Documents found
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281.More information
Paul Baillargeon, a Canadian, composed the music for more than forty Star Trek television episodes, which are now translated and known around the world. Star Trek is one of the last American television series to have its music played by an important symphonic orchestra, before composers understood that they could use instead computers and digital samples, replacing by doing so the fifty musicians who were perpetuating the acoustic musical Hollywood tradition. This essay examines how those digital tools had impacted on composers' music, and on his work within the postproduction stages of popular television series.
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282.More information
This article presents an analysis of musique actuelle improvisation, an avant-garde musical trend that originated in Quebec in 1979, in relation to contact Improvisation (choreography form that appeared in the United States in 1972). The aim of this study is to more clearly understand the nature of these improvised art forms based on contact and relationships between performers. What are the ways in which separate individuals influence one another? How does each one assume their rightful place in the context of a single, evolving conversational process? Bakhtin's dialogism, taken metaphorically, enables a demonstration of the kinds of interactions at work in musique actuelle and contact improvisation. Through dialogism, we can also challenge the notion of free and collective improvisation of which musique actuelle and contact Improvisation are worthy representatives.
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283.More information
This article is devoted to the question of French religious music used by Christian Indians of New France during the 17th and 18th centuries. More particularly, it examines the surprising success of this religious and artistic practice in the post-contact North American world. It appears that cultural more than geopolitical or socioeconomic factors can explain the rapid adoption of European religious songs by Indians. In my opinion, only a better understanding of the role traditionally held by singing in the Indian culture could help us identify the cultural basis on which such a success is based. From there, it becomes possible to sustain a larger reflection about Catholicism's influence among Indians during the historical period.
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French Canadians, who had colonized the Eastern Townships since 1871, made up four fifths of the population of Sherbrooke by 1941. They developed dynamic educational and musical institutions, theatres and artistic organizations, providing a solid infrastructure for various undertakings. These circumstances, along with the collaboration and friendly competition with their English counterparts, enabled them to cultivate a rich cultural climate, particularly in the sphere of music. During the 1940s and 1950s, an entire generation prepared to participate in, and to contribute to the revolution of the 1960s, both locally and beyond.
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Through a historical perspective, this article aims toward a synthesis of theories relating to a genre of music and dance that is one of the most representative of Brazilian culture: samba. The reader will find reflections about one of the myths of samba's origin as well as about the creation of the samba schools and their gradual introduction into the Carnival and into the heart of Brazil.
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The disruption that takes place in À rebours by Huysmans and Madame Gervaisais by the Goncourt brothers should be equated with the feeling of decadence that prevailed in Western Europe at the end of the 19th century. Jean des Esseintes and Mme Gervaisais have to cope with the disorders of a disharmonious world, disorders in which music plays a part. Its presence at the heart of the novels in the form of ekphrasis betrays both a fascination for this art, sometimes considered as superior, and a competition between the arts, in which artistic writing attempts to triumph.
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Formed as a musician and a clarinetist, Louise Campbell is now a music mediator. Based in Montreal, she practices her profession through several structures and for a wide variety of audiences (schoolchildren, professionals, people with disabilities ...) all around Canada, but mainly in Quebec. In this interview, Louise Campbell recounts her experience as a mediator, her (non)-formation in this profession, as well as many aspects in her practice. With the musical object and the creation at the heart of her workshops, Louise Campbell always seeks to establish a “horizontal” exchange relationship with each person she meets.
Keywords: Louise Campbell, création, médiation de la musique, partage, relation, Louise Campbell, creation, music mediation, sharing, relationship