Catégories
revue-en

Religions et Pouvoirs-en

Religion(s) et Pouvoir(s)
N° Hors-série (2023)
Publication date: June 2023
Online release date: July 2023

Journal Directors (in alphabetical order)
Dr. Marc JEANNIN, University of Angers; Dr. David POULIQUEN, DCLP

Publication Director
Dr. Jean-François BIANCO, University of Angers

Scientific Board (in alphabetical order)

Prof. Matteo CASARI Alma Master Studiorum – Università di Bologna
Prof. Adrian GRAFE University of Artois
Prof. Danièle PISTONE University Paris-Sorbonne

Scientific Committee (in alphabetical order)

Prof. Angela ALBANESE Università degli Studi Modena e Reggio Emilia
Prof. Carlo ALTINI Università degli Studi Modena e Reggio Emilia
Prof. Patrick BARBAN University of Le Havre
Prof. Marina BONDI Università degli Studi Modena e Reggio Emilia, Conservatorio di Musica Vecchi Tonelli
Prof. Philippe BLAUDEAU University of Angers
Dr. Jean-Noël CASTORIO University of Le Havre
Fabio CEPPELLI Teatro Luciano Pavarotti
Prof. Carole CHRISTEN University of Le Havre
Dr. Golda COHEN University of Angers
Prof. Norbert COL University of South Brittany
Prof. Carl GOMBRICH The London Interdisciplinary School
Me. Gildard GUILLAUME Academy of Sciences, Humanities, and Arts
Simon LEADER The Leys School
Dr. Marie NGO NKANA University of Strasbourg
Jean-Yves LEJUGE Quelven Baroque Music Festival
Prof. Nicola PASQUALICCHIO University of Verona
Prof. Paul PHILLIPS Stanford University
Dr. Geoffrey RATOUIS University of Angers
Dr. Sophie ROCH-VEIRAS Catholic University of the West
Prof. Clair ROWDEN School of Musicology, Cardiff University

Legal Advisor: Amandine GAULTIER

Editorial Team:
  • Editorial section:
  • Marine VASLIN
  • Lisa FISCHER
  • Marjorie GRANDIS
  • Graphic design section: Allison LEGRAVE
Webmaster: Dominique RIBALET

Annual Journal
Open-access journal, available at: www.dclp.eu/revue-dclp

Publication languages: French, Italian, English

@ : contact-revue-dclp@dclp.eu
ISSN: 2804-0074
Legal deposit: February 2021

Catégories
revue-en

Varia-en

VARIA

Journal Directors (in alphabetical order)
Dr. Marc JEANNIN, University of Angers; Dr. David POULIQUEN, DCLP

Publication Director
Dr. Jean-François BIANCO, University of Angers

Scientific Board (in alphabetical order)

Prof. Matteo CASARI Alma Master Studiorum – Università di Bologna
Prof. Adrian GRAFE University of Artois
Prof. Danièle PISTONE University Paris-Sorbonne

Scientific Committee (in alphabetical order)

Prof. Angela ALBANESE Università degli Studi Modena e Reggio Emilia
Prof. Carlo ALTINI Università degli Studi Modena e Reggio Emilia
Prof. Patrick BARBAN University of Le Havre
Prof. Marina BONDI Università degli Studi Modena e Reggio Emilia, Conservatorio di Musica Vecchi Tonelli
Prof. Philippe BLAUDEAU University of Angers
Dr. Jean-Noël CASTORIO University of Le Havre
Fabio CEPPELLI Teatro Luciano Pavarotti
Prof. Carole CHRISTEN University of Le Havre
Dr. Golda COHEN University of Angers
Prof. Norbert COL University of South Brittany
Prof. Carl GOMBRICH The London Interdisciplinary School
Me. Gildard GUILLAUME Academy of Sciences, Humanities, and Arts
Simon LEADER The Leys School
Dr. Marie NGO NKANA University of Strasbourg
Jean-Yves LEJUGE Quelven Baroque Music Festival
Prof. Nicola PASQUALICCHIO University of Verona
Prof. Paul PHILLIPS Stanford University
Dr. Geoffrey RATOUIS University of Angers
Dr. Sophie ROCH-VEIRAS Catholic University of the West
Prof. Clair ROWDEN School of Musicology, Cardiff University

Legal Advisor: Amandine GAULTIER

Editorial Team:
  • Editorial section:
  • Marine VASLIN
  • Lisa FISCHER
  • Marjorie GRANDIS
  • Graphic design section: Allison LEGRAVE
Webmaster: Dominique RIBALET

Annual Journal
Open-access journal, available at: www.dclp.eu/revue-dclp

Publication languages: French, Italian, English

@ : contact-revue-dclp@dclp.eu
ISSN: 2804-0074
Legal deposit: February 2021

Catégories
revue-en

DCLP num 3

L’Émotion chez Maria Callas
N°3 (2024)
Publication date: September 2024
Online publication date: December 2, 2024
TABLE OF CONTENTS
Introduction
1. The Love, Art, and Life of a Woman
2. Emotion and Inspiration
3. Heart and Analysis
About the Authors
Introduction by Jean-François Bianco and Marc Jeannin
« Introduction » Jean-François Bianco and Marc Jeannin
Download PDF
1. The Love, Art, and Life of a Woman
« Maria Callas, le triomphe de la volonté » Aurélie Moreau
Download PDF
« Maria Callas, le destin d’une diva » Eulalie Giraud
Download PDF
2. Emotion and Inspiration
« “Oh là là ! Il se prend pour la Callas” » Stéphane Sénéchal
Download PDF
3. Heart and Analysis
« The Callas effect: how a soprano changed the opera » Diana Elizabeth Martinovich
Download PDF
« Maria Callas and the craft of emotion » Craig Wich and Kelly Hijleh
Download PDF
About the Authors

Journal Directors (in alphabetical order)
Dr. Marc JEANNIN, University of Angers; Dr. David POULIQUEN, DCLP

Publication Director
Dr. Jean-François BIANCO, University of Angers

Scientific Board (in alphabetical order)

Prof. Matteo CASARI Alma Master Studiorum – Università di Bologna
Prof. Adrian GRAFE University of Artois
Prof. Danièle PISTONE University Paris-Sorbonne

Scientific Committee (in alphabetical order)

