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A major figure of Quebec's musical life at the beginning of the 20th century, Léo-PolMorin (1892-1941) contributed remarkably to the inclusion of the modern repertoires in the FrenchCanadian concert progammation. Thanks to his strong musical training, in Quebec and France, and tohis agile writing style, Morin became a landmark of Montreal's musical life. As well as anexperienced musical performer, his ideas and convictions on contemporary music find their way innewspapers such as La Patrie, La Presse, and Le Canada, during atwenty-year period. This essay offers an overview of Léo-Pol Morin's first years of involvement inconcert life, and an analysis of his writings addressing the modern French school, and specificallyGabriel Fauré, Claude Debussy and Maurice Ravel.
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Musical e-learning is nowadays possible since the development of the technologies as the standard MIDI, which allow communication between computers and musical instruments, Internet, Web and multimedia tools. All those components combined together help to produce musical courses on CDs, which can be brought after on Internet or Intranet of musical institutions. This progress in musical education can be observed all over the world and we will see in this article various examples of musical's e-learning which as been applied in schools in France and Canada.
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According to Goodman, music is essentially defined as a system of notation that bounds a class of executions exemplifying the score and transforming it into performance. In contrast, film, both as narrative structure and as audiovisual structure, cannot be reduced to a system of notation as powerful as that of music. Under these conditions, what is the meaning of the introduction of musical relevance, of musicality, into the narrative? How does this affect the status of the film as a work of art? How does it alter the way the spectator is constituted? These are the questions that this article attempts to resolve.
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ABSTRACTThe article examines the different solutions structural filmmakers and the American repetitive composers brought to a fundamental formal problem common to music and cinema : the organization of time. After historically and geographically delineating these two tendencies, the author first describes their shared principal formal characteristics, then briefly outlines the modifications that these processes bring to the relationship between spectator and work, thereby redefining the mode of reception.