Documents found
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134.More information
In this article, the author discusses hermeneutics in of one of Gilles Tremblay's most involved religious works, Les Vêpres de la Vierge, composed in 1986. In essay form, he examines the boundaries between Tremblay's writings and the musical work itself, and the ways in which the composer imports Gregorian chant prototypes into his own musical universe through a natural sequence of interacting twentieth-century and ancient Plainchant processes, which then surface in a distilled and purified form. The author concludes that, in this work, the act of maintaining and building on a global memory of what has been heard is at the heart of the compositional process.
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Since the early 1990s more and more so-called "contemporary" musical creations for young audiences occupy the artistic scene in the province of Quebec. Indeed organizations devoted to youth creation appeal for composers on the contemporary scene, while organizations working for contemporary musical creation open their doors to the "jeune public". Drawing from a almost exhaustive inventory of works of this kind presented in Quebec since 1990, the present article seeks to offer a picture of this very particular repertoire: first, observing (what are) its characteristics, then, suggesting some hypotheses concerning their raison d'être, finally, underlining their effect on the creative act. What is the role of responsibility of the historico-cultural context, of the composers, of the producers or of the listeners in the stylistic direction of the studied repertoire? Should not the portait of musical creation for the young audience simply bear witness to the influence of the child's magic, playful and imaginative universe on the composer's?
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136.More information
The Cefedem Rhône-Alpes is a higher education center for music teachers' training. Since 2000, young musicians practicing all musical genres have been admitted to the program in order to follow a common curriculum, overstepping the usual separation into specific “categories” most often observed in France. In addition to the objective of hosting all kinds of musical practices, beyond background particularities and sociological profiles, an artistic challenge is at stake: recognizing diversity cannot be limited to the mere benevolent juxtaposition of genres, it should also open the way for each musician to be acquainted with the music of others in practical terms. By applying a pedagogy based on projects and contracts, this new kind of training program permits the replacement of the usual notion of musical genres by the one of musicians' practices, thus making it possible, at each musical moment and in each pedagogical situation, to analyze the procedures in use and the modes of cooperation between musicians, and also to invent training devices that create musical/pedagogical contexts dedicated to such approaches. The objective of this training is to develop the capacities of future teachers to work within multidisciplinary teams, rendering them capable of fostering more diverse kinds of musical practices, and able to address a greater variety of audiences.
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This introduction to the issue explains the reasons behind the theme, whose material starting point is the existence of the Latin American Electroacoustic Music Collection at the Centre for Research and Documentation of the Daniel Langlois Foundation in Montreal. Looking mostly at two major eras in the development of the musical avant-garde in Latin America—the appearance of 12-tone music in the interwar years, and the development of electroacoustic studios in the 1960s—the author challenges readers to a game of correspondences between the Latin-American historical situation and analagous historical circumstances in the development of contemporary music in Canada and Quebec.
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139.More information
AbstractWhen the “forced disappearances” became systematic under the argentinian military dictatorship (1976-1983), the aim was not only to kill its opponents, but also to inflict a reign of terror and silence on the whole society. But the families of those who disappeared resisted and art became an important element in the struggle against this unspeakably paralyzing regime. Music became a way to reassert the sense and symbolism which had been destroyed. And this process generated an alternative to terror. Using a mixture of rock and murga, the music portrayed mutual sufferings. The emotions transmitted reversed the intrinsically negative character of the unspeakable and transformed it into a positive force. This music conveyed a form of knowledge beyond words, it made sense via the senses. It allowed the victims to come together and to reinvent a feeling of sense which they could subsequently offer to the whole of society.
Keywords: Argentine, disparition, rock, murga, indicible, transmission, Argentina, disappearance, rock, murga, unspeakable, transmission
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140.More information
Correspondences between the music and the abstract images of animation cinema have historically been marked by the tendancy to create visual music. Using his own personal experience as a starting point for historical reflection, the filmmaker Pierre Hébert shows that there are other ways to link the animated image to the music than that of visual music.