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Music and literature: a score made of words. But what is this strange alchemy that occurs between a melody and a text? How do notes and words manage to dance together? The idea of this article is to study the influence of the music in literary works, to analyze the music notion as a creative element of meaning, as a dramatic speech within a literary text and a powerful vehicle for feelings. Reading the works of the Peruvian writer Alfredo Bryce Echenique, is to meet the music behind the words, and in the developed topics.
Keywords: Alfredo Bryce Echenique, Littérature, Pérou, Musique, Boléro, Émotions, Alfredo Bryce Echenique, Literature, Peru, Music, Bolero, Emotions
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In 2005, the ARMuQ/SQRM celebrated its twenty-fifth anniversary. Responding to questions from the Cahier's current Editor-in-Chief, Sylvia L'Écuyer, the author begins by discussing the motives that gave rise to the Association pour l'avancement de la recherche en musique du Québec, as it was then called. This is followed by a survey of the association's various transformations over the years. In a third section entitled “Problématiques et souhaits d'avenir” (“Challenges and wishes for the future”), Louise Bail describes the ties that bind the ARMuQ/SQRM to post-secondary education institutions, and identifies the role of independent scholars within the organisation. The aim of her study is to discern the particular challenges that the existence and operations of such an association create. Finally, she reflects and advises on the association's future from the perspective of her own role as founding member, regular member, and past Chair of the Board of Directors.
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In the last thirty years, the teaching of electroacoustic music in France has undergone a fundamental restructuring. In this article, the author, a participant in and witness to this evolution since the beginning of the 1970s, attempts to understand how this teaching (spreading out as it did from the research and creation centers from which it originated until it has finally become integrated into public institutions for musical training) has gradually attained a new signification. At this time when the Association of Teachers of Electroacoustic Music Composition (Association des enseignants en composition de musique électroacoustique: AECME) has just been founded, he analyses the new forms and new requirements of this instruction, trying to understand how the shared responsibilities of new public partners are distributed. Drawing on his own professional experience, he uncovers the conditions required for a possible integration of this instruction into public life, and attempts to extract from them some joint perspectives for the future.
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Some members of the new music scene wish to decentralize its Eurocentric roots and criticize its colonialist tendencies. Prior to the discussion of strategies that could constitute a decolonizing framework, it is useful to identify how coloniality is reflected in this scene. The author, himself an active member of this scene, shares avenues of reflection on the cultural homogeneity of the milieu, questions of access, the legacy of classical music, the concept of European excellence, the presumption of universality, the coexistence of legitimacy and marginality, the ambiguous relationship with cultural appropriation and the foundations of the attribution of merit.
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