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In other instances, phonic considerations pervade the
lyrics to the point of contributing with their musical-evocative function
as much, if not more, to the context as the meanings themselves, as is
plainly the case of La negra (1987): "Ti cerca una negra…/al telefono
un attimo…/ma l'ombra e` ambra…" and "… l'anima e` magra…/in questa giostra
pigra" (There's a black girl looking for you…on the
phone a moment…but the shadow is amber…and the soul is thin…in this lazy
ride) or Gratis (1981): "Via da questa mischia,/ c'e` qualcuno
che cincischia…/ma la storia se ne infischia…" (Outside
of this milling crowd, there's someone muttering/pottering about, but
history doesn't give a damn).
2.3 evocative idioms and instrumentation
Music overflows still further onto the lyrics as a continuous presence
in the subject matter. There are countless references to dances, dancers
and musicians with orchestras and instruments also figuring quite heavily.
It is when such references go hand in hand with precise elements in the
arrangement, that the input of the "regista" is most apparent, as carefully
chosen musical idioms and instrumentation are employed to create very
precise theatrical effects.