Documents found
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121.More information
A defense and illustration, by the associate editor for this issue, of the acousmatic option, with respect to its critical evaluation and examination.
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122.More information
Instrumental music, specifically recorded music based on a compositional process, is at the core of the current study in tandem with the importance it has taken in Quebec's music industry since 2010. Names like Jean-Michel Blais, Martin Lizotte, Marc-André Pépin and Alexandra Stréliski have boosted the phenomena through popularity. However, positive reactions as well as negative ones are also taken into account regarding the problematic naming of that music and the crossover between classical and popular. Thus, the current study establishes a corpus and analyzes it, then focuses on the major tendencies of that music and the challenges that its circulation has encountered within Quebec media.
Keywords: Musique instrumentale, Québec, néo-classique, piano, réception médiatique, Instrumental music, Quebec, modern classical, piano, media reception
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123.More information
Film music has been neglected for a long time in scholarly literature, especially in French-speaking countries. This shortcoming is addressed since a few decades by the blossoming of musicological and specialized analysis devoted to film music. By casting a retrospective glance over this young academic field called “film musicology”, we will first question the place of film music study within musicological research, so as to understand the disavowal it has been subjected to. Disparities still exist between North American and French approaches, but we will demonstrate that the progressive institutionalization of film music and its inclusion within musicology are set on an encouraging path. The issues specific to film music study will be examined in order to highlight what methodological challenges such a research object entails. We will also show how they relate to and reengage a number of reflections taking place within musicology itself.
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124.More information
This first chapter of the Keyword section of the collection “Anthologie du phem” (phem's source readings) addresses the relationship between music and internationalism (or cosmopolitanism), that is one of the most crucial issues arising from the Parisian musical debate of the interwar period. The three selected articles defend three different positions: a francocentric universalism, the condemnation of internationalism considered as illusory, and the utopia of cosmopolitanism. In the interwar period, the ideal of a pacific international cooperation coexisted with the most extreme nationalisms, and the discourse presented in this articles provides a deeper insight into the political and aesthetical issues behind the musical debate.
Keywords: cosmopolitisme, esthétique musicale, internationalisme, nationalisme, presse musicale, aesthetics of music, cosmopolitanism, internationalism, musical press, nationalism
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125.More information
There are two sides to counter-culture: the first exists out in the open (overground) and the other moves below the surface (underground). In the “overground” current of notated avant-garde music with strong European ties – promoted, among others, by the Quebec Contemporary Music Society (SMCQ) – a new generation of musicians turned towards American models. Inspired by these models, they argued for a multidisciplinary creative space that left room for experimentation and improvisation. This artistic movement that began “underground” in the seventies gave birth to an aesthetic movement that emerged in the early eighties under the name “musique actuelle.” This is the story of an encounter between two creative universes.
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126.More information
Since the solemn promulgation of the “Constitution of the Sacred Liturgy” during the Second Vatican Council, liturgical music has undergone perhaps its most significant transformation in the history of Roman Catholicism. In Quebec, these changes appeared even more greatly marked amidst the upheaval of the Quiet Revolution. Examining the musical fall-out of Vatican II from several angles, the author begins with a discussion of two currents in music liturgy that dominated the 1950s, symbolized by Pius X's Motu Proprio and the anthology of 300 canticles. He also outlines various phases in the evolution of liturgical song after Vatican II. This context enables a reinterpretation of Pierre Lapalme's concise article dealing with the choice of music for the pope's visit to Canada in 1984. Reflections of this sort ultimately call into question the very essence of liturgical song: is it as immutable as the Motu Proprio of 1903 would have us believe?
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127.More information
As decolonization of knowledge and teaching becomes increasingly prominent within universities, post-secondary music programs in Canada and elsewhere must revaluate their relationship to Eurocentric musical traditions. Currently, most undergraduate programs focus on Western classical music and a limited number of works and composers. These works are generally presented in a teleological manner consisting of a series of stylistic periods, ignoring external influences such as local music, non-Western music, oral or popular music. As these programs influence the representation of genres, repertoires, and musical tastes of future performers, teachers and music professionals, our institutions have the responsibility of considering ways to move beyond the dominant, Eurocentric, and colonial narrative of the “history of music.” This article offers a theoretical and practical approach to transforming the teaching of music history in Canadian universities and conservatories, drawing of recent examples of course redesign. After briefly examining the nature of the historical narrative usually taught in post-secondary programs, it also provides theoretical tools and pedagogical methods that can concretely support the possible emancipation of this narrative in the context of Western classical music history courses.
Keywords: Historiographie musicale, enseignement de l'histoire de la musique, musique occidentale, musique « classique », histoire critique, décolonisation des savoirs, Music historiography, music history teaching and learning, Western music, art music, critical history, decolonizing knowledge
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128.More information
AbstractContinuing her answer to one of the “50 questions” she addresses in her book Composer de la musique aujourd'hui, Reverdy describes the many obstacles that French women must deal with to become composers. Following a brief autobiographical sketch, Reverdy addresses the question of the supposed essence of music composed by women, and attacks the myth of “innocently” composed music. She concludes with a discussion of the politics of musical composition.