Grazie di questa precisazione Leonardo, in effetti andrebbero riviste le traduzioni inglese e spagnola, mentre quella francese va bene.

un grazie a lorenzo che ha trovato le tracce della mia "incolumità" :-))))

Les musiciens sont en retard.

Pour bien clarifier les choses – en plus de ce qui a déjà été dit.

Comment naît la chanson ?

Pour qu’il y ait chanson, il faut un texte. C’est ce texte qui est la chanson.
La musique est un support qui s’ajoute ultérieurement.
On peut avoir le processus inverse, il y a une musique, un air… sur lequel on vient greffer un texte.
Alors, la musique est musique et le texte qui vient s’y ajouter est la chanson.
Prenons comme exemple, Eugène Pottier et son Internationale.
Il s’agit de faire un texte qui dit certaines choses d’une certaine façon. Pour favoriser la mémorisation, on va dans un premier temps (pendant des années) le chanter sur l’air musical le plus répandu dans les milieux républicains français de La Marseillaise – popom, popom, etc. Par la suite, on (Pierre Degeyter) lui composera un air spécifique : po-pom, etc. Ces deux airs devaient avoir la... (Continues)

I think all this has its remote origin in Norway's history. The centuries-long Danish domination brought the Danish language with it. Danish became the language of bureaucracy and supplanted Norwegian in Oslo and in the larger towns, perhaps except Bergen. Norwegians have always pronounced Danish with a strongly Norwegian accent, but, to say the truth, all masterpieces of 19th century Norwegian literature -including Ibsen's plays and Bjørnson's tales- are written in Danish, not in Norwegian (modern editions have been more or less “Norwegianized”, but if you read an old edition you can see it's good Danish what appears in the pages). A reaction took place before the country's home rule and independence, when the philologist and poet Ivar Aasen built a purely Norwegian literary language based upon the Western dialects, that had remained rather free from Danish influence: he called landsmål... (Continues)