Documents found
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Essentially nationalist and resolutely engaged in the conservation and defense of traditional French-Canadian values, La Patrie (1879-1957) held true to its mission. As a periodical directed towards a people in crisis, the journal appealed to its readership through several areas of interest, including the arts. From 1920, space was reserved for the discussion of culture, in the form of a regular column penned by Gustave Comte, “Théâtre, Musique, Cinéma”. Particularly emblematic of the ideologies and tastes of conservative Québécois society, the tone of Comte's texts derives from a value for cultural heritage deeply rooted in an inescapable past. Given this context, was it possible to make event the slightest gesture towards modernity? Part of the answer may be found in the writings of Henri Letondal and Jean Nolin, two critics to treat subjects that opened up new perspectives. At the same time, in his music column, Léo-Pol Morin often delivered the one-two punch necessary to the evolution of a society in danger of suffocating in its own wealth.
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262.More information
How do you understand the making of music when you try to mediate it? How does the identification of the different actors who participate in the elaboration of a work give a hold on what a “work” is and what it represents for whom receives it? How can a mediator place him-herself in this creative activity, past or present? This article establishes mediation as an activity that is part of the creative processes at work.
Keywords: création musicale, médiation de la musique, processus créateurs, production artistique, réception esthétique, aesthetic reception, artistic production, creative processes, music mediation, musical creation
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263.More information
This article profiles five organizations that have been advocating for equity in Quebec music since 2017 : MTL Women in Music, Femmes* en Musique, Lotus collective MTL Coop, shesaid.so MTL and D!G Différences et inégalités de genre dans la musique au Québec. In line with a long tradition of critical work in feminist historiography, the authors first account for the diversity of feminist mobilizations in Quebec music beyond the #metoo “waves” which have received significant media attention over the past five years (2017–2022). In the second part, the authors detail the development of the D!G network, a feminist collaborative research partnership launched in April 2021 by Vanessa Blais-Tremblay, and its contributions to both Quebec's music industry and to feminist partnership research epistemologies and methodologies.
Keywords: Mobilisations féministes, Recherche partenariale, Québec, femmes, musique, feminist mobilizations, partnership research, Quebec, women, music
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264.
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In this imaginary interview, Yves Daoust describes the artistic path for each of his electroacoustic works, their interplay with ambiguity and their relationship with extra-musical references. His objective is to rehabilitate the pleasure of listening in rediscovering (by way of his own works) our sonic environment.
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AbstractMusics, Cuits and Indian Society in Reunion IslandThe two authors, one of whom is an ethnologist, the other an ethnomusicologist, focus their study on the Indian society of Reunion Island, and on the linkages between their cuits and their music. Their analysis is based on fieldwork carried out during the last ten years. Through the alternate perspective of their disciplines, they try to better understand the social foundations of musical phenomena and how the study of the social use of music can bring a better understanding of the complexity of the social. Amidst legacies that characterize creole worlds, Indian music and cuits divide Reunion territory according to the values and the beliefs of emerging groups. Religious music, ils style and aesthetics correspond to these values. This is why music, just as cuit, may be considered as status as well as identity indicators. The authors conclude with a discussion of how the recent rise of Afro-Malagasi maloya shows that certain Indian traits are integrated in this musical expression and of the new relationship that Reunion people of contemporary Indian descent share with music and cuit.
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This article explores the role of the Courrier Musical in the cultural mobilization of the French musical world during the Great War. It shows how, from 1916 to 1918, the journal played a crucial role in spreading a nationalist and anti-German propaganda. A comparison between this propaganda and articles published before and after the war then leads to qualify the idea that the war years were a singular and exceptional period in the history of discourses published in the Courrier musical. In fact, the war only brought to the foreground ideas and claims that had been regularly featured in the journal since the 1900s. Besides, Le Courrier musical also perpetuated these ideas and claims well after the official end of the Great War. Following recent historical studies on periods preceding and following the war, this article make a case for an understanding of the history of music during conflicts that does not restrict itself to the official dates of declarations of war and peace treatises.
Keywords: critique musicale, guerre, musique, presse, propagande, music, music criticism, press, propaganda, war
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In the beginning of The Man Without a Past (Kaurismaki 2002), a “musicalized” shot may entail a strange effect of monumentalization. In order to precisely describe the effect, I will first systematically delineate different functions the music consistently assumes in this “musical” movie – such as epic (in the meaning of Brecht), pathetic and ethic (in the meaning of Aristotle). I will then turn to a description of this unique “moult” in my listening, caused by this shot edited at the tail end of a scene of assault in which a man, a welder, is left for dead. A symphonic music which until now originated from a little mobile radio station gets suddenly the magnitude of an orchestra pit music while the image shows a pitiful corpse negligently covered by his suitcase and his mask. Heard at full power, the symphony, then, interferes with the image and compose its equivocal depiction.
Keywords: Kaurismaki, L'homme sans passé, analyse, écoute, iconologie, Kaurismaki, The Man Without a Past, analysis, listening, iconology