Documents found
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1373.More information
Tanya Tagaq's artistic work is characterized by the use of vocal effects, borrowed from katajjaq as well as from other musical traditions, which the singer seems to associate with expressive movements and gestures. It is hypothesized that her arm, hands and body movements on stage bear, as it is the case for the sounds she produces, a symbolic dimension relevant to the performance, and associate to create a unified expression. Is it possible to identify a typology of those correspondences between voice and gesture in Tagaq's performance? In order to explore her musical gestures related to her sound production, data have been generated by movement and voice capture during stage performances (LARC and Palais Montcalm palace, Quebec, in January-February 2016), thanks to a motion capture system (VICON), a throat microphone, and information technology processing. In this essay, we explore a symbolic and fragmented field, often unreachable due to its metaphorical aspect, and hitherto rarely researched, a fact also due to the peculiarity of Tagaq's work in integrating simultaneously elements of her Inuit and transnational culture. Given its expressive impact for her audience, our goal is to grasp the meaning and significance of her body movements related to her vocal productions.
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1375.More information
Following an immersion in China in 2008 and having gone through the various stages leading up to the international finale, Denis Gougeon in May 2010 was named winner of the Presences Festival International Composition Competition in Shanghai. Preselected by the smcq, eight composers were invited to Shanghai to become familiar with the culture and musical traditions of China. The Quebec finale was held in 2009, at which time each participant had to present a composition using an instrument and a melody based on Chinese tradition. The works composed by Simon Bertrand, José Evangelista, Denis Gougeon, Analía Llugdar, Pierre Michaud, Farangis Nurulla-Khoja, Sean Pepperall and Serge Provost gave international exposure to musical creation from Quebec. This study gives an overview of the various steps and highlights of the competition from memories and comments by Simon Bertrand, Walter Boudreau, José Évangelista, Denis Gougeon, Analía Llugdar and Pierre Michaud, providing insight into Quebec's participation in the competition as well as each composer's experience and conception of his or her work.
Keywords: composition, concours, Festival Présences, Shanghai, smcq, competition, composition, Presences Festival, Shanghai, smcq
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1379.More information
Using some examples of work related songs or protest songs borrowed from the French and Québécois repertoires, I will show in this article how links to work activities theoretically reinforce the transformations in the relationship between singers and songs themselves. I will first explain the symbolic and collective function of the song : its role as a vector, expanding the urge to resist while at the same time contributing to a healing process. Before the development of industrial and consumer society it was the folk performer who created songs in various contexts. Late nineteenth century transformations not only eliminated the trades mentioned in traditional songs, but eventually led to songs being appropriated by radio and other media. Singers participated in this media transformation, and songs left their original performance context, which came to be referred to negatively as « folklorique ». Looking at the two main components in the chansonnier repertoire, traditional songs and those of literary origin (meaning those whose author and composer are known), we see that the two types of songs are very different both in the nature of the performer and the function of his repertory. The differences between the two also increased during the late nineteenth and early twentieth centuries, when the professional singer arrived on the scene at a time when folksongs were losing their original function. Thus, songs that accompanied work in the fields or on sailing ships were losing their purpose. The songs therefore moved from a private work related sphere to a public and commercial sphere. The folk performer who transmitted his repertoire from one generation to the next was then replaced by a media performer who approached working songs 'topics from a theatrical viewpoint, completely detached from the actual work activities involved in their texts. The phenomenon of traditional song then changed its modi operandi. In this article, I will give some examples of songs that characterize the relationship between work and oral traditions.