Documents found
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211.More information
The author analizes the films of Mauricio Kagel, taking as his point of departure instrumental music theatre. Klüppelholz places Kagel in the tradition of Schönberg with respect to the exploitation of the potential in filmic imagination. He also demonstrates that these films, which Kagel conceives as operas without singing, constitutes a new historical development.
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Les résonances de l'image et de l'imaginaire dans la composition musicale : une enquête polyphonique
More informationBy mixing the words of seven contemporary composers (Brasset, Calon, Fano, Lepage, Lizée, Lussier, Piché), this survey questions the interactions between the visual movements and the sound fluctuations, the stakes of the musical composition for the image, the singular characteristics of the audiovisual perception and the effects of the image (material or mental) on the process of composition. By listening to these composers describing their approach of creation, we discover that the image can be an energy, a concrete material, a substratum, a resultant of the musical listening, a historic artefact, a score, a narrative vector, one stratum in a multimedia complex…
Keywords: composition, enquête, image en mouvement, interaction, multimédia, composition, interaction, moving image, multimedia, survey
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Enseignement, radio, livre et archives : souvenirs en quatre mouvements autour de Maryvonne Kendergi
More informationMaryvonne Kendergi (1915-2011) was of Armenian origin, born in Turkey; she lived in France and became a Canadian citizen in 1960. She played a major role in the development of contemporary music in Quebec, as a teacher, communicator and organizer. Her contributions to Quebec culture are closely linked to the history of the Faculty of Music at the Université de Montréal, to Radio-Canada, and organizations such as the Société de musique contemporaine du Québec (scmq) and the Association de recherche en musique du Québec (armuq, which later became the sqrm). This survey, carried out in 2022, brings together the personal testimonies of four people who were close to her: Marie-Thérèse Lefebvre, Françoise Davoine, Louise Bail and Mario Gauthier. Together they form a plural portrait of this multi-faceted pioneer, looking at her role as an educator, her contributions as a communicator (particularly on the radio), the publication of her biography, and the organization of her archives.
Keywords: Maryvonne Kendergi, Louise Bail, Françoise Davoine, Mario Gauthier, Marie-Thérèse Lefebvre
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217.More information
In 1967, the 100th anniversary of Canadian confederation, Montreal's hosting of the World Fair (“Expo 67”) allowed many Quebec and Canadian composers to reach a large and varied public. Three particularly memorable works were broadcast daily in the fair's pavilions. Serge Garant composed film music for the thematic pavilion Man and the Polar Regions (an instrumental work that one year later would become Amuya), Gilles Tremblay prepared the soundtrack for the Quebec pavilion, while Otto Joachim created Katimavik in his private studio for the Canadian pavilion, a work played through loudspeakers out-of-doors, consisting entirely of electronic sounds. A number of documents show that these works, in an undeniably modernist aesthetic, were conceived in terms of a very particular context and public space, and that they had a considerable impact on the general public and critics alike.
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