poetry to music by Fabrizio De André 
poetry to music by Fabrizio De André, L. Tibaldi (Zone)
De André's songs analyzed like real Italian poems of the twentieth century, a survey focused on humanity and the author of texts on the themes and feelings stronger: the need for love, the incumbency of death, the search for God
in listening to the songs of the singer Genoa we realize immediately that the choice of care required of each word. As each term in the poem is set in a specific place (for meaning, musicality, and stylistic requirements metrics) in the same way, in the songs of De André, used the word fills the entire space available to it and has an absoluteness that makes it look as irreplaceable. The meeting with the author's poetry is not, however, immediate. Here, the songs are stripped of their music as to be stripped and analyzed. The approach to the texts is implemented strictly in accordance with that which would be used in front of any of the twentieth century Italian poetry, providing a reading metrics, style, vocabulary, rhetoric, and not least, of content of the songs. This analysis shows a proposed trail route in an attempt to keep in touch with the motivations that have driven the search for the singer. The purpose of ethics che, sempre, egli ha posto sullo sfondo delle storie raccontate in musica, è una caratteristica peculiare della sua produzione artistica e per questo motivo ho ritenuto di dover riservare una grande attenzione all’analisi dei temi trattati. Gli album sono affrontati nel loro insieme e in una sequenza strettamente cronologica, anche per poter gettare le basi di quel percorso trasversale affrontato nei due capitoli successivi. L’indagine di De André è tutta concentrata sull’umanità, per questo il mio lavoro si muove all’inseguimento di quei sentimenti che, secondo l’autore, la caratterizzano: la necessità dell’amore, l’incombenza della morte, la ricerca di Dio. All’amore è dedicato the space of an entire chapter, but despite this, the topic is so vast that break down the barriers that have been assigned to surface in different places. De André, this is the feeling that more conditions and characterized, for example, the existence of a woman. Not only, therefore, traditionally sung love between man and his partner, but also the love that is in quell'accezione unique heritage of women. That motion of the soul that is incarnated in the figure of the mother and the prostitute, the opposite sides of the same coin to protect the two images which are called "mythical", on the one hand and Mary the mother of Jesus, Bocca di Rosa and on the other. The topic also includes classics such as topos the forced separation of lovers, often caused by war, and the reflection on trying to impress and break down the barriers of time. At this point in the analysis, the theme of love is already inevitably tied to the investigation into the death. This combination, which so much of our literature has had to face, back into the songbook deandreiano with a force difficult to estimate. That's why my office runs along the boundary line which constantly oscillates between the triumph of life, made love, and the triumph of death. Victoria, the latter, to which the singer can not give up easily, and which carries within it the seeds of religious tension found throughout his work and where the last part of the study is dedicated.
I had the 
