Documents found
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1241.
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1243.More information
Based on the example of Olivier Messiaen, who held the post of organist at the Église de la Sainte-Trinité in Paris for 60 years and my own current work in the same position, this article seeks to rethink the activity of the creative organist in his organ loft and place him in a unique position in the field of musical creation at the crossroads of improvisation and composition. Thanks to new sources, the study and re-enactment of Messiaen's practices at his keyboards leads us to question these two categories and their hybridizations. Their confrontation raises questions on the relationships between instrument, sound, and writing, on which the organ offers a unique vantage point. Examples from my Études pour orgue (2006-2015) show how the interaction of invention with the organ's complex sound phenomena may renew the ties between improvisation and composition and interrogate contemporary practices of musical creation.
Keywords: Orgue, improvisation, Olivier Messiaen, timbre, la Trinité, Organ, improvisation, Olivier Messiaen, la Trinité
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1245.
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1247.
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1249.More information
Different typologies of songs that take into consideration themes, aesthetic heritage, types of refrain, etc. have already been established. The typology presented in this article puts thematic criteria aside in order to emphasize blending between signed songs (where the author and/or composer is known in a published context) and songs from an oral tradition (which are propagated by oral transmission). These blends are based on processes of distribution, reception and the creation of compositions for academic study. In this context, the author deemed it important to create an appropriate terminology to allow us to take into consideration model songs from the Middle Ages to the present time. The examples are chosen essentially from francophone culture.
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1250.More information
This article revisits the historiography of country music in the United States and that of traditional music in Quebec by comparing the phenomena of barn dance shows and veillées du bon vieux temps of the 1920s. By removing these cultural practices from their respective national frameworks and from assumptions born of musical categorization, it becomes possible to observe new potentialities, as much from an aesthetic and poetic point of view as from a social and political one. The musical performance of the good old days, on both sides of the border, has briefly offered an opportunity for the audience to modulate its relationship to collective identities and to the past through laughter, humor, and parody.