Documents found
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1355.More information
In this text of a lecture, the author takes as his point of departure the priestly invocation of the "god" of postmodernity who, to the questions posed, offers various enigmatic answers, the substance of which the composer/speaker exegetically explains, including an exhortation by way of chanting.
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1357.More information
In 1900, J.C. Deagan Company, an American company specialized in xylophones, patented the Deagan Organ Chimes, a series of nickel-plated metal idiophones. Composed of an array of detachable units, each corresponding to a note, the instrument is played by shaking each unit. The resulting crystalline sound is produced by air vibrating in small organ pipes that are tuned to a frequency and its upper octaves. Today, this instrument has survived the dissolution of its parent company as a curiosity in the history of American instrument making. However, the design of the organ chimes suggests an earlier origin because of its striking resemblance to the Indonesian angklung, a type of bamboo percussion instrument ubiquitous throughout the Southeast Asian archipelago. Never explicitly referenced by the company, the key to this encounter likely lies in the dissemination of cultures from elsewhere in America during the colonial era. This article attempts to link the invention of the Deagan instrument with the major event that was the 1893 World's Fair in Chicago. Given the great impact of the Javanese village on the American imagination, it is unlikely that the creation of the organ chimes seven years later was mere coincidence. Paradoxically, this invention quickly fell into disuse in the 20th century, while the angklung experienced a renaissance in Asia. As a cultural appropriation that has faded from memory, the case of the organ chimes allows us to rethink the historical discourse on instrument making and musical inventions.
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1358.More information
This article focuses on the presence of numerous music scores published in the nineteenth-century French press. Lifted from a sample of 13 newspapers, a body of close to 1000 scores allows for a discussion of the presence of musical “writing” in periodical literature to demonstrate, notably, the roles and functions of these scores. The author proposes to see in them a kind of specifically media language that revisits the old practice of the “small format” (affordable scores sold since early in the century) for everyday use, while establishing relations of proximity and exchange with certain media poetics such as serials, news items or opinion pieces.
Keywords: Partions musicales, Périodiques et suppléments, Poétiques médiatiques, Presse quotidienne, Music scores, Periodicals and supplements, Media poetics, Daily press
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1359.More information
Keywords: Anne Hébert, Biographie, Paris, Musique
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1360.More information
From the beginning of his career as Director of Communications and Marketing at the Opéra de Montréal, Pierre Vachon has been dedicated to “opening a dialogue” between audiences and opera. For the past three years, he has been mobilized by the same organization at the head of a new Community engagement and education department, where he converted his marketing and communications activities towards “mediation” activities between music and communities. His objectives shifted from market development to human development, allowing him to reach a greater diversity of audiences. This interview aims to highlight his professional practice by exploring a practitioner's perspective on music mediation. An incursion into his world and the world of cultural mediation at the Opéra de Montréal.
Keywords: action culturelle, médiation, métier de médiateur, opéra, Pierre Vachon, cultural action, cultural mediator profession, mediation, opera, Pierre Vachon