Prof. Angela ALBANESE Università degli Studi Modena e Reggio Emilia
Prof. Carlo ALTINI Università degli Studi Modena e Reggio Emilia
Prof. Patrick BARBAN University of Le Havre
Prof. Marina BONDI Università degli Studi Modena e Reggio Emilia, Conservatorio di Musica Vecchi Tonelli
Prof. Philippe BLAUDEAU University of Angers
Dr. Jean-Noël CASTORIO University of Le Havre
Fabio CEPPELLI Teatro Luciano Pavarotti
Prof. Carole CHRISTEN University of Le Havre
Dr. Golda COHEN University of Angers
Prof. Norbert COL University of South Brittany
Prof. Carl GOMBRICH The London Interdisciplinary School
Me. Gildard GUILLAUME Academy of Sciences, Humanities, and Arts
Simon LEADER The Leys School
Dr. Marie NGO NKANA University of Strasbourg
Jean-Yves LEJUGE Quelven Baroque Music Festival
Prof. Nicola PASQUALICCHIO University of Verona
Prof. Paul PHILLIPS Stanford University
Dr. Geoffrey RATOUIS University of Angers
Dr. Sophie ROCH-VEIRAS Catholic University of the West
Prof. Clair ROWDEN School of Musicology, Cardiff University

Legal Advisor: Amandine GAULTIER

Editorial Team:
  • Editorial section:
  • Marine VASLIN
  • Lisa FISCHER
  • Marjorie GRANDIS
  • Graphic design section: Allison LEGRAVE
Webmaster: Dominique RIBALET

Annual Journal
Open-access journal, available at: www.dclp.eu/revue-dclp

Publication languages: French, Italian, English

@ : contact-revue-dclp@dclp.eu
ISSN: 2804-0074
Legal deposit: February 2021

Catégories
revue-en

DCLP num 2

L’Émotion chez Luciano Pavarotti
N° 2 (2022)
Publication date: September 2022
Online release date: May 2024

Journal Directors (in alphabetical order)
Dr. Marc JEANNIN, University of Angers; Dr. David POULIQUEN, DCLP

Publication Director
Dr. Jean-François BIANCO, University of Angers

Scientific Board (in alphabetical order)

Prof. Matteo CASARI Alma Master Studiorum – Università di Bologna
Prof. Adrian GRAFE University of Artois
Prof. Danièle PISTONE University Paris-Sorbonne

Scientific Committee (in alphabetical order)

Prof. Angela ALBANESE Università degli Studi Modena e Reggio Emilia
Prof. Carlo ALTINI Università degli Studi Modena e Reggio Emilia
Prof. Patrick BARBAN University of Le Havre
Prof. Marina BONDI Università degli Studi Modena e Reggio Emilia, Conservatorio di Musica Vecchi Tonelli
Prof. Philippe BLAUDEAU University of Angers
Dr. Jean-Noël CASTORIO University of Le Havre
Fabio CEPPELLI Teatro Luciano Pavarotti
Prof. Carole CHRISTEN University of Le Havre
Dr. Golda COHEN University of Angers
Prof. Norbert COL University of South Brittany
Prof. Carl GOMBRICH The London Interdisciplinary School
Me. Gildard GUILLAUME Academy of Sciences, Humanities, and Arts
Simon LEADER The Leys School
Dr. Marie NGO NKANA University of Strasbourg
Jean-Yves LEJUGE Quelven Baroque Music Festival
Prof. Nicola PASQUALICCHIO University of Verona
Prof. Paul PHILLIPS Stanford University
Dr. Geoffrey RATOUIS University of Angers
Dr. Sophie ROCH-VEIRAS Catholic University of the West
Prof. Clair ROWDEN School of Musicology, Cardiff University

Legal Advisor: Amandine GAULTIER

Editorial Team:
  • Editorial section:
  • Marine VASLIN
  • Lisa FISCHER
  • Marjorie GRANDIS
  • Graphic design section: Allison LEGRAVE
Webmaster: Dominique RIBALET

Annual Journal
Open-access journal, available at: www.dclp.eu/revue-dclp

Publication languages: French, Italian, English

@ : contact-revue-dclp@dclp.eu
ISSN: 2804-0074
Legal deposit: February 2021

Catégories
revue-en

DCLP num 1

Les Voix de l’émotion
N° 1 (2021)
Publication date: September 2021
Online release date: December 2021

Journal Directors (in alphabetical order)
Dr. Marc JEANNIN, University of Angers; Dr. David POULIQUEN, DCLP

Publication Director
Dr. Jean-François BIANCO, University of Angers

Scientific Board (in alphabetical order)

Prof. Matteo CASARI Alma Master Studiorum – Università di Bologna
Prof. Adrian GRAFE University of Artois
Prof. Danièle PISTONE University Paris-Sorbonne

Scientific Committee (in alphabetical order)

Prof. Angela ALBANESE Università degli Studi Modena e Reggio Emilia
Prof. Carlo ALTINI Università degli Studi Modena e Reggio Emilia
Prof. Patrick BARBAN University of Le Havre
Prof. Marina BONDI Università degli Studi Modena e Reggio Emilia, Conservatorio di Musica Vecchi Tonelli
Prof. Philippe BLAUDEAU University of Angers
Dr. Jean-Noël CASTORIO University of Le Havre
Fabio CEPPELLI Teatro Luciano Pavarotti
Prof. Carole CHRISTEN University of Le Havre
Dr. Golda COHEN University of Angers
Prof. Norbert COL University of South Brittany
Prof. Carl GOMBRICH The London Interdisciplinary School
Me. Gildard GUILLAUME Academy of Sciences, Humanities, and Arts
Simon LEADER The Leys School
Dr. Marie NGO NKANA University of Strasbourg
Jean-Yves LEJUGE Quelven Baroque Music Festival
Prof. Nicola PASQUALICCHIO University of Verona
Prof. Paul PHILLIPS Stanford University
Dr. Geoffrey RATOUIS University of Angers
Dr. Sophie ROCH-VEIRAS Catholic University of the West
Prof. Clair ROWDEN School of Musicology, Cardiff University

Legal Advisor: Amandine GAULTIER

Editorial Team:
  • Editorial section:
  • Marine VASLIN
  • Lisa FISCHER
  • Marjorie GRANDIS
  • Graphic design section: Allison LEGRAVE
Webmaster: Dominique RIBALET

