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The aim of this study is to examine how Jean-Claude Izzo (1945-2000) sequences the scenes described in the textual discourse of his noir crime trilogy (Total Kheops, Chourmo and Solea) with the type of music he chooses to set them to, seeking, in turn, to define the elements that move him to choose one genre of music or another. The structure of this article will be realized in accordance with the different themes associated with the bonds of connection and identity created between his literary characters analysing in turn the variety of music used by Izzo in each of them to attune to the passages of his work. By shedding light on this connection between literature and music, we will be able to determine the discursive links that can be created between these two artistic manifestations in order to identify the system of empathy experienced by the reader in response to an excerpt in which music emanates symbiotically with the written text.

Géneros musicales en la trilogía policíaca de Jean-Claude Izzo (1945-2000): Secuencias relacionales en una ciudad portuaria con ritmo de crimen