F. Hörner / U. Mathis-Moser introduce the exploration of chanson, examining its evolution and significance. U. Mathis-Moser discusses the state of Germanophone cantology, offering insights and new perspectives. D. Rieger analyzes the performance and self-referentiality of chanson in the early modern period, particularly at the Pont-Neuf. J.-M. Jacono focuses on the staging of chanson, using Barbara as a case study, while A. Oberhuber explores the performances of Robert Charlebois and Diane Dufresne. A. Bonnermeier questions the transition from recital to multimedia events in chanson. R. Klenk-Lorenz takes an ornithological digression, contemplating the nightingale's ambiguity in technical reproducibility. F. Hörner discusses Brigitte Bardot's role in revolutionizing the perception of chanson in cinema, followed by R. Lagabrielle's examination of the transition from chanson to musical film, including insights on Christophe Honoré and Alex Beaupain. T. Obergöker reflects on memory and intermediality in Honoré's "Les chansons d’amour" (2007). Lastly, F. Hörner investigates the scopitone as an audiovisual revolution, while S. Hirschi discusses Richard Desjardins' ecological lyricism within multimedia contexts, and J. Ebert presents a different media revolution through illustrated and animated chansons. E. Kimminich addresses rap as a communicative medium, tracing its sociopolitical evolution from "chanson enragée" to a multifacete
