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This article addresses fado through the prism of the repertoire, a concept that strongly structures practices and is constantly debated by performers. This entry allows us to reflect on the unity, continuity, and creativity of this intermedial song, at once traditional and modern, oral and written, performative and mass mediated. Fado can thus be approched as an art of recovery: each performer, by reappropriating elements and producing new configurations in performance, reactivates and renews the repertoire, while leaving his or her imprint on a collective memory of performances. Through an historical perspective, we observe how each period has reinvested and redefined the repertoire and the affects, values, and memories it has come to convey.
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379.More information
The sensitivity of the Quebec population to cultural innovations conveyed by the media during the first half of the 20th century has been the subject of various studies. The present study builds on this work by seeking to clarify the choices made at that time in the field of music within elite groups of the regional society of Saguenay–Lac-Saint-Jean. Using sample surveys, a sociology of musical taste has been developed based on the characterization of social group preferences, an approach that is, however, impractical in history. In this regard, the collections of sheet music donated to the archives offer a documentary trail that is explored here. Their analysis reveals a wider range of choices than might suggest the sociocultural historiography of French-Canadian elites, including an openness to American popular music. The breadth of this range demonstrates an eclecticism that, on another scale, anticipates the generally accepted temporality of changes in musical taste among Western elites.