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This article focuses on correlating Boris Vian's work and, beyond that, his double life as an anthologist and posthumous artist, to cultural structures specific to the France of his time, starting with a new configuration of both media (written press and publishing houses) and art (Left Bank cabarets, jazz cellars, small theaters, young companies), characteristic of the post-war period. We recall at this point that one of the French cultural originalities was - and still remains today - to function as an international center of legitimization (“artification”) of the forms until then judged illegitimate – alias “bad genres” – : cinema, detective novels, science fiction, song, jazz, rock… On this ground we highlight the original role of the pataphysics' network and refine the chronology of the kairos of Vian's posthumous legitimization around the sequence 1963-1968 – including through a personal testimony of the author of this paper.
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The Canada Research Chair on Digital Textualities's Anthologie Palatine project aims to demonstrate the anthology universe and its richness. Within the framework of this project, the Anthologia platform was designed, which allows the user to participate in the constitution of a collective imaginary by associating anthological material with other references. This collaborative digital edition questions the phenomena of remediation and the figure of the palimpsest.
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The speaking pianist is a musical genre which interrogates the performer's relationship to music itself, as well as the representation of the musician on stage and the projection of himself or herself and of the works to the audience. If, as Artur Schnabel wrote, music is a solitary art that can be practiced in one's room, the same cannot be said of this hybrid artform which integrates spoken text and confronts the performer with new challenges even as it recalls the ancient tradition of the troubadour. This article invites us to explore a contemporary repertoire off the beaten path through the works of Frederic Rzewski, André Ristic and Alec Hall.
Keywords: Frederic Rzewski, piano, Stephane Ginsburgh, contemporain, création
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French television, and other medias in that country, frequently use the label "voix québécoises" ("Quebec voices"), between 2001 and 2004. Such a formula gives a false impression of homogeneity. Actually, there is a great musical diversity among the so-called "voix québécoises". Two songs are analysed to demonstrate this: "Parle-moi", by Isabelle Boulay, and Lynda Lemay's "Chéri tu ronfles". These two songs are completely different musically in their form, harmonic language, vocal technique, and balance between text and voice.