Documents found
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1211.More information
In 1924, the year of the Olympic Games in Paris, Le Guide du concert launched the survey “Music and Sport.” The numerous published answers provide an insight into what the musical world of the time thought of the (im)possible or (non)existent relationships between the realms of the body and the spirit.
Keywords: enquête, esthétique, musique et sport, Paris 1924, presse, aesthetics, music and sport, Paris 1924, press, survey
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1214.More information
Since their appearance in the mid-nineteenth century, program notes, sometimes containing detailed information on the works that are to be performed, have continued to meet a wide range of audiences needs during concerts, such as: providing intelligible tools for laymen and laywomen to decipher while arousing the curiosity of well-informed listeners. In the age of Internet and Social media, these music appreciation tools, which fall within what we may call “practical” musicology, are evolving more than ever. They offer significant improvement in terms of audio and visual content, but raise some questions concerning the actual role that symphonic orchestras in particular are willing to see them play. In this article we will try to respond to this new reality through a series of concrete examples of music appreciation tools, including some which were produced in the context of a project we conducted in partnership with the Orchestre symphonique de Montréal.
Keywords: guides d'écoute, Internet, médiation, notes de programme, réseaux sociaux, Internet, listening guides, music appreciation, program notes, social media
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1215.More information
In retrospect half a century ago, the ethno-jazz that was being invented before becoming world music resembles an asymmetrical intercultural musical encounter, more beneficial to the cultural industries of the North than to the music of the South. Was Yusef Lateef one of its sources? Too much eclecticism, too much superficiality? Good intentions leading to a dead end? To correct the lures of retrospection and generalization, we try here to change scale and grasp the 1961 context in order to really hear “The Plum Blossom,” a small composition played on the Chinese xūn and recorded with a jazz combo. Lateef's instrumental exploration of the confines of jazz, consolidated by his religious and pedagogical choices, rather reveals an indifference towards identity fixations.
Keywords: Yousef Lateef, jazz, identité, rencontre interculturelle, Yousef Lateef, jazz, identity, intercultural encounter
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1216.
La Ligne rouge de Hans Zimmer. Matrice d'un « nouvel Hollywood » électro-minimaliste et contemplatif
More informationThrough a comparative study of several films with a contemplative narrative context such as Thin Red Line (Terrence Malick, 1998), a score-matrix that marked a clear evolution in Zimmerian aesthetics, Hannibal (Ridley Scott, 2001), The Da Vinci Code (Ron Howard, 2006) “the most sophisticated synthesis of the influences of minimalism” (Berthomieu 2013, p. 698), to scores that Hans Zimmer composed for Christopher Nolan as Inception (2010) and Interstellar (2014), this article shows how Zimmer manages to impose a new musical trend in Hollywood by integrating a pared-down writing impregnated notably by the minimalism of Arvo Pärt to loops developed by synthesizers or electronic sounds: if tributes to works of Arvo Pärt are appropriate to highligh inner torment or dark meditation, Zimmer also takes up more general principles of this form of minimalism – often an immutable and infinitely repeated oscillation around a minor perfect chord – almost systematically mixed with this creative energy of hybrid timbres, to create another temporality bringing a form of ineluctable to the image while maintaining empathy and discreet synchronism as supports for the action (The Thin Red Line, Batman Begins, The Da Vinci Code, Inception). The fifth – alone, in ostinato or repeated on a motif –, which is the quintessence of the Zimmerian tintinnabuli (beyond the perfect Pärtian agreement), emphasizes the suspended moment (The Thin Red Line, Hannibal, Interstellar), while a form of radicalization of this minimalism which sometimes goes as far as the negation of any melody, replaced by a single note, becoming abstract texture, or by a diatonic cluster in blend mode (The Da Vinci Code, Interstellar), evokes despair, death, or nothingness. Far from being a “world” which “is reduced to the emptiness of a present without a dream” (Berthomieu 2004, p. 75), Zimmer's electro-minimalist and contemplative writing, marked by a strong narrative coherence, is connected to the aesthetic program of the films for which it is intended.
Keywords: Zimmer, électro-minimaliste, minismalisme, contemplatif, Pärt, statique, électronique, synthétique, hybride, texture abstraite, matrice, épure, radicalisation, Zimmer, electro-minimalism, minismalism, contemplative, Pärt, static, electronic, synthetic, hybrid, abstract texture, matrix, outline, radicalization
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1217.More information
Keywords: conflits, énergie, esthétique, musique, son, violence, aesthetics, conflicts, energy, music, sound, violence
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1219.
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1220.