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The article considers the royal gardens during the reign of King Louis XIV of France, by focusing on the commissioned prints by Israël Silvestre depicting the first fêtes of Louis' reign, the Grand Carousel of 1662 held on the grounds of the Louvre in Paris, France, and the pleasures of the enchanted isle 1664 held at on the grounds of Versailles. Topics include pageantry and state, iconography and symbolism, and books of the festivals produced by the Petite Académie established for that purpose.

France in the early 1960s witnessed on the one hand a soaring demand for rock and twist music, and, on the other, popular and commercial resistance to foreign-language songs. This combination created an enormous opportunity for French-language remakes (‘adaptations’) sung by artists who could benefit from massive promotion by a record industry that was not yet multinational. Through a statistical analysis of hit parades from 1960 to 1970, a watershed decade for the globalisation of popular music, this article quantifies the ‘adaptations’ wave and contextualises its rise and decline. By way of conclusion, an epilogue jumps forward some 30 years to consider radio quotas and the adoption of English by young French songwriters. [ABSTRACT FROM AUTHOR]

This essay considers music’s interpretive functions in Varda’s 2008 documentary Les Glaneurs et la glaneuse. The film’s score references the director’s collaborative history with other composers throughout her career. In particular, the author is interested in what Varda’s musical collaborations can tell us about her creative process and her own sense of authorship. The author also claims that Les Glaneurs’ musical selections allow the filmmaker to aurally signify her reflections about the state of contemporary French citizenship. Thus, this essay considers how Les Glaneurs uses French popular music to reflect on the cultural and political significance of economically marginalized French citizens who steal out of economic necessity. The author will attend to the formal construction of the film’s heterogeneous score and discuss the musical contributions from three of Varda’s frequent collaborators, along with Varda’s participation. In doing so, the author argues that Les Glaneurs’ score gives us a fuller understanding of the director’s use of the term ‘gleaning’ in relation to her work as a filmmaker. [ABSTRACT FROM PUBLISHER]