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              <p>There is no evidence in taking for granted the Great Divide between musica and parola: Emerginggenres and practices constantly reinvent ways of redefining and connecting those entities. By presentingcontrasted ways of singing words, from ethnic ritual performances to religious cult, from operato French song or rap, this paper outlines ways in which all along history, speaking and singing havere-formed each other through contrasted relationships. Following Foucault’s plea for “genealogy”and Certeau’s concept of the “inversion of the thinkable”, it thus aims to address music historywithout writing it backwards by drawing on categories that themselves are products of this history.To sketch such a genealogy of its basic elements may help us rebuild our ways of making music of2019 I innsbruck university press, InnsbruckATeM I ISSN 2707-4102 I www.atem-journal.comNr. 4,1, 2019 I DOI 10.15203/ATeM_2019_1.04OPEN ACCESSFaire chanter la parole, faire parler la musique.There is no evidence in taking for granted the Great Divide between musica and parola: Emerginggenres and practices constantly reinvent ways of redefining and connecting those entities. By presentingcontrasted ways of singing words, from ethnic ritual performances to religious cult, from operato French song or rap, this paper outlines ways in which all along history, speaking and singing havere-formed each other through contrasted relationships. Following Foucault’s plea for “genealogy”and Certeau’s concept of the “inversion of the thinkable”, it thus aims to address music historywithout writing it backwards by drawing on categories that themselves are products of this history.To sketch such a genealogy of its basic elements may help us rebuild our ways of making music of the past present again</p>
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