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AbstractThe Espace sonores illimités (ESI) collective is made up of composers Alain Dauphinais, André Hamel, Alain Lalonde and guest artists. ESI is dedicated to the creation of collective acoustic and spatialized works. The trio's artistic goals are outlined here.
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“Why is Schoenberg's music so hard to understand?,” asks Alban Berg in 1924. We could translate his statement by: “Why is it so little accessible?” The answer one is tempted to offer goes beyond the one that Berg provides ( i.e. Schoenberg's music avoids thematic repetitions that, in “ordinary music,” allows mnemonic stabilisation of the listening practice) since, more essentially, it is a question that has to do with access to music, and to the conditions of possibility of listening per se. Schoenberg himself tried to respond to this issue by inventing a particular listening framework, the Society for Musical Private Performances (1918-1921), that completely overturned the Viennese conventions of concert hall practices: applauses were forbidden, no press review were allowed, the programme was not announced in advance, the practice of rehearsals was renewed. From there, it is possible to outline a Schoenbergian philosophy of musical access, which predates by a few years only the phonographic industrialisation of music, and which entertains with this industry a fruitfully conflictual relation. Understanding this relationship implies an analysis, sketched in this article, which takes into account the question of musical interpretation and also the different projects Schoenberg and his entourage imagined, from various apparatuses to new modes of diffusion.
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La critique musicale d'Émile Vuillermoz autour de la Première Guerre mondiale : musique apolitique ?
More informationDuring World War i, the French music critic Émile Vuillermoz upheld the idea that music should be autonomous and apolitical. Drawing on this aesthetic claim, he rejected musical nationalism and the union sacrée. Depending on the circumstances, his discourse could therefore be suitable for a patriotic, pacifist or anti-militarist position. The same aesthetic and political issues reappeared between 1920 and 1924 when he wrote in La Revue rhénane/Rheinische Blätter, a bilingual monthly propaganda magazine which, under the guise of stimulating Franco-Rhenan intellectual and artistic exchanges, sought to bring the Rhineland closer to France and thus undermine Germany's unity.
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In this article, the complete output of Félix Leclerc is the basis for exploring a “text-with-accompaniment” model of analysis. It begins with a literary analysis of Leclerc's lyrics, in particular the song “Les Rogations” in the context of the songwriter's pre-1970 nationalist thinking (Monière, 1977; Balthazar, 1986; Dumont, 1996). The musical analysis then focuses on relationships between the musical trends that influenced Leclerc and the guitar accompaniment techniques he displayed in his recorded songs (Green, 2001; Tagg and Clarida, 2003). By means of this type of analysis, we attempt to challenge two widespread beliefs about Leclerc: that his career was divided into no more than two periods– before and after the October Crisis of 1970; and that he maintained a strong aesthetic bond with the hallowed European French “chanson” tradition.
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An artistic practice provides a framework upon which an artist builds up a process of sonic creation, anchored by relationships to the material world: to sound object, material object, sounding body, and human body, leading to the invention of new musical instruments. Rooted in a thicket of heterogeneous references, bonds grow between notated music and live electroacoustic music, giving rise to the possibility of a dialogue between compositional processes often thought to be diametrically opposed.
Keywords: corps, électroacoustique, électronique, musique concrète, objet, performance, body, electroacoustic, electronic, concrete music, object, performance
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Religious music during the Third Reich (1933-1945) remains a fascinating topic. In The Twisted Muse: Musicians and Their Music in the Third Reich (1997), Michael H. Kater provides a glimpse into how the artists of the time, whether composers or performers, adjusted to the regime. Yet for the religious music of historical German composers, who were highly valued by the regime as models to be followed and championed, the situation remains unknown. By taking Mozart's religious music as an example, this article shows how the Nazi regime used this music and adapted it for presentation in a purely non-religious context, in a secular campaign that instrumentalized religion. This was especially interesting in Austria, a profoundly Catholic country where just prior to be annexed by the Germans, the Austrofascist regime (1934-1938) attempted to focus culture on Catholicism (Pyrah 2011). The study of Mozart's religious music as displayed in newspapers as well as in the archives of orchestras, concert halls, and festivals allows us to observe the transition from a purely religious use to one that is more secular and thus worthy of German art as thought by Nazi authorities.