Annual Journal
Open-access journal, available at: www.dclp.eu/revue-dclp

Publication languages: French, Italian, English

@ : contact-revue-dclp@dclp.eu
ISSN: 2804-0074
Legal deposit: February 2021

Catégories
revue-en

Charte éditoriale-en

EDITORIAL GUIDELINES

REVUE DCLP

GENERAL GUIDELINES FOR SUBMITTED FILES

  1. The submitted file, containing the complete article with text, illustrations, and any tables in their proper places, must be saved in Word format (.doc or .docx file).
    The file should be named as follows: « First name and Last name of the author, followed by a space, a hyphen, another space, and the Title of the article. » Example: « Jean Dupont – The Voices of Emotion »
  2. DCLP primarily publishes articles in French, English, or Italian. The editorial charter guidelines primarily apply to articles in French. Texts written in other languages should follow the main recommendations (font, line spacing, titles, paragraphs) to maintain publication consistency but may adopt their respective conventions for specific details.
  3. Authors should submit the following along with their file:
    – A biography of the author (100-150 words)
    – A summary in the article’s language (maximum 500 characters, including spaces)
    – A list of three to five keywords for indexing
  4. The maximum length for submitted articles is 50,000 characters (including spaces), excluding notes, references, and appendices.
  5. Authors must place any illustrations within the text file at the intended location. Illustrations should be referred to as « Figure n. » Authors are responsible for obtaining reproduction rights if necessary.
  6. Tables must be created within the Word document.

ARTICLE PRESENTATION

  1. Font, Line Spacing, and Text Size
    The font is « Garamond, » with a line spacing of 1.
    – Body text: 12 pt, justified
    – Long quotations (more than two lines): 10 pt, Roman characters, reduced justification (2 cm margins on each side)
    – Figure and table captions: 10 pt, italics, justified
    – Footnotes: 10 pt, justified
  2. Titles
    – Article title: 16 pt, uppercase, bold, centered
    Should not exceed 100 characters
    – Author’s first and last name under the title: 12 pt, centered
    – Author’s position/profession and institution (if applicable): 12 pt, centered, below the name
    – First-level subheading: 12 pt, uppercase, centered
    – Second-level subheading: 12 pt, italics, left-aligned
  3. Paragraphs
    – Paragraphs should be distinguished with a right-indent of 1 cm.
    – Bullet points should be avoided; use dashes instead.
  4. Quotations
    – Long quotations (more than two lines) should be separated (on a new line) and distinguished with a smaller font size (10 pt) and reduced justification. They should be in Roman characters, not italics, and should not include quotation marks. Omissions should be indicated with brackets and three ellipsis points […].
    – Short quotations (less than two lines) should be included in the text in Roman characters and enclosed within French quotation marks. English quotation marks should be used for quotes within quotes.
  5. Italics
    Italics should be used for:
    – Book titles,
    – Works of art,
    – Emphasized words.
  6. Special Typographic Rules
    – Capital letters should be accented.
    – Authors’ first names should appear in full.
  7. Rules for Titles of Books, Publications, and Journals
    – If the title does not begin with a definite article, only the first word is capitalized.
    – If the title begins with a definite article, the first noun and any preceding adjectives or adverbs are capitalized.
    – If the title contains contrast or symmetry, each term is capitalized.
    – If the title is a full sentence, no capitalization is used.

BIBLIOGRAPHIC REFERENCES AND NOTES

  1. The DCLP journal requires references to be cited in footnotes.
    A final bibliography is not required.
  2. Notes should be numbered consecutively, with each note ending in a period.
  3. Footnote markers should be placed before any punctuation mark.
  4. References should follow French bibliographic standards in the following format:
    First Name Last Name, “Article Title,” Title of the Book, Collection, or Journal, (first edition date if applicable), Place of Publication, Publisher, “Collection,” Edition Date, and any relevant edition details.
  5. Specific Recommendations
    – The city name (place of publication) should be in French.
    – Use “dans” instead of “in” for references.
    – References in languages other than French should follow the conventions of the respective language.
    – Use “voir” for cross-references.
  6. Online References
    – The consultation date should be indicated with “Site consulted on (date).”

COMMON ABBREVIATIONS

XIVth century (Roman numerals in small caps)
« XIVth century » (Roman numerals in small caps)
« Art. cit. » for « cited article »
« Chap. » instead of « ch. »
« éd. » (editor, edition)
« etc. » and not « etc… »
« vol. » for volume
« t. » for tome
« coll. » for collection
« fasc. » for fascicle
« f° » for folio
« n° » for number
« p. » for page (avoid « pp. » for multiple pages)
« tr. fr. » for French translation
« sq. » for « and following »
Ibid. refers to the same text as the previous note
Id. refers to the same author
Op. cit. refers to a previously cited reference

Catégories
revue-en

auteurs-hs

SPECIAL ISSUES
Revue DCLP

ABOUT THE AUTHORS (in alphabetical order)

Norbert COL

Norbert COL, Emeritus Professor at the University of Southern Brittany and member of TEMOS UMR 9016 CNRS, is the author of a bilingual edition of Edmund Burke’s Appeal from the New to the Old Whigs (1996), Burke, the Social Contract, and Revolutions (2001), and In Search of British Conservatism: Historiography, Britishness, Modernity. 17th-20th centuries (2007), all published by the University Press of Rennes. He directed Writings of the Self (L’Harmattan, 2007) and co-directed, with Allan Ingram, Utopia, Individual, and Society: Sociability in Question (Le Manuscrit, 2015). He has also written various articles, mainly on Burke, Michael Oakeshott, Jonathan Swift, Daniel Defoe, and Thomas More.

Gildard GUILLAUME

Graduated in private law and from the Center for Business Improvement in Paris (EMBA-HEC), Gildard Guillaume is an honorary lawyer, writer, and historian. He is an administrator of the Napoleon Institute and the Academy of Sciences, Fine Arts, and Letters of Angers. In addition to articles in specialized journals, he has published several essays and historical novels concerning the period 1780-1880, particularly the Revolution, the Consulate, and the First Empire. He gives lectures and participates in the work of several historical associations. He chairs a foundation for the restoration of a public historical monument.

Marc JEANNIN

Lecturer at the University of Angers and Doctor of Letters from the University of the Sorbonne, Marc Jeannin is passionate about the voice and specializes in language-music relationships. His work focuses on vocal expression related to emotions and sensory perceptions. Author of scientific articles and press articles, he has also published several interdisciplinary books, including Anthony Burgess: Music in Literature and Literature in Music (Cambridge Scholars Publishing, 2009), Anthony Burgess and France (Cambridge Scholars Publishing, 2017), Anthony Burgess and France (University Press of Rennes, 2019), and Phonetic Accent and Musical Accent in Vocal Music in English (European University Editions, 2019). Marc Jeannin is also a composer and member of SACEM.

