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1108.More information
Created in 1984 through the initiative of the Ministries of National Education and Culture, the training centers for intervening musicians have graduated over 5000 musicians in pedagogy and the development of artistic and cultural education projects. They have made the field of music the one in which the training of artists for intervention in schools or various mediation contexts is the most organized. The article presents the results of a survey conducted in 2022 on the career paths of intervening musicians in France. It describes their profession from the perspectives of social, cultural, and transmission trajectories.
Keywords: Musique, intervention, médiation, éducation artistique et culturelle, trajectoires, formation, professionnalisation, Music, intervention, mediation, artistic and cultural education, musical education, trajectories, training, professionalization
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1109.More information
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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1110.More information
This article examines Björk's 34 Scores for Piano, Organ, Harpsichord and Celeste (2017). It investigates the role of this songbook in the singer's career and highlights three intriguing characteristics. The first is its role in legitimising Björk as an art musician, rather than a mere pop icon. The second is its ambiguous status: on the one hand, as a functional object (a score meant to be performed); on the other hand, as a work of art (a beautiful art book to be contemplated for itself). The third is the nature of the arrangements made by Björk and Icelandic composer Jónas Sen: they imply a great deal of composition, rather than adaptation of musical features to new instrumentation. These three characteristics converge and epitomize Björk's will to achieve a real crossover between popular music and art music. The 34 Scores thus help define her singular place and role in the history of music during the first two decades of the 21st century.
Keywords: Björk, arrangement, crossover, songbook, appropriation, légitimation, Björk, arrangement, crossover, songbook, appropriation, legitimation