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dc.contributor.authorFroeliger, Nicolaseng
dc.date.issued2007-03eng
dc.descriptionThus, the question remains: how are we to adapt performed art? According to which criteria will the adaptation be evaluated? It is my contention that one cannot simultaneously be faithful to the original and produce a genuine work of art. As evidence for this, I will refer to the lengthy discussions I have had on these matters with three individuals directly involved in those cover efforts: singers Graeme Allwright (2004), Hugues Aufray (2005), and lyricist Boris Bergmann (2005). Since the songs in question involve much more than lyrics, I will focus on the performed versions, rather than on the adapters themselves. Though my examples deal mainly with Bob Dylan songs, the rules I infer are meant to be more general.eng
dc.descriptionNote: The Peformance Artistry of Bob Dylan: Conference Proceedings of the Caen Colloquiumeng
dc.format.extent22 pageseng
dc.identifier.citationOral Tradition, 22/1 (2007): 175-196.eng
dc.identifier.urihttps://hdl.handle.net/10355/65094
dc.languageEnglisheng
dc.rightsOpenAccess.eng
dc.rights.licenseThis work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License.
dc.titleNothing's been changed, except the words : Some faithful attempts at covering Bob Dylan songs in Frencheng
dc.typeArticleeng


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