC99. Paris. 919 p. / 14 CD. Cf La Kinkerne: Je suis le petit savoyard; Filles du hameau; Les scieurs de long; Je connais une fille brune (Ninon).

Sü Azia eta Elkarlanean (prod). 2000. Etxahun, 1907-1979. CD KD-534, Elkarlanean. Donostia (San Sebastian).

Toureille, Pierre (compil.). 1982 [1983]. Béarn/Biarn, Veillées en Vallée d’Ossau, Pierre Arrius Mesplé, Les amis / La famille. Les traditions Populaires en France, vol. 4, 33 T. Radio-France, Ocora, Paris. [Track 3, collected by Geneviève Clément].

Zéphirin Castellon. 1992. Siblar e cantar en Vesubia. CD Y225205, réalisé par Patrick Vaillant & Emmanuelle Olivier, Silex Auvidis, Gentilly.

Video recordings

(after regions)

Béarn / Bigorre

Gautier, Dominique and Heiniger, Patricia and Castéret, Jean-Jacques. 1998. Eth Renom : chronique d'une pastorale, VHS 46 min., Films de l'Hélianthe/Université de Pau et des Pays de l'Adour, Pau.

Comté de Nice

Lajoux, Jean-Dominique and Lortat-Jacob, Bernard. 1974. Vievola, chœurs et danses du col de Tende. 16 mm, black and white. Son synchronej, 31 min.

 

Herissé, Vincent. 2002. A garganta. 26 min. AMDA Production. Avignon.

(alphabetical)

Gautier, Dominique and Heiniger, Patricia and Castéret, Jean-Jacques. 1998. Eth Renom : chronique d'une pastorale, VHS 46 min., Films de l'Hélianthe/Université de Pau et des Pays de l'Adour, Pau.

Herissé, Vincent. 2002. A garganta. 26 min. AMDA Production. Avignon.

Lajoux, Jean-Dominique and Lortat-Jacob, Bernard. 1974. Vievola, chœurs et danses du col de Tende. 16 mm, black and white. Son synchronej, 31 min.

Texts - after Regions

Béarn / Bigorre Castéret, Jean-Jacques. 2000. Chansons à lire, chanson à chanter... : la tradition béarnaise de Despourrin et l'épreuve de l'esthétique de l'identité. In Actes du colloque Despourrin, Ed. Marrimpouey, Pau.

Castéret, Jean-Jacques. 2001. In quest of communion : the polyphonic practice in Bearn. In 17th Annual Acts of the European Seminar in Ethnomusicology, Telemark University, Norway.

Castéret, Jean-Jacques. 2002. Quan s ‘i presta : modèles et perception de la polyphonie dans les Pyrénées gasconnes. In La vocalité dans les pays méditerranéens, Fondation La Napoule/Université Nice-Sophia-Antipolis, F.A.M.D.T. Parthenay.

Castéret, Jean-Jacques. 2002. Petit Guide de la polyphonie du Béarn et Bas-Adour, Institut Occitan. Billère.

Castéret, Jean-Jacques. 2004. De la polyphonie en France : l’exemple pyrénéen In Pastel, Conservatoire Occitan. Toulouse.

Castéret, Jean-Jacques. 2004. Polyphonie de table en Béarn et Pyrénées occidentales. Thèse pour le doctorat de musicologie, Bordeaux III / Lacito du C.N.R.S.

Castéret, Jean-Jacques. 2004 (to be published). Répertoire choisi… et chansons qui pètent: perception autochtone des corpus du Béarn. In Colloque Chansonniers et tradition orales. Cordae/La Talvera, novembre 2003.

Castéret, Jean-Jacques. 2004 (to be published): Sous le signe du va-et-vient en Béarn-bas-Adour : construction interactive d'un terrain. In De la Sémiotique de La Parole chantée à la Sémiostylistique : points de vue interdisciplinaires. L’Harmattan, Paris.

*Festival de Siros. 1973 & 1977. Cantes dou Biarn amassades à Siros, 1er & 2ème recueils, Imprimerie de Navarre, Pau.