David POULIQUEN

Doctor of Music, graduated from the University of Rennes 2, and Doctor of Human Sciences, graduated from the University of Modena and Reggio Emilia, David Pouliquen is interested in the relationships between music, languages, theater, and voice. A specialist in Shakespeare at the opera, his work deals with musical and comparative dramaturgy. His methodological approach is based on linking academic research with artistic practices (singing, acting, staging). This originality stems from his training as a lyric artist. David Pouliquen is a student of Richard Cowan and Michèle Command.
Catégories
revue-en

auteurs-v

VARIA
Revue DCLP

ABOUT THE AUTHORS

Guy TRIGALOT

Doctor in French literature, language, and civilization, member of the Groupe Hugo (Université Paris Cité) and CIRPaLL (Université d’Angers), Guy Trigalot conducts research on Romantic authors, the Pavie family from Anjou, and the early stages of the press in the 19th century. He has authored around thirty publications, including two books published by PUR, and has delivered as many presentations or study days on these topics. A retired professor specialized in psychopedagogy, he is a member of the Academy of Sciences, Humanities, and Arts of Angers, the scientific and administrative councils of Lyriades de la langue française, co-founder and president of Amis de Victor et Théodore Pavie, and above all a lecturer and exhibition curator at the Maison Littéraire de Victor Hugo in Bièvres.
Catégories
revue-en

auteurs-nt

THEMATIC ISSUES
Revue DCLP

ABOUT THE AUTHORS (in alphabetical order)

Catherine AFTALION

Secretary General of the Maria Callas Endowment Fund and a senior executive in insurance, Catherine Aftalion has been passionate about music since her youth and is a trained pianist with several competitions at the advanced level to her credit. She is committed to passing on music to younger generations, organizing concerts in regions, and giving musical lectures, particularly those focusing on the Art of Maria Callas, which she has presented, among other places, on the stage of the Reims Opera. Catherine Aftalion is also a composer, a member of SACEM, and a scriptwriter, a member of SACD.

Angela ALBANESE

Angela Albanese is an associate professor of Comparative Literature and Theatrical Literature, Writing, and Criticism at the University of Modena and Reggio Emilia. She directed, until 2022, the publication series « Canovaccio. Teatro »: bilingual Spanish-Italian texts of contemporary Italian theater. A member of various scientific committees of journals and national and international research groups, her research areas include translation theory and history, contemporary theater, and practices of reception, rewriting, and adaptation of literary texts. Her publications include, among others, Metamorfosi del Cunto di Basile. Traduzioni, riscritture, adattamenti (2012); L’artefice aggiunto. Riflessioni sulla traduzione in Italia (with F. Nasi, 2015); Identità sotto chiave. Lingua e stile nel teatro di Saverio La Ruina (2017); Linguaggi, esperienze e tracce sonore sulla scena (with M. Arpaia, 2020); A modo loro. Riscritture, transcodificazioni, dialoghi con i classici (2020); Changes. Riscritture, sconfinamenti, talenti plurimi (Mimesis, 2024).

Salvatore Maria ANZALONE

Salvatore Maria Anzalone is a Lecturer at the University of Paris 8 and a member of the Laboratory of Artificial and Human Cognition, leading the group Cognition and Social Interactions. His research interests focus on social robotics, from analyzing interpersonal dynamics to developing socio-cognitive behaviors, with the goal of enabling robots to express high levels of social intelligence. He has worked extensively on these topics in the specific context of social assistance robotics for children with neurodevelopmental disorders. He received a JSPS research fellowship from the Japan Society for the Promotion of Science (2011-2012) and a fellowship from the Japanese National Institute of Information and Communications Technology (2013). He has participated in several national and European projects such as the FP7 Michelangelo. He is currently the editor-in-chief of the International Journal of Social Robotics by Springer.

Louise BRUN

Graduated from the Bordeaux Conservatory in 2006, Louise Brun discovered Opera within the choir. After a stint in Hypokhâgne and Khâgne, she turned towards careers in the performing arts. In 2017, after five years of experience as a lyric stage manager, she began collaborating with director Emmanuelle Bastet. She also assists David Hermann, Émilie Capliez, Amélie Niermeyer, Yoshi Oïda, Timothy Sheader, and Kirill Serebrennikov at the Paris Opera. In March 2022, Louise Brun signed her first staging of The Human Voice at the Auditorium Cariplo in Milan. She is part of the first promotion of the Bordeaux National Opera Academy and presents a new production of Dido and Aeneas at the Grand Théâtre de Bordeaux in February 2023. Her creation Oh La La La!, performed in October 2023 as part of the La Semaine bleue festival, will be reprised in a version for all audiences in June 2024 at the Dijon Opera.

Filippo BRUSCHI

Filippo Bruschi is a playwright and poet. Born in Italy, he began working in France in 2005. He has written and published, in Italian, the plays Théâtreïde (2013) and Luxuriàas: Lost in lust (Fersen Prize for dramaturgy, 2015), in collaboration with Caroline Pagani. Filippo Bruschi has published the poetry collections Plaquette (2014) and Maniere (2019). In 2018, he wrote (in French) and staged Callas machine. In 2021, the text was published in Italian with the title Kallasmachine by Kolibris editions. Holding a Ph.D. in Theater Studies from the University of Paris 3 Sorbonne-Nouvelle, Filippo Bruschi has taught Performing Arts at IUAV in Venice and the Academy of Fine Arts in Venice, as well as at the universities of Paul Valéry in Montpellier (2015-16), Lille 3, and Strasbourg. He has published the essay Personnage collectif, personnage individuel au théâtre: tableaux d’un parcours dialectique (1830-1930) with Honoré Champion editions.

João Pedro CACHOPO

João Pedro Cachopo teaches at the Nova University of Lisbon, where he is a researcher at the Center for Studies in Sociology and Aesthetics of Music. His research areas are at the intersection of philosophy, musicology, and media and performance studies. He is the author of Callas e os Seus Duplos: Metamorfoses da Aura na Era Digital (Documenta, 2023), A Torção dos Sentidos: Pandemia e Remediação Digital (Documenta, 2020), translated into English as The Digital Pandemic: Imagination in Times of Isolation (Bloomsbury, 2022), and of Verdade e Enigma: Ensaio sobre o pensamento estético de Adorno (Vendaval, 2013), for which he won the first book prize from the Portuguese PEN Club in 2014. He has also co-edited, with Chris Stover and Patrick Nickleson, Rancière and Music (Edinburgh University Press, 2020), among other books. João Pedro Cachopo has translated into Portuguese works by Georges Didi-Huberman, Jacques Rancière, and Theodor W. Adorno.

