Pratiques linguistiques et usages de l’anglais dans les musiques électro-amplifiées en France: le cas des spectacles à L’International

The consumption of live music in different languages: a quantitative approach

“…lyrics in French are of greater quality than those in English) due to the absence of objective indicator, but the idea of “aesthetics of reception” suggests that non-native English speaking listeners pay less attention to the content of the lyrics when the concert is in English rather than in their native language. In our case, the French audience pays specific attention to the lyrics when the language of the concert is French rather than English, which is in line with a recurrent discourse within the independent French music scene (Spanu and Seca, 2016). This disposition towards the lyrics can be understood not only as a simple ability to understand the content of the lyrics that correspond to the native language but also as a more general and social “attitude” or “habit” towards national “native” languages vs the global pop idiom.…”

“…Live music experience and engagement is known to be determined by preparation and anticipation (Burland and Pitts, 2016), for instance through the prior relation to the performing artist. Moreover, previous research on the Parisian indie scene indicated that the level of attachment to a band is modulated by a language, thereby influencing one's behaviours during concerts (Spanu and Seca, 2016). We therefore assessed and controlled for this variable: Using a scale ranging from 1 (“never”) to 5 (“more than 50 times”), respondents reported the number of times they had listened to the concert artist's music in the past six months ( M = 3.82, SD = 1.21).…”

“…Live music experience and engagement is known to be also determined by concert-goers habits (Burland and Pitts, 2016) and, in particular, by one's frequency of attendance to concerts. Previous ethnographic research indicated that frequent concertgoers tend to observe more and pay specific attention to lyrics during the concert (Spanu and Seca, 2016). We therefore assessed and controlled for this variable: using a scale ranging from 1 (“none”) to 5 (“at least once a week”), respondents reported the number of concerts they had attended in the past months ( M = 3.28, SD = 0.89).…”

“…Accompanying. Previous ethnographic research indicated that individual concertgoers tend to observe more and pay a specific attention to lyrics during the concert compared to groups (Spanu and Seca, 2016). We therefore assessed and controlled for this variable: respondents reported if they came to the concert alone (18.70%) or accompanied (81.30%).…”

Pour une approche critique de la diversité des langues chantées dans les musiques populaires à l’ère de la mondialisation numérique

“…Pour certains artistes, une telle pratique peut répondre à un désir intime et subtil « d'effraction », c'est-à-dire à une volonté de créer de la différence pour, en quelque sorte, rester soi-même (Hatchuel, 2006 : 505), comme nous l'observons pour des groupes amateurs français chantant en anglais (Spanu, Seca, 2016). En effet, la distance d'une pratique chantée vis-à-vis d'une certaine norme linguistique locale peut permettre de projeter des désirs (Atienza, 2003), voire d'exprimer des fantasmes qui, jusque-là, avaient été retenus et qui sont désormais relocalisés à travers une pratique renouvelée de la langue, que celle-ci soit dite étrangère, nationale ou régionale.…”