De chair et de sons : Kate Bush et la théâtralité sonore intime

This article highlights the construction of one of Kate Bush’s sonic trademarks, namely her intimate approach, thanks to a phononarratological survey of the song « The Infant Kiss » (1980). This analysis thus tackles the way music as a recorded object supports or creates narrativity, in this case by...

Full description

Bibliographic Details
Main Author: Marion Brachet
Format: Article
Language:English
Published: Université Toulouse - Jean Jaurès 2023-10-01
Series:Miranda: Revue Pluridisciplinaire du Monde Anglophone
Subjects:
Online Access:http://journals.openedition.org/miranda/55048
_version_ 1827594152067465216
author Marion Brachet
author_facet Marion Brachet
author_sort Marion Brachet
collection DOAJ
description This article highlights the construction of one of Kate Bush’s sonic trademarks, namely her intimate approach, thanks to a phononarratological survey of the song « The Infant Kiss » (1980). This analysis thus tackles the way music as a recorded object supports or creates narrativity, in this case by reinforcing the protagonist’s emotional reaction to the story’s events. The female character represented in « The Infant Kiss », as often happens in Kate Bush’s repertoire, is not only embodied in an intimate way thanks to nuanced vocals, but also to an instrumentation and sonic environment that fuel an impression of intimacy. This paper aims at explaining how this sonic dramatisation so typical of Kate Bush is structured, and at demonstrating that this intimate theatricality remains essential in Bush’s heritage, through other singers such as Björk or Émilie Simon.
first_indexed 2024-03-09T02:24:44Z
format Article
id doaj.art-7e2e4f95ab5645609ce224ca8a3067ba
institution Directory Open Access Journal
issn 2108-6559
language English
last_indexed 2024-03-09T02:24:44Z
publishDate 2023-10-01
publisher Université Toulouse - Jean Jaurès
record_format Article
series Miranda: Revue Pluridisciplinaire du Monde Anglophone
spelling doaj.art-7e2e4f95ab5645609ce224ca8a3067ba2023-12-06T16:10:53ZengUniversité Toulouse - Jean JaurèsMiranda: Revue Pluridisciplinaire du Monde Anglophone2108-65592023-10-012810.4000/miranda.55048De chair et de sons : Kate Bush et la théâtralité sonore intimeMarion BrachetThis article highlights the construction of one of Kate Bush’s sonic trademarks, namely her intimate approach, thanks to a phononarratological survey of the song « The Infant Kiss » (1980). This analysis thus tackles the way music as a recorded object supports or creates narrativity, in this case by reinforcing the protagonist’s emotional reaction to the story’s events. The female character represented in « The Infant Kiss », as often happens in Kate Bush’s repertoire, is not only embodied in an intimate way thanks to nuanced vocals, but also to an instrumentation and sonic environment that fuel an impression of intimacy. This paper aims at explaining how this sonic dramatisation so typical of Kate Bush is structured, and at demonstrating that this intimate theatricality remains essential in Bush’s heritage, through other singers such as Björk or Émilie Simon.http://journals.openedition.org/miranda/55048musicologynarratologyvoicesoundsintimacy
spellingShingle Marion Brachet
De chair et de sons : Kate Bush et la théâtralité sonore intime
Miranda: Revue Pluridisciplinaire du Monde Anglophone
musicology
narratology
voice
sounds
intimacy
title De chair et de sons : Kate Bush et la théâtralité sonore intime
title_full De chair et de sons : Kate Bush et la théâtralité sonore intime
title_fullStr De chair et de sons : Kate Bush et la théâtralité sonore intime
title_full_unstemmed De chair et de sons : Kate Bush et la théâtralité sonore intime
title_short De chair et de sons : Kate Bush et la théâtralité sonore intime
title_sort de chair et de sons kate bush et la theatralite sonore intime
topic musicology
narratology
voice
sounds
intimacy
url http://journals.openedition.org/miranda/55048
work_keys_str_mv AT marionbrachet dechairetdesonskatebushetlatheatralitesonoreintime