Matteo CASARI

Matteo Casari is an associate professor in the Department of Arts at the University of Bologna, where he teaches Asian Theaters, Asian Performance Cultures, and the Organization and Economics of Performing Arts. He is primarily interested in Asian theatrical traditions, particularly those of Japan, where he has conducted field research, and has also explored Italian folk traditions. He is the author of various publications, including monographs, edited volumes, and essays, the most recent being: Mishima Mishima Yukio e l’atto performativo. Drammaturgie di un artista (2023, with Giovanni Azzaroni and Katja Centonze); Un mito che danza, un teatro che si fa storia: il nō (2022); Matsuyama nō. Un nō differente (2021); Il nō dei robot: l’artificio e l’empatia (2021). He is the scientific director of the journal « Antropologia e Teatro » and deputy director and project leader of the Mokichi Okada Chair on Beauty. He coordinates the interdisciplinary research group « Performing robots » (University of Bologna) and is a member of the scientific council of the Master’s program in Entrepreneurship in Performing Arts (University of Bologna).

Fabio CEPPELLI

Fabio Ceppelli is an independent journalist who started his career at the local newspaper Gazzetta di Modena. He has written for numerous local and national media outlets. For over 30 years, he has been active in the field of event organization and cultural and territorial promotion. Initially a press attaché and collaborator for public administrations, then coordinator of associations for promoting Modena’s historic center, he has collaborated with national promotion agencies. Today, he is responsible for promotion and audience training at the Teatro Pavarotti-Freni in Modena. For over 15 years, he has also collaborated with Raina Kabaivanska in coordinating the activities of the renowned soprano and is the author of the book Raina Diva- ritratto di un’anima.

Benoît de CHASSEY

Benoît de Chassey holds a Ph.D. in Biology and is a co-founder of the pharmaceutical company ENYO Pharma. He develops a dual theatrical experience: as an actor under the direction of Claire Rengade, Grégoire Blanchon, or Fany Buy, and as an author in an adaptation of Olga ma Vache by Roland Dubillard and with the writing of the shows Léo Conférence and I am not Maria Callas. He offers modular performances for intimate theater in an apartment format as well as for large stages.

David CHRISTOFFEL

David Christoffel is a poet and composer, radio personality, and Ph.D. in musicology from EHESS. Author of spoken operas (recently Consensus partium, performed at the opening of the Brussels festival Next opera days in 2023), he has published over 150 studies between poetry, musicology, and radio aesthetics. Formerly a columnist for France Musique, he produces magazines and creation programs for France Culture and Espace 2 (RTS) and the program Metaclassique broadcast on over a hundred associative radios. He is also the author of Ouvrez la tête (my thesis on Satie) (MF editions, 2017) and two essays La musique vous veut du bien (PUF, 2018) and Les petits malins de la grande musique (PUF, 2023). His works are listed on the site www.dcdb.fr

Maria Teresa CORACI

Sicilian actress and writer, Maria Teresa Coraci holds a degree in philosophy from the University of Rome La Sapienza and in educational sciences from Roma Tre University. She is interested in writing by migrant and post-colonial women, feminist art, mental distress, contemporary feminist philosophies, and dramaturgies. In 2012, she completed a Master’s in Gender, Thought of Differences, Sex Relations (University of Paris 8). She is the author of Non finito (self-published, Edizioni della Mano d’oro, Rome 2016), inspired by the life of Camille Claudel. With the theatrical monologue Por Marielle Franco, she won the Premio Serra as an author (Naples, 2022). Three of her monologues were included in the play Di me la notte sembra sapere (Festival delle Orestiadi di Gibellina, 2023).

Joseph DELAPLACE

Joseph Delaplace is a Professor at the University of Rennes 2 (research unit EA 3208 « Arts: Practices and Poetics »). He directed the UFR « Arts, Letters, Communication » (2017-2022) and the musicology department (2014-2017 and 2023-2026). Holder of the agrégation, CAPES, and several conservatory prizes, he teaches analysis and aesthetics of 20th and 21st-century music. He is the author of a book (György Ligeti. An Essay on Musical Analysis and Aesthetics, PUR, 2007) as well as numerous articles and chapters on the works of Ligeti, Berio, Cendo, Harvey, Ferneyhough, Feldman, De Vienne, Varèse, Schönberg, Berg, Debussy, Mahler, Stravinski. He has directed 7 collective works, including The Art of Repeating. Psychoanalysis and Creation (PUR, 2014), The Musical Writing of Bernard de Vienne (L’Harmattan, 2012), The Body in Musical Writing (with Jean-Paul Olive, Artois Press University, 2019).

Gilles DEMONET

Gilles Demonet is a Professor at the Music and Musicology UFR of Sorbonne University, where he directs the Master’s program in Music Administration and Management. From 2020 to 2023, he directed the IReMus (Institute for Music Research). His research focuses particularly on contemporary musical institutions. He has published The Straram Concerts (1926-1933) (Paris, French Musicological Society, 2021), The Markets of Live Music (Paris, PUPS, 2015), and, with Jean-Pierre Saez, Opera on Screen: Opera for All! New Offers and New Cultural Practices (Paris, L’Harmattan, 2013). He frequently teaches abroad, notably in China and Italy. Previously, he was the administrative and financial director of the Opéra-Comique and the director of the French office of IMG Artists.

Farah DHIB

Ph.D. in Musicology (University of Poitiers & University of Tunis), Farah Dhib is a researcher associated with Criham (Interdisciplinary Research Center in History, Art History, and Musicology). She specializes in Arabic opera, author of a doctoral thesis titled Models and Transfers of Western Paradigms in Arabic Opera between 1956 and 2016. Her academic background includes training in Arabic music and lyric singing with renowned vocalists such as Hristina Hadjieva, Alexandra Papadjiakou, Henry Runey, Micaela Etcheverry, and Dany Barraud. Farah Dhib holds a master’s degree in Television and Webmedia and Communication (GES network) and in Musicology Research (University of Paris Sorbonne), and her research covers various topics: lyric institutions, vocal interpretation, political and ideological engagement in Sayed Darwich’s operettas, cultural transfers in music, Tunisian popular music, and vocal analysis using artificial intelligence.

