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| 香颂作为法语无可救药的糖衣、世界上最美的歌曲，骨子里渗透了巴黎的优雅与浪漫。近年来在演唱形态上虽也受到美国流行歌曲的相互影响，但其本质与法国的民族性格从未丧失.  In the wake of techno, house and world music, a new generation of French artists is at last beginning to find success abroad. 作为高科技舞曲、浩室舞曲以及世界音乐的余波，新一代的法国艺术家终于在海外开始获得成功。 To an outsider, it must seem as if French popular music disappeared into a black hole during the years between Piaf and Saint-Germain-des-Prés and the beginning of the nineties. Those French pop singers who blandly adapted British and U.S. standards were the object of ridicule, as were French variety shows. While France enjoyed a good reputation in more elitist fields (jazz, contemporary music...), it rarely seemed capable of producing pop music that appealed abroad, with the exception of isolated cases such as Charles Aznavour, Mireille Mathieu, Serge Gainsbourg... The disco era at the end of the seventies was its only moment of glory (Cerrone, Patrick Hernandez, not to mention a few stars of the sixties who underwent an image makeover: Claude François, Sheila...). The full spectrum of musical styles exported by France 由法国出口的丰富音乐类型范围 In February 1999, it was estimated that some 9 million French albums had been sold abroad in 1998, and the figures are on the increase. In 1998, French variety accounted for 54.5% of the French market (compared with 45.5% for international variety). In the nineties, the French music landscape began to diversify, supported by developments at both the legislative level (in particular the 1994 law on the quotas of French songs played on the radio)* and the technical level (the spread of new promotion media from Internet to satellite), as well as a change of strategy by the major players in the record industry, who more and more preferred to delegate head-hunting activities to independent labels (and then harvest the fruits of their efforts as soon as success set in). Paris has today become a stronghold of techno and house music. Well before the techno wave began, Jean-Michel Jarre had already established himself as an internationally recognized forerunner. But it was not until the mid-nineties that an entire scene began to emerge. Paradoxically, it was in Britain that the "French Touch", the term used to refer to the wave of DJs from the other side of the Channel, was finally consecrated. Following in the footsteps of Laurent Garnier, Daft Punk burst onto the influential UK music scene at the beginning of 1997, with one album, Homework (Virgin), which sold 1.5 million copies worldwide. A whole rack of artists (Air, Cassius, Stardust, Bob Sinclar, Dimitri from Paris, Mr Oizo, Kojak...) subsequently rushed into the breach, brilliantly imposing the "French Touch" as a lasting movement, from London to Berlin, as well as Rome, New York, Sydney, Amsterdam, Ibiza, Toronto... After the "French Touch" and the US success of the Gipsy Kings, the "world" scene - traditional or modern - has also gained respect and acknowledgement. As a host country, France has been able to discover and replicate talents from cultures far removed from the UK or US spheres of influence (Cesaria Evora, Lhasa, Wes, Alabina...). Besides certain countries in the West (Germany, United States, Canada...), world music has provided access to regions less in the media, such as Africa or Latin America. French artists are not insensitive to this multi-cultural mix: the Hispanic-influenced album Clandestino by Manu Chao (ex Mano Negra) went platinum in Spain; and Deep Forest and Era have sold millions of albums. |
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