Documents found
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1201.More information
This article gives a brief overview of the main technical steps involved in printing throughout the long history of music publishing, from the earliest days of handwritten manuscripts until the information revolution. Each age is characterized by a particular tool that improved and expedited the task of mechanically reproducing musical scores, from the chisel to the typewriter by way of the steel punch. The article evokes memories of techniques and manufacturing processes that are often forgotten today.
Keywords: édition musicale, impression, histoire, techniques, partitions, music publishing, printing, history, techniques, scores
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1202.More information
Notte della Taranta, an Italian music festival, is a good example to understand the role and effect of local and regional cultural policies used to catch media and touristic attention on the Salento area. To do so, cultural operators who organize the festival have recourse to the attractive power of an image of the musical and local identity. We therefore reconsider the notion of local identity before analyzing how this notion is operational within the festival, contributing to its success. We first identify the festival's actors, and then define their role and strategies, in order to bring out analytical tools, and even an operating model that we could use in similar musical and festival contexts.
Keywords: Gervasi, Notte della Taranta, festival, politiques culturelles, musiques de tradition orale, world music, musiques du monde, tarentisme, Salento, Gervasi, Notte della Taranta, Festival, Cultural Policies, Music of Oral Tradition, World Music, Salento, Tarantism, Gervasi, Notte della Taranta, festival, políticas culturales, músicas de tradición oral, World music, músicas del mundo, tarantismo, Salento
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1203.More information
Keywords: chanson autochtone, rap, Samian, réappropriation culturelle, résilience, Résistance
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1204.More information
Celebrated as much for his essays on cinematic soundtracks as for his concrete music compositions, Michel Chion (b. 1947) is also developing a body of cinematographic and video work that constitutes an extension of his musical writing. An encyclopedic work spanning two and a half hours, La Messe de Terre is a true “audio-logo-visual liturgy” combining concrete music with a very sophisticated assembly of images. If the work is dominated by the caesura, the incongruity between what we see and what we hear, the two elements steadily converge into a common “architecture of time.” At the very edge of the mass form, we find traces of a video self-portrait combining home movie and work journal.
Keywords: art vidéo, autoportrait, Michel Chion, messe, musique concrète, Michel Chion, concrete music, mass, self-portrait, video art
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1206.
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1207.More information
AbstractAlthough ideological speculations over the biological differences between the sexes continue to haunt the field of music composition, as early as 1970, women writers and visual artists were heavily engaged in discussions of myths about femininity and a heavily stigmatized female body. They did this to promote the emergence of “women's art.” To some extent, women composers also embraced this, by affirming that their relationship to composition was much different from their male counterparts. These essentialist feminists posited that a specifically female sensibility and place in the world pushed them to work differently—to be rooted in “existential” themes inspired by their social and cultural condition. These circumstances opened up the question of identity, through the invention of a particular artistic style that, paradoxically, reclaimed what radical feminists viewed as women's pitfalls. This article reveals that essentialist features of women's music—at least as women composers defined them—resulted from a desire to delineate the universally feminine in art, and were not the product of biological dicta.
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1209.More information
AbstractThe purpose of this article is to show the place and the role, cathartic in particular, of music in the mortuary ceremonies among the Dàgàrà-Lòbr from Burkina Faso. It presents the instrumental ensembles which are played there and whose most important instruments are the xylophones. The author describes the main stages of the funeral, from death until the end of the ceremony. In this description is highlighted the articulation of the various ritual phases with the music of the two sets of xylophones, namely the lóbrí ensemble which intervene during the preliminary phases and the dὲgàar ensemble which is played during the ceremony itself and is used as a support to praises, lamentations and other words of comfort pronounced by a group of men called làng-kóndbὲ or cantateurs.
Keywords: Dàgàrà, xylophone, funérailles, cantateurs, Dàgàrà, xylophone, funeral, cantateurs
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1210.More information
A composer's inquiring look at past acousmatic practices, at the status of works on tape, at these works' very material and the public for whom they are intended.