Documents found
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1231.More information
In the course of his long career at the National Museum (1911-1942), Marius Barbeau served as mentor for numerous composers and performers to help promote the use of his repertoire of folklore transcriptions and recordings in classical music. Inspired by the works of Jean Beck, a medieval specialist, and the interpretations of Yvette Guilbert, he developed a concert form for the intellectual élite and joined the classical composers of his time. After 1939, public perception of folklore changes with the popularity of Father Gadbois' La Bonne Chanson. Performance of the Museum's original collection left the concert hall and entered the academic world in 1942 when Barbeau, following the invitation of Luc Lacoursière, began a second career at the Centre des archives folklore at Université Laval.
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1234.More information
In this column records releases of contemporary music from Quebec or with Quebec groups will be critically evaluated.
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1235.More information
Keywords: cinéma populaire, France, musicien·ne·s, musique de film, musique populaire, film music, France, musicians, pop music, popular films
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1236.More information
It is possible to observe, in game studies, the borrowing of concepts and terminologies originating in the field of film theory, which can be attributed to the similarities between these two audiovisual media. Among other things, the notion of diegesis, and more specifically of diegetic and non-diegetic sound, is widely used in research on game audio. However, over the years, many have pointed out the shortcomings of the diegetic/extradiegetic dichotomy in categorizing videogame sounds due to the characteristics of the medium that distinguish it from other media. This article provides an overview of the various models created in the last two decades to categorize the diegetic location of various videogame sounds. Specifically, the article addresses the various attempts to expand the diegetic/extradiegetic taxonomy to account for the nuances of the videogame domain, the nature of the diegetic boundary in this medium, and the models abandoning the concept of diegesis in favour of videogame-specific terminology. To conclude, the author offers a reflection on the utility of the practice of categorization itself and the future of this field of research.
Keywords: Ludomusicologie, musique de film, cinéma, musique du jeu vidéo, diégèse, sciences du jeu, Film music, cinema, videogame music, diegesis, game studies, narratology
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1237.More information
The notion of pitch, i.e. the opposition of high and low, altitudo sonorum, is essential to the development of Western musical writing; it associates a visual element, high and low, with sound. Pitch exists in neumatic notation without conceptualization A convergence of facts suggests that the concept of musical pitch was developed in the 9th century in the schools associated with John the Scot, also known as the Eriugena, under Charles the Bald, in a re-thinking of the world view and a reinterpretation of the science bequeathed by scholars of antiquity.
Keywords: musique des sphères, polyphonie, voix, music of the spheres, polyphony, voice
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1239.More information
The Centro Latinoamericano de Altos Estudios Musicales (claem), founded in 1962 in Buenos Aires by Alberto Ginastera, and financed by the Rockefeller Foundation, was the principal centre of contemporary music in Latin America through the 1960s. However, the pioneer of 12-tone music in Argentina, Juan Carlos Paz, used to refer to it as the “Pitman Academy of musical composition”. This disdain was the result of a rivalry which lent its structure to the local milieu of contemporary music for thirty years, and which corresponded to competing visions of the history of music which opposed an avant-garde to a nationalist conception. In this article, this history is retraced notably through the analysis of the documents of the quarrel which in 1942 Paz christened “the case against Ginastera”.