Eftychia DROUTSA

Pianist at the National Conservatory of Athens, Eftychia Droutsa began her university studies in France at the University of Strasbourg – Marc Bloch in musicology. She obtained a Master’s degree titled A Music of Divine Origin: The Music of Western Thrace and its Evolution. She continued her studies at the University of Paris–Sorbonne in ethnomusicology at the Center for Musical Heritage and Languages under the direction of Professor François Picard. She began her work on the vocal repertoire of the Muslim Pomak minority (northeastern Greece, Western Thrace) titled The Pomak Song: Memory and Musical Perception. She obtained her Ph.D. on the study of the mevlud ritual practiced by women of the same community titled Minor Musics. The Mevlud Ritual among Pomak Women in Western Thrace. She is a lecturer at Paris 8, a cultural mediator at the Philharmonie, and a member of the French Ethnomusicology Society (SFE) and founding member of the ethnomusiKa association.

Christophe FEL

After a 25-year career as a solo bass, primarily focused on major roles of the 18th, 19th, and 20th centuries on Europe’s major stages, Christophe Fel dedicated himself to teaching belcantist vocal technique, which he inherited from one of the last descendants of the famous 19th-century family of singers-teachers, the « Garcia-Malibran-Viardot ». Christophe Fel is the artistic director of the international Georges Liccioni singing competition….

Giordano FERRARI

Giordano Ferrari is a member of the MUSIDANSE Laboratory (EA 1572) and a professor at the University of Paris 8. He was responsible for and coordinated the research project « Contemporary Musical Dramaturgy in Europe » (ANR project 2005-2008), the project « Luciano Berio’s Musical Theatre » (2010-13), and the project « Towards the Present of Musical Dramaturgy through the Idea of ‘Sensitive’ Space » (Labex Arts H2H, 2014-16). In addition to articles on music and musical theater of the 20th century, he is the author of the books Armando Gentilucci (Ricordi/LIM, 1998), The Beginnings of Avant-Garde Musical Theatre in Italy (L’Harmattan, 2000), and he has directed or co-directed numerous collective works, including The Exploded Opera (2006), Music and Its Scenic Expression (2007), Speech on Stage (2008), and For Current Stage (2009), To Bruno Maderna (2007 and 2009), Luciano Berio’s Musical Theatre (2016), The Sensitive Space of Musical Dramaturgy (2018).

Marguerite FRISON-ROCHE

Graduated from Sciences Po Paris and the Sorbonne in modern letters. Passionate about music and theater, Marguerite Frison-Roche completed her final internship at the Paris Opera. She continued her studies in cultural management at the Accademia della Scala. This training allowed her to work within the artistic direction of La Scala as well as the Bru Zane Foundation in Venice. During her academic career, she conducted numerous exchanges with European universities to study cultural policies and languages, notably in Stockholm, Seville, Vienna, and Rome. After various public affairs consulting missions upon her return to France, Marguerite Frison-Roche joined the philanthropic organization Le Fonds du Bien Commun, which invests notably in culture and education.

Eulalie GIRAUD

Eulalie Giraud is currently a parliamentary collaborator at the National Assembly. Passionate about history, she is the founding president of Europa Chroniques, an association that promotes European cultural heritage through the production of podcasts. Graduated with a degree in History and a double master’s from Sciences Po Strasbourg, she also conducts research on the history of European construction and the personality of Louise Weiss.

Pierre GIROD

Pierre Girod is a doctor in musicology, attached to EA 1279 and associated with the Francophone Music Criticism network. Qualified for the functions of lecturer in the 18th and 22nd sections, he was a course instructor at the University of Rouen-Normandy, the University Paul-Valéry (Montpellier), and the University Jean-Jaurès (Toulouse). His contributions to two of the three volumes of A History of Opera in France (Fayard) as well as to several issues of L’Avant-Scène Opera testify to his expertise in lyric singing as a social, artistic, and pedagogical practice. He teaches this discipline in a conservatory after having performed professionally in various specialized vocal ensembles for about fifteen years.

Adrian GRAFE

Graduated from Oxford (BA Hons Oxon), Adrian Grafe is an English teacher and professor at the University of Artois. A poet by training, he is the author of several works dedicated to poetry and the links between poetry, literature, and popular music. Also a singer, musician, and songwriter, he wrote and performed the twelve songs on the CD Forgiving World, realized in collaboration with Mylène Douriez. Adrian performed his compositions at international colloquia, notably at the DCLP colloquium at the University of Angers in 2018, and at the SAES congress at Rennes II in 2023. ‘I Remember Arras’, a sequence of four sonnets, was published in The Spectator in 2021, and his novel The Ravens of Vienna was recently released (Histria, 2022).

Denis HUNEAU

Denis Huneau is a lecturer and head of the Musicology program at the Catholic University of the West. His works, including the first major book on André Caplet, a close friend and collaborator of Debussy, focus on music and musical institutions in France from the 19th century to World War II, as well as on the teaching of writing. He regularly explores the musical life in Angers, including that of its opera.

Marc JEANNIN

Lecturer at the University of Angers and Doctor of Letters from the University of the Sorbonne, Marc Jeannin is passionate about the voice and specializes in the relationship between languages and music. His interdisciplinary work focuses notably on vocal expression in relation to emotions and sensory perceptions. Author of scientific articles and press articles, he has also published several books including Anthony Burgess: Music in Literature and Literature in Music (Cambridge Scholars Publishing, 2009), Anthony Burgess and France (Cambridge Scholars Publishing, 2017), Anthony Burgess et la France (Presses Universitaires de Rennes, 2019), Phonetic Accent and Musical Accent in Vocal Music in English (Editions Universitaires Européennes, 2019), and Phonetic and Phonological Guide to English (Ellipses, 2024). Marc Jeannin is also a songwriter and member of SACEM.

Arnaud KIENTZ

Arnaud Kientz began his studies at the age of 16 and completed them under Janine Reiss. Various opera roles and concerts led him to perform in France and abroad. He recorded for Musigram Ave Maria, The Marseillaise (over 4 million listens), and God Save the King, thus being invited by French and English media in September 2022 during the funeral of Queen Elizabeth II because it was still the only commercially available version. In parallel, he participates in organizing masterclasses (Ruggero Raimondi in Marseille), festivals (Piano Festival of Solliès Pont, Les Coups de coeur in Chantilly), and dedicates himself to teaching singing, which he has passionately practiced for about twenty years.

