Documents found
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1341.More information
In arts education, student creativity and freedom are often connected. This article examines the function of restrictions in creative classroom activities, in particular, improvisation and composition activities. The process of devolution, first conceptualized by mathematics educators, is examined here in music education. What does this process imply? How can the learner take on the teacher's research directions and choices in the context of a musical sequence dedicated to original productions? This is one of the central questions discussed here.
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1344.More information
In the context of polemics unleashed by various avant-garde movements, the players have confronted recurring uncertainties about how to construct what one might call a practical syllogism, that is, a syllogism whose conclusion is not some truth but an action. Whether it be to argue in favour of the validity of these works or to question it, faced with the experience of the truly unprecedented it behooves both sides to answer the practical question par excellence: what to do in order to act well? This problem is explored here through an analysis of a single passage in Heinrich Schenker's Harmonielehre, which appeared in Vienna in 1906. Shortly before the premieres of Arnold Schoenberg's first atonal works, Schenker condemns any attempt to weaken tonality as “fraudulent” and argues for the moral duty to “stigmatize” (brandmarken) such approaches. The essay also addresses central questions related to the links between art, morality, law, and violence.
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1345.More information
From Images oubliées to Reflets dans l'eau, much of Claude Debussy's music is filled with images and sound paintings. In fact, Debussy's body of work is widely cited as a pre-existing element in cinema of all genres, especially for outdoor scenes, from the silent era to the contemporary period. Debussy is a musician of nature, of travel, of light effects in water, even of the world of childhood, but many of his works (“Nuages,” Pelléas et Mélisande, Le Martyre de Saint-Sébastien or his unfinished opera La Chute de la maison Usher) are also manifestations of death and fear. The aim of this article is to show how composers such as Dimitri Tiomkin, Franz Waxman, Bernard Herrmann, Jerry Goldsmith, and Alejandro Amenábar probe Debussy's language to enrich the paratext of their scores for films with a dark fantasy dimension, blurring the boundary between eros and thanatos, or between the world of the dead and that of the living.
Keywords: cinéma, Claude Debussy, fantastique, musique, sombre, cinema, dark, Claude Debussy, fantasy, music
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1346.More information
This paper discusses issues related to self-representation and expression in a Labrador Inuit community with reference to three locally-composed country-style songs frequently requested and played on the air by the community radio station. An under-discussed political impetus behind Raymond Williams' « structures of feeling » helps redress a discursive imbalance that privileges « authentic » forms over Inuitized Euro-American ones. Measuring culture in terms of lived experience rather than discrete symbolic forms in the way Williams proposes is the basis for considering a substrate of affective continuities that persist even when more tangible forms erode or die out. Distinct Inuit affectivities that stick to non-Inuit musical forms are, in turn, circulated and shared via radio. In the resulting curated aural-affective radioscapes, a song's affective potency is converted into structures of sonic feeling by reflexive interplays between individual and collective emotional subjectivities.
Keywords: Artiss, identité inuit, musique inuit, radio communautaire, continuités affectives, structures de sentiment acoustique, Artiss, Inuitness, Inuitized Music, Community Radio, Affective Continuities, Structures of Sonic Feeling, Artiss, identidad inuit, música inuit, radio comunitaria, continuidades afectivas, estructuras de sentimiento acústico
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1349.More information
In this article, the author shows that the Tentamen of Leonhard Euler (1707–1783) presents an arithmetic and musical solution to the problems raised by Leibniz in letter to Christian Goldbach of April 17 1712, and that, contrary to a widely held belief, its musical typology (genus musicum) was taken up and developed by subsequent music theorists and composers. First among these was the physician Adriaan Fokker (1887–1972), who introduced many Dutch composers to Euler's theories; he was followed by the American school, whose members, Harry Partch (1901–1974), Ervin Wilson (b. 1928) and Ben Johnston (b. 1926), have pursued the development of these theories in their experiments in just intonation and the realm of non-tempered scales.
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1350.More information
This text offers a portrait of the Belgian musicologist Harry Halbreich through “twenty glimpses” [“vingt regards”] that evoke his publications, his activities as a lecturer and as a teacher, and his active participation in the world of contemporary music along with personal memories linked to the man and his private life.
Keywords: Harry Halbreich, Belgique, témoignage, compositeurs, publications