Comté de Nice *Bianco, Michel, Mira. 1994. Cansounié du Corou de Berra, Répertoire de chansons du Pays niçois. Z’éditions. Nice.

*Bianco, Michel (dir.). 1998. Corou de Berra, Lou cansounié. Editions Serres, Nice, 191.

Foussard, Michel, 1996. Le chant religieux dans le Comté de Nice In Le chant religieux corse, état, comparaisons, perspectives, actes du colloque de Corte 1990. Pérès, M. (dir.), Créaphis, cahiers du CERIMM. Paris, 109-133.

Pays-Basque / Euskal Iparralde Castéret, Jean-Jacques and Patricia Heiniger. 2002. Le chant basque à l'église : nature du couplet, culture du refrain. In Kantuketan, sous la direction de Denis Laborde. Ed. Elkarlanean/Institut Culturel Basque. Donostia (San Sebastian).

Savoie *Servettaz, Claudius. 1910. Vieilles chansons savoyardes. Leroux et Abry. Annecy.

Texts - alphabetically

*Bianco, Michel, Mira. 1994. Cansounié du Corou de Berra, Répertoire de chansons du Pays niçois. Z’éditions. Nice.

*Bianco, Michel (dir.). 1998. Corou de Berra, Lou cansounié. Editions Serres, Nice, 191.

Castéret, Jean-Jacques. 2000. Chansons à lire, chanson à chanter... : la tradition béarnaise de Despourrin et l'épreuve de l'esthétique de l'identité. In Actes du colloque Despourrin, Ed. Marrimpouey,Pau.

Castéret, Jean-Jacques. 2001. In quest of communion : the polyphonic practice in Bearn. In 17th Annual Acts of the European Seminar in Ethnomusicology, Telemark University, Norway.

Castéret, Jean-Jacques. 2002. Quan s ‘i presta : modèles et perception de la polyphonie dans les Pyrénées gasconnes.In La vocalité dans les pays méditerranéens, Fondation La Napoule/Université Nice-Sophia-Antipolis, F.A.M.D.T. Parthenay.

Castéret, Jean-Jacques. 2002. Petit Guide de la polyphonie du Béarn et Bas-Adour, Institut Occitan. Billère.

Castéret, Jean-Jacques. 2004. De la polyphonie en France : l’exemple pyrénéen In Pastel, Conservatoire Occitan. Toulouse.

Castéret, Jean-Jacques. 2004. Polyphonie de table en Béarn et Pyrénées occidentales. Thèse pour le doctorat de musicologie, Bordeaux III / Lacito du C.N.R.S.

Castéret, Jean-Jacques. 2004 (to be published). Répertoire choisi… et chansons qui pètent: perception autochtone des corpus du Béarn. In Colloque Chansonniers et tradition orales. Cordae/La Talvera, novembre 2003.

Castéret, Jean-Jacques. 2004 (to be published): Sous le signe du va-et-vient en Béarn-bas-Adour : construction interactive d'un terrain. In De la Sémiotique de La Parole chantée à la Sémiostylistique : points de vue interdisciplinaires. L’Harmattan, Paris.

Castéret, Jean-Jacques and Patricia Heiniger. 2002. Le chant basque à l'église : nature du couplet, culture du refrain. In Kantuketan, sous la direction de Denis Laborde. Ed. Elkarlanean/Institut Culturel Basque. Donostia (San Sebastian).

*Festival de Siros. 1973 & 1977. Cantes dou Biarn amassades à Siros, 1er & 2ème recueils, Imprimerie de Navarre, Pau.

Foussard, Michel, 1996. Le chant religieux dans le Comté de Nice In Le chant religieux corse, état, comparaisons, perspectives, actes du colloque de Corte 1990. Pérès, M. (dir.), Créaphis, cahiers du CERIMM. Paris, 109-133.

*Servettaz, Claudius. 1910. Vieilles chansons savoyardes. Leroux et Abry. Annecy

 

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