Mi-kyung KIM

Lyric soprano, graduated from Kyunghee University in Seoul and then from the Hochschule für Musik in Dresden as an opera soloist, Mi-kyung Kim made her debut at the Semperoper with Sir Colin Davis. She sang in Dresden where she performed numerous recitals. Then she performed in France in various cathedrals (Chartres, Senlis) and churches (Saint Germain des Prés, Val de Grâce), participated in festivals (with Laurent Petitgirard, Frédéric Lodéon), in operas (La Bohème, Gianni Schicchi by Puccini), gave private performances at the Opéra Garnier in Paris, in Venice, in castles, and various palaces. In addition to Europe, she occasionally performs in South Korea and the United States. Initially very classical, focused on opera, bel canto, oratorio, German Lied, or French melody, she has progressively expanded her repertoire to include gospel, musical comedy, and jazz standards.

Lisa LA PIETRA

Specialist in the analysis and aesthetics of vocal interpretation, Lisa La Pietra is a doctoral student at the University of Paris 8 in scientific co-supervision at IRCAM-Centre Pompidou, in the team Analysis and Synthesis of Sound under the direction of Nicolas Obin. She regularly works as a consultant for various national and international institutions. She has several scientific publications to her credit, including the « Grandi Voci » section of the official magazine of the Teatro alla Scala: La Scala magazine.

Doriana LEGGE

Doriana Legge is a researcher specializing in the disciplines of performing arts at the Università degli Studi dell’Aquila and coordinator of cultural activities at this university. In 2018, she participated in the creation of « Aria – Festival di Teatro, » of which she is the artistic director. Her research areas concern Italian theater from the early 20th century (Un Novecento scomodo. Il teatro di Emma Gramatica, Tatiana Pavlova e Anna Fougez, Bulzoni, Rome 2022; Inseguendo I Carabinieri. Beniamino Joppolo, ovvero la pratica della singolarità, Bulzoni, Rome 2020), and studies on the orientations, functions, and perceptions of the sound register in theater. She is a member of the editorial board of the study magazine « Teatro e Storia. »

Nicoletta MANTOVANI

Graduated in natural sciences from the University of Bologna, Nicoletta Mantovani was the artistic director of the charity concert « Pavarotti & Friends » from 1995 to 2003. As an entrepreneur in the theater and cinema sector, she produced the Italian version of the Broadway musical « Rent » in the early 2000s, a short film, and an art film that was awarded at the Rome Film Festival. Nicoletta Mantovani also produced important Italian music festivals, hosting some of the most famous international artists. She coordinated international celebrities participating in the opening and closing ceremonies of the 2006 Winter Olympics in Turin and, since 2008, has organized significant events worldwide dedicated to the memory of Maestro Pavarotti. Nicoletta Mantovani was a cultural promotion and youth policy advisor for the city of Bologna and deputy mayor and international relations counselor for the city of Florence. Nicoletta Mantovani is the president of the Luciano Pavarotti Foundation.

Diana Elizabeth MARTINOVICH

Diana Elizabeth Martinovich is a writer of Croatian origin, an opera mezzo-soprano singer, business and career coach, and entrepreneur. She has written several non-fiction books on topics such as goal setting, leadership, and business strategies in the digital age, as well as the book The Art of Bel canto: where science and spirit meet, co-authored with her husband, Boris Martinovich. As an entrepreneur, Diana Elizabeth Martinovich has founded and successfully managed numerous businesses. As an opera singer and producer, she has performed worldwide and, as a producer, she has developed several projects for young classical and opera singers. Diana Elizabeth brings her passion for knowledge, creativity, and the arts to all her ventures.

Pietro MILLI

Pietro Milli holds a Ph.D. in Musicology and is a research associate at the GRHis laboratory (University of Rouen Normandy). He is the author of articles on 20th and 21st-century music, program notes for the Paris Opera, as well as literary translations (Léon-Paul Fargue, Nicola Abbagnano, etc.). He also collaborates with Laurent Feneyrou in the framework of Triestiana, a publishing house that edits and publishes bilingual collections of Triestine poetry.

Aurélie MOREAU

Producer of radio programs on France Musique, a station of the Radio France group, since 2016. Trained as a pianist, Aurélie Moreau attended the Conservatory and the University of Geneva. She also collaborates with the musical magazines « Classica » and « Pianiste, » while participating in the program « La Tribune des critiques de disques. » In 2019, she was designated to take over part of Frédéric Lodéon’s daily slot on France Musique, initially with a program playfully titled « Le van Beethoven » to celebrate the composer’s 250th birthday. The program was later renamed « Stars du classique. » During 2023, Aurélie Moreau dedicated a monthly program to Maria Callas for the centenary of « La Divina’s » birth.

Cristiana NATALI

Cristiana Natali is an associate professor in the Department of History of Cultures and Civilizations at the University of Bologna. She teaches Anthropology of South Asia, Anthropology of Dance, and Ethnographic Research Methodologies. She conducted research in the territories of the LTTE (Liberation Tigers of Tamil Eelam) in Sri Lanka between 2002 and 2006 and has worked with Tamils in the diaspora, particularly those residing in Italy, since 2000. Among her works are Sabbia sugli dèi. Pratiche commemorative tra le Tigri tamil (Sri Lanka), CLUEB, 2020, and Percorsi di antropologia della danza, Cortina, 2009. At the University of Bologna, she is also responsible, in collaboration with Roberta Bonetti, for the REAL lab site and is a member of the interdisciplinary research group Performing robots.

Danièle PISTONE

Emeritus Professor (Sorbonne University) and member of IReMus (Institute for Music Research), responsible for publications of the French Musical Observatory (OMF, 1991-2015) and the « Musique-Musicologie » collection of Honoré Champion editions (since 1976). Specialist in French musical works (19th and 20th centuries) in their relationships to contexts, notably historical, literary, or aesthetic, she has dedicated various works to these questions: 25 years of operatic creations in France (1990-2015), OMF, 2015; Notes on the musical life of the 1990s according to six indexed French magazines, ibid., 2015; Le Paris d’été. Music and society in Trouville-sur-mer from 1830 to 1914, L’Harmattan, 2019; Prospectives musicologiques, ibid., 2019; Nuit et musique (forthcoming, ibid.).

