Documents found
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101.More information
In the history of Western music, the status of the workshop – as a place of making and a place of transmission – seems non-existent. At first glance, there is no equivalent in music to the sculpture and painting workshops from the Renaissance, Baroque and XIXth century, which gradually became both exhibition spaces and places of artistic creation. This history of artists' workshops is not as visible as the history of the production of musical works. Our hypothesis is that this invisible history of the musical workshop is partly due to the very nature of music, which is spread across multiple locations and listening points.
Keywords: musique, atelier musical, atelier éclaté, points d'écoute
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102.More information
The author examines here the importance of the musical paradigm in Wittgenstein's philosophy. The framework for this examination is to start from Wittgenstein, and to look at what today's philosophers have to say about musical meaning. Two styles of approach are suggested, one projective and marked by the idea of “muskalische Gedanke” as it is found in the Tractatus and reveals a tradition within which Wittgenstein's work can be inscribed, and the other horizontal, following the grammatical axis of the aesthetic relationship of the appropriation of the gesture of the work through active listening. This conception integrates an exploration of the resonance of these aspects, in a third phase which the other does not develop here. How does Wittgenstein satisfy certain criteria for belonging to what Lydia Goehr calls “the formal quest for the autonomy of the musical” is a question which leads the author to resituate the bond between music and society in Wittgenstein, in contrast to Adorno, by showing the conditions with which an internal comprehension of “formal content” (Granger) can be combined here with the context of a practice. Soulez then confronts Wittgenstein's notion of musical autonomy with the context of forms of life, in a phase in which the “games” of a comparative grammar dominate, motivated by the analogy of the comprehension of a linguistic proposition with the comprehension of a musical phrase. Placing the accent on the active character of comprehension, doubled with a performance, the author shows how Wittgenstein thinks about music and society differently than Adorno, and without reference to dialectics. The key to this is a newly found connection between an immanent approach to musical meaning at the level of the phrase, as Wittgenstein and his Vienna School contemporaries understood it, and an aesthetico-pragmatic schema of context-dependency. From there, a form of autonomy follows, compatible with the extra-musical sphere. When Wittgenstein says that “a whole world is held in a musical phrase”, he means it in the sense of a motif which reflects certain aspects of a “world” to which we contribute by having “made” it.
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103.More information
For the Renaissance poet, the poem is not an occasion for self-expression as it is for the Romantic, for whom its sincerity is indispensable. Poetry is governed by its expected effect on the reader ; it is conceived as a performance of which the arspoeticastates the means. As the first reader over whom the poem exerts its power, the poet creates a persona,a mask shaped by the work in the very process of its conception. Viewed in this light, the preface to the second edition of l'Olivewould appear to be an important text of poetics, for it supplements and fleshes out the Deffence & illustrationpublished the previous year.
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104.More information
AbstractMusic is also an art of space: it spreads sounds, it gives rhythm to man's insertion in his physical and mental landscape the bounds and meaning of which may well be death. In the three way relation which is established between Orpheus and Eurydice through a judiciary stage where Hades reigns supreme, it is music, be it merely verbal, that displays its seduction, both as a lethal trap and a way to escape it.
Keywords: circonstances, espace, métonymie, Orphée, séduction, cortège, jazz, guerre, pharmakon, circumstances, space, metonymy, Orpheus, seduction, procession, jazz, pharmakon
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105.More information
This article focusses on the current conditions for developing music mediation as much in the music community as in institutions of higher learning for music. The authors support their comments with analysis of the conditions established by the latest Canadian federal and provincial cultural policies, decipher the recent movement fostering the emergence of cultural mediation in the music community, and reflect upon the challenges accompanying the appearance of music mediation training in Québec college (cégep) and university curricula.
Keywords: enseignement de la musique, médiation de la musique, métier de musicien·ne, politique culturelle, sociomusicologie, cultural policy, music education, music mediation, music profession, sociomusicology
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106.
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108.More information
Gilles Marcotte was a brilliant writer and a literary critic of both France and Quebec literatures and his work had influenced several generations of students. He was also an appreciated musical columnist for Liberté, a periodical in which, from 1985 to 1999, he published 73 articles under the title L'amateur de musique. We also find references to music here and there in his journalistic work as early as 1948. Where does this interest for music come from ? How does he speak of it ? How does he link it to literature ? These are the questions this article will attempt to analyse, first, by following his biographical path, from Sherbrooke, his home town, to Montreal where he settles in 1948 ; and secondly, by an analysis of his texts on music : the importance he gives to the sound, the instruments he was particularly attached to, the extensive repertoire he attented, and his views on modernity and contemporary music. This article will be completed by some observations on the humour and the literary style Marcotte used to communicate, this special manner by which he would enter into intimacy with his reader.
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109.More information
Freud's resistance to music is well known and distinguishes him from analyst colleagues like Theodor Reik who, for his part, maintained an attitude of openness and sensitivity. In this article, the author examines diverse testimonies making it possible to document Freud's positions, notably his analysis of the “obscure power” of music. By reinterpreting these testimonies through Reik's criticism, some elements of interpretation are proposed that may shed light on several unconscious reasons for this particular aversion of Freud—who called himself “entirely non-musical”—having to do with his related conception of community. The author will particularly show that found in the theses of Freud's religious anthropology (Totem and Taboo, Moses and Monotheism, The Future of an Illusion) are several echoes of this conception of community, of which music would be the emblematic expression, and the unconscious' symmetrical symbolic space: a place of traces, depository of originary signifiers, dramatic antechamber of language and the subject.
Keywords: Freud, Theodor Reik, traces mnésiques musicales, résistances inconscientes, chant choral, communauté, sentiment océanique, anthropologie religieuse freudienne, Freud, Theodor Reik, Musical mnesic traces, unconscious resistance, choral singing, community, oceanic feeling, freudian religious anthropology
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110.