Documents found
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1151.More information
Composer and music critic, but also a famous conductor, Hector Berlioz achieved success abroad—and particularly in Russia—thanks to his concert tours. However, his image in Imperial Russia was founded not only on his music, but also on his publications in the press. Even before Berlioz's music was performed in Saint Petersburg, the Russian public became acquainted with the French musician through the printed media. From 1833, Berlioz's critical articles were translated and published regularly in Russian periodicals. The press also served as a medium and a means for information exchange between Berlioz and Russia: Berlioz's articles on Russian composers (Glinka, Lvov) were very quickly translated and published by the Saint Petersburg press. Berlioz, himself a professional critic, understood the importance of publicity, and developed several media strategies in view of his travels to Russia.
Keywords: Hector Berlioz, médias, presse musicale, Russie, xixe siècle, Hector Berlioz, media, musical press, Russia, 19th century
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1153.More information
This article examines pacifism in music, specifically involving the premiere of John Foulds' oratorio A World Requiem. Britain's audience in the interwar years, at least in the high-culture spheres, was not very receptive to the construction of a pacifist and least a cosmopolitan discourse. As a result, Foulds' work was lost to history for more than three-quarters of a century, only to be revived in 2007 during Armistice celebrations. To explain the reappraisal of Foulds' oratorio, this article analyzes musical reviews in the press during Foulds' lifetime, but also those from the time of the oratorio's revival. These reviews show how Foulds' work came to be reevaluated and which perspectives came to be dominant. Most remarkably, this includes the fact that a lasting peace was already a need for certain artists during the interwar period, expressed musically by commemorating fallen soldiers.
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1155.More information
AbstractThis article presents an analysis of Marcel Camus's Orfeu Negro (1959) and a theoretical investigation of the relation between cinema and orality. Inspired by ethnographic studies, Orfeu Negro is a fiction film that transposes the myth of Orpheus to a contemporary yet timeless Brazil. Through his encounter with Brazilian actors, musicians, and dancers, Camus reveals the Orphean nature of a type of cinema that is danced and sung; he praises the carnival, the body and shamanism; he revives the enchanted nature of a culture that is here described as contrasting with the director's own European culture.
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1157.
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1160.More information
This text explores the paradox inherent in the creation of music on a fixed media, also known as acousmatic music: how can we give movement to sound matter that is, by its very nature, fixed on a support? Inspired by biology, cognitive science, Bergsonian philosophy, dissipative systems and my work with choreographer Marie Chouinard, I attempt to establish an epistemological framework for my compositional practice. The text begins by briefly tracing the evolution of sound in Western classical music, and then addresses the specific challenges of writing music outside the harmonic context and the traditional instruments. This leads to the exploration of writing strategies that emerge from a phenomenological reflection on matter and movement. Certain concepts are introduced and clarified through techniques designed to make sound matter fluid and dynamic. This approach is then reframed in several of Marie Chouinard's creations.
Keywords: processus de dérivation, profils énergétiques, action-perception, co-émergence, temps/durée