David POULIQUEN

Ph.D. in Music, graduated from the University of Rennes 2, and Ph.D. in Human Sciences, graduated from the University of Modena and Reggio Emilia, David Pouliquen is interested in the relationships between music, languages, theater, and voice. Specialist in Shakespeare at the opera, his works deal with musical and comparative dramaturgy. His methodological approach is based on linking academic research and artistic practices (singing, acting, staging). This originality stems from his training as a lyric artist. David Pouliquen is a student of Richard Cowan and Michèle Command.

Philippe ROCQUET

Member of the Angers Academy since 1981, Philippe Rocquet is currently president of the Federation of Learned Societies of Maine-et-Loire. After serving as the Representative of the French Navy in Maine-et-Loire (Naval Military Authority) from 1984 to 2000, Philippe Rocquet is also Representative of ACORAM in Maine-et-Loire, with the rank of Captain. President of the Federation of Lyric Associations of the West from 1993 to 2010 and, in particular, president of the Friends of Lyric Art in Angers from 1976 to 2012, he practiced as a dentist in Angers from 1970 to 2015.

Stéphane SENECHAL

Stéphane Sénéchal, initially a student at the Paris Geopolitics doctoral school (under the direction of Yves Lacoste), is a French tenor and stage director, specializing in the French repertoire ranging from French Melody to opera and operetta. He gained worldwide recognition during the COVID-19 pandemic by singing at his window in Paris every evening. The event was covered by the global press, praising his solidarity and artistic gesture. The most prestigious media rankings of 2020 and 2021, including those of CNN, ABC News, World News, AP News, Euronews, Reuters, The Star, The San Francisco Chronicle, The Washington Post, BBC News, The Sun, Le Parisien, Le Figaro, LCI, Nouvel Obs, France 24, rank him among the most notable personalities of 2020 and 2021. A student of Jocelyne Taillon, Mady Mesplé, Gabriel Bacquier, and Camille Maurane, it was his meeting with tenor Michel Sénéchal that introduced him to Régine Crespin and Montserrat Caballé, as well as pianist and vocal coach Janine Reiss, which determined his vocation as a lyric artist, which he also refined under the guidance of musicologist Roland Mancini. Stéphane Sénéchal currently publishes articles for ODB Opéra under the direction of musicologist Jérôme Pesqué. He was distinguished in May 2016 by the prestigious American Guild of Musical Artists (AGMA) and elevated to the rank of Knight of the Arts and Letters of the French Republic on May 12, 2021.

Cinzia TOSCANO

Cinzia Toscano holds a Ph.D. in Visual Arts, Performing Arts, and Media Arts. She is primarily interested in contemporary theater and particularly in the interplay between performing arts and technology. Since 2014, she has been part of the editorial committee of the journal « Antropologia e teatro » and, since its creation, of the network « Arti digitali dal vivo. » She combines her research activity with organizing cultural events and editorial initiatives.

Craig WICH

Craig Wich performs as a singer, conducts, and teaches singing since 1979. He is the founder and artistic director of the Opera Laboratory Theater Company, a nationally renowned organization, the founder and artistic director of the Craig Wich Studios of Performing Arts, and has been a member of the voice faculty at the Boston Conservatory of Music since 1989. Additionally, Craig Wich has worked with prestigious organizations such as the Boston Lyric Opera, the Museum Of Fine Arts, Boston, the Boris Goldovsky Opera, and the Library of Congress in Washington, D.C. Many of Craig Wich’s students have gained national and international recognition in opera, musical theater, and other popular venues. They regularly perform at the Metropolitan Opera, Broadway, and as recorded artists.
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revue-en

nouvelles-technologies-en

CALL FOR CONTRIBUTIONS

VOICE, LANGUAGE AND MUSIC IN NEW TECHNOLOGIES :
INTERACTIONS AND EMOTIONS

www.dclp.eu/en/Voix-langues-musiques-nouvelles-technologies
Publication in the thematic issue of the international journal Dire et Chanter Les Passions

The international journal Dire et Chanter Les Passions is inviting submissions for a forthcoming thematic issue entitled Voice, language and music in new technologies: interactions and emotions. This issue aims to explore the various dimensions of the use of language and music within the various technological media and objects. New technologies, through audio or audiovisual equipment, computers, telephones, smartphones, robots and connected objects, are increasingly combining voices, words and music in multiple forms. With the rapid emergence of digital technologies, voice, language and music play a central role in interactions mediated by technological interfaces. Devices such as voice assistants, music streaming platforms, instant translation applications and social networks are having an impact on our relationship with sound, language and/or musical communication. Interactions are increasingly taking place via a technological interface rather than directly between humans.
This issue invites us, then, to reflect on the evolution and construction of modes of expression of voice, language and music (re)produced and/or generated through technological tools, whether analogue or digital, as well as on the interactions they stimulate and emotions they arouse and/or (re)create. Articles may approach the main theme from a disciplinary or interdisciplinary point of view in order to propose original and innovative observations. Authors are encouraged to reveal, for example, latent values in the expression, perception and representation of voice, language and music in new technologies, in relation to emotions, sensory perceptions and/or cultures. The following themes are favoured, without being exclusive:
  • voice, language and music in new technologies
  • linguistic/musical interactions and emotions in new technologies
  • vocal music recordings/works, new technologies and emotions
  • literature, music and new technologies
  • sensory perceptions and new technologies
  • artificial vocality, technology and expression
  • virtuality(ies) and reality(ies)
  • robots, holograms, connected objects, human interaction and emotions
  • language/music learning and new technologies
  • artificial intelligence: interactions and emotions
Contributions may also address, among other things: the evolution of vocal, linguistic and musical practices in the digital age; the impact of voice recognition and speech synthesis technologies on communication and emotional expression; the contributions of new technologies in learning singing and vocal techniques; the effects of machine translation technologies on language comprehension and use; the way in which new technologies modify the auditory experience and music consumption; human-machine interactions in societal, artistic and/or cultural contexts; the artists’ and their management teams’ exploitation or manipulation of social media and digital technologies to inform and reach out to their audiences, and the possible creation of false intimacy between artists and audience; the use of digital technologies by both artists and audiences in concerts, how concerts have been altered by this; the reception of music or « product » by audiences via digital media.
Proposals (in French, Italian, or English), including the article, a short summary, and a brief biography of the author, must be sent to contact-revue-dclp@dclp.eu by 01/09/2026. The articles will be published in the International Journal Dire et Chanter Les Passions www.dclp.eu/revue-dclp, subject to acceptance by the journal’s scientific committee.