Documents found
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1431.More information
This article outlines a heuristic and hermeneutic space in which to situate the music of Yves Daoust. Through an inquiry, both musicological and sociological, into the historical references and sound objects found in Daoust's work, the author examines the poetic processes whereby the composer associates himself with his audiences through references to symbolic landmarks and through the evocation of a common sociocultural experience. From there, it will possible to question the status of the work's authenticity in relation to the individual, and to determine the extent to which this is audible in the music. The notion of identity is essential to the understanding of the dialectic between memory and distance, and between identification and critical departure, in the face of the works' allusions to specific locations and events. The reader will gain a sense of the different levels of understanding one can bring to Daoust's music, as well as an appreciation for the questioning of identity underlying his works, leading to a richer sense of the music.
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1432.More information
Hector Perrier was appointed as Quebec's Provincial Secretary in Premier Adélard Godbout's Liberal cabinet. During his mandate which happened to coincide with the Second World War, he pursued the cultural policies initiated by his predecessor Athanase David between 1919 and 1936. His most important contributions in this field were the creation in 1942 of the province's Conservatory of Music based in Montreal and Quebec City as well as the purchase by the Quebec Government of the Saint Sulpice Library in Montreal and its reopening to the public. Moreover, he left his mark on the political debate of his day through the establishment of compulsory schooling in 1943 after obtaining the support of a majority of members of the Catholic Committee of the Council of Public Instruction including most notably that of Cardinal Rodrigue Villeneuve, Archbishop of Quebec.
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1433.More information
This chronology with commentary follows the evolution of the composer and performer as well as the commentator and pedagogue through the important dates of his activities, most notably through the compositions in his catalog.
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1436.
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1438.More information
In 2016 Michael Snow and Mani Mazinani improvised on vintage analog synthesizers in Yonge-Dundas Square, filling Toronto's busiest commercial commons with retro-futuristic sonic filigree; almost fifty years earlier, Otto Joachim's four-channel electronic sound installation Katimavik furnished the Canadian Pavilion at Expo 67 in Montreal with uncannily similar sounds. In both cases, listeners perambulated amongst a sonic-spatial architecture defined by publicness and auditory plurality. In the intervening decades, non-profit artist-run centres proliferated across the country, offering refuge for local experimentalists to develop their craft in the name of regional and national cultural growth. Such is experimental music's longstanding position on the margins and centres of listening in Canada: its history as a niche practice is replete with attempts to insert itself into the everyday. I argue that the diffusion of experimental music into increasingly quotidian spheres in Canada offers a way to understand how place is engendered through the intersubjectivity of listening—an act implicated in a range of agentive processes. Different from other listening contexts, in listening to experimental music we become interpellated into a relational nexus where the loci of composition, performance, and perception become distributive and unstable. I thus suggest that listening to experimental music in Canada can be thought of as a “listening out” an “attentive and anticipatory communicative disposition.” The examples serve as case studies for refiguring the engagement between creative music and the commons in Canada—what experimental music can “mean in the world.”
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1439.More information
La musique existe depuis des siècles mais la composition de musique pour film est un art relativement nouveau. Cela implique un équilibre délicat et une attention critique aux relations entre ce que l'art visuel présente et comment la musique devrait accompagner l'image pour transmettre un sentiment. Au fur et à mesure que ce nouveau domaine de la musique évolue, les recherches et les expérimentations qui l'entourent évoluent également. Partout dans le monde, nous voyons des musiciens ainsi que des chercheurs en musique jeter un oeil à différents aspects de la façon dont la musique peut élargir l'image. Dans un pays comme l'Iran, avec une histoire du cinéma presque aussi vieille que le cinéma lui-même, il y a très peu de connaissances dans ce domaine. Seuls …
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1440.