Documents found
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191.
L'écoute musicale à l'école primaire en France : les oeuvres que les enseignants déclarent enseigner
More informationThe listening activity appears as the second practice, after singing, to be taught in musical education in primary school in France. Internal didactic translation shows the involvement of the teacher in the definition of the knowledge to be taught. In the absence of precise information in the curriculum, which musical works do they choose to have their students listen to and for which purposes ? What criteria do they use for selecting works ? A survey among regional educational authorities (20 French departments) to 935 school teachers, which was followed with semi-directive interviews with 30 of them, aims at describing and understanding the reference knowledge in the practice of listening as far as the aims that teachers wish to achieve through this activity and the values they attach to that teaching are concerned.
Keywords: éducation musicale, école primaire, écoute, didactique, savoir, music education, primary school, listening, didactic, knowledge, educación musical, escuela primaria, escucha, didáctica, saber
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192.More information
From Pythagoras to the present day, the role of science in the study of music has shifted in many ways. Before the specialization of knowledge and the segregation of disciplines in the 19th century, the study of music could be conducted with various approaches by a single thinker or philosopher. In 1885, Guido Adler formalized a tripartite model comprising on one hand historical musicology and, on the other, comparative musicology, which was itself broken down into ethnomusicology and systematic musicology. This so-called systematic musicology, now also called experimental or computational musicology in certain quarters, drew on the development of related disciplines such as neurocognition and digital technologies. Today, it draws strength from the recent surge of the “digital humanities,” a concept which emerged a few years ago with the aim of applying the know-how of information technology to problems in the humanities and social sciences.
Keywords: digital humanities, musicologie computationnelle, musicologie expérimentale, musicologie systématique, technologies de la musique, digital humanities, computational musicology, experimental musicology, systematic musicology, music technology
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193.More information
To measure Maryvonne Kendergi's contributions to the smcq, it is necessary to revisit her career in Quebec, which was based on the solid academic and professional training she received at Parisian institutions from 1929 to 1952. Thereafter, in Montreal, she was hired by Radio-Canada for her exceptional voice, and in September 1956, she embarked on a brilliant radio career as a promoter of contemporary music. Kendergi gradually introduced the listening public to the arcana of the Montreal avant-garde. In this endeavour she was encouraged by Stockhausen's arrival in Montreal in 1958, by composers' efforts in organizing International Music Week in 1961, by the foundation of the smcq in 1966, and by the influence of the latter organization, particularly in its collaboration with the Université de Montréal in establishing the Musialogues in 1969. The role of Kendergi's exceptional skills in broadening the influence of the smcq is explored in this article.
Keywords: animatrice, Maryvonne Kendergi, Musialogues, musicographe de radio, Société de musique contemporaine du Québec (smcq), host, Maryvonne Kendergi, Musialogues, music journalist, Société de musique contemporaine du Québec (smcq)
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197.More information
Michel Longtin's most recent work, Lettre posthume de Conrad (2000) is no less than a true Symphonic Poem. From the outset, however, the strictly musical content of the piece is articulated in such a way that it is able to exist independently from the text, owing especially to the recurrence and transformation of motives (continuous variation). To be sure, the narrative value of the music in relation to the text is an ardently wished-for element on the composer's part, since the letter that served as its basis is printed with the concert programme. The work's true significance, nonetheless, cannot be attained without a profound understanding of both text and music. It follows that, in essence, the composition is of an epiphanous nature because it aims to render transcendental values manifest.
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199.More information
This study begins with an examination of the background against which was founded the annual Music-Week in Montreal (1923–1937), then presents an analysis of its system of operation, inspired by the American model created in 1920 by Charles Milton Tremaine. Information on the staff of the association, its sponsors, financial grants, concert venues, performers, repertory, and lecturers is discussed; the main points of the press reviews of the events are extracted. The anglophone-francophone cultural dualism with regard to the conception of music and of its role in education emerges clearly in the conclusion, which also highlights the active role of women in the running of organizations destined to spread music in Quebec.
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200.More information
Abstract What influence did the electroacoustic music of Karlheinz Stockhausen have on musical production in this genre in Quebec? Various Quebec composers of different generations were asked this question: Kevin Austin (1948), Walter Boudreau (1947), Yves Daoust (1946), Jean-François Denis (1960), Marcelle Deschênes (1939), Francis Dhomont (1926), Gisèle Ricard (1944), Stéphane Roy (1959), Alain Thibault (1956). To these, the author adds his own comments and reminiscences.