Documents found
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1002.More information
The author's purpose in this article is to demonstrate that Marguerite Duras's India Song (1975) constitutes a site of filmic resistance, in that it displays a lack of concern with ordinary dramatic presuppositions — the realist context, the regard for verisimilitude and spatio-chronologic ordering. This resistance makes of India Song a tragedy, a tragic film.
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1003.More information
AbstractThis essay explores the relationship among myth, poetry, and music, seeking to identify points of convergence and divergence beyond the commonly cited criterion of translatability. Six major poems, drawing on mythic themes, are considered in terms of three empirical problems: the body, language, and political economy. The essay offers reflections on the musicality of language and concludes on the question of the mythopoesis of death.
Keywords: Friedrich, mythe, poésie, musicalité, Friedrich, myth, poetry, musicality, Friedrich, mito, poesía, musicalidad
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1004.More information
This article presents the results of a pilot study whose aim was to characterize three different interpretation styles of the works of J.S. Bach in the context of a research creation process. Based on a study of baroque music performance in the 20th century, a pianist performed an excerpt of Bach's Partita in C minor (BWV 826) according to three contrasting styles (Romantic, Modern and Rhetorical). The pianist's performance was captured and recorded on midi data format using a Yamaha Disklavier DC7X piano. A verbal description of each style has been provided by the pianist through a self-explicitation exercise. Each audio recording was then presented to an expert auditor, specialist in piano recordings, which provided an external perspective on the interpretations. These qualitative descriptions were then compared with a quantitative analysis of performance parameters such as tempo, the speed of key descent and legato.
Keywords: articulation, auto-explication, Bruce Haynes, Partita en do mineur (BWV 826), tempo, articulation, Bruce Haynes, Partita in C minor, BWV 826, self-explicitation, tempo
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1007.More information
Keywords: analyse musicale, histoire, New Musicology, politique, recension, history, musical analysis, New Musicology, politics, review
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1008.More information
The manuscript Annales Musicales du Petit-Cap, now in the Archives du Séminaire in Quebec City, contains melodies and lyrics of 131 songs. It was compiled by Mgr. Thomas-Étienne Hamel, one of the most eminent figures in church and university circles in his era. Despite his importance, biographical sources mention only briefly, if at all, his keen interest in music, while none of the commentators on this impressive compilation appear to have examined it closely. The first 66 songs in the collection belong to the repertoire of traditional or folk music. The second part of the volume consists of 65 pieces, among them chansons, romances, and even vaudevilles, drawn mostly from popular French repertoires of the time, among which eleven have attributions of composer and/or lyricist. A detailed account therefore suggests that the volume is really two volumes with two distinct intentions. The Archives catalogue dates the collection “between 1865 and 1908” but close perusal suggests a shorter compilation period, in the mid-1860s. The article is an appreciation and critical study, rather than an analysis along ethnomusicological lines.
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1010.More information
Léonora Miano's fiction is clearly characterised by intermediality. This is particularly notable in her recurrent use of music in her work. By weaving into her texts elements from and references to mostly American musical traditions (jazz, funk, soul, etc.), the author goes beyond the narrow France-Africa prism that structures the Afropean identities her novels explore, instead situating her characters within a wider Atlantic context. In addition to providing a structural basis for her work, music frequently appears on the diegetic level to nuance the complex questions of identity that her work reflects upon. In her most recent works, music serves to articulate the position of the « young black man » (« garçon noir »), a figure who finds himself caught between contrasting ideologies and imaginaries. This article considers how Miano uses this musical intermediality to explore identity in Crépuscule du tourment 1 and 2 (Twilight of torment 1 and 2).