Documents found
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311.More information
One of the recurrent themes in the discourse of the avant-garde cinematography of the 1920s is the search for a form of cinema that will merit classification as art. Though painting is the primary model in the search for an artistic cinema, music also plays a role. This role has several dimensions, which the author analyses here in a discussion of the different kinds of model they constitute for artistic cinema. The author also raises the question of how, despite the apparent paradox, this recourse to a musical model, in conjunction with the pictural model, can be integrated with the search for purity of cinematographic language, for its essence. Two lines of analysis are here pursued: the question of art and the question of the medium.
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Looking back at choreomusical developments in the 20th century, one is struck at how often Bach's music can be heard in dance performances of various genres and styles. He was undeniably one of the most popular composers among choreographers of the last century, although the pieces used were not composed as dance music. There are several possible explanations for this preference. First, Bach's music is clearly structured and thus lends itself to a choreography. Second, it is very expressive, reflecting the so-called baroque doctrine of affections. Finally, the composer was often inspired by dance rhythms, although the music he created was generally far more complex in these genres than actual dance music. The essay compares two very different dance performances to demonstrate the widely varying ways in which choreographers approached the works of this doyen of Western musical culture: one was created by Gerhard Bohner, a German choreographer, who developed his artistic career in the context of Pina Bausch's Tanztheater, while the other consists of improvisations by Steve Paxton.
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Quebec composer Pierre F. Brault (1939-2014), best known for the music of the popular television series Passe-Partout, worked mainly in television and film. He composed 86 soundtracks, most notably for Rouli-roulant (Claude Jutra, 1966), Red (Gilles Carle, 1970), Wind (Ron Tunis, 1972) and Hunger (Peter Foldes, 1973). Early in his career, Brault set to music the lyrics of Clémence Desrochers, Robert Charlebois and Claude Gauthier. He then went on to teach music (École nationale de théâtre, 1971-1975) and produce albums (Tout l'monde est malheureux, 1975). In his works, the composer explored numerous genres, including jazz, psychedelic rock and electroacoustic music. Brault's career also highlights the realities of film composers and the compromises they face. Nevertheless, Brault was able to benefit from film and television's wide distribution as well as from its lucrative wages. This article summarizes, largely using unpublished sources, the main stages of Pierre F. Brault's professional life and provides insight into the role of film and television music in his career.
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In 1949, at the request of composer Pierre Mercure, the poet Claude Gauvreau wrote a libretto for an opera entitled Le vampire et la nymphomane. But the poet's “explorean” language surprised and bewildered Mercure, and he withdrew. In 1996, the composer Serge Provost became interested in Gauvreau's theatre piece. The premiere of his opera, on September 24th of the same year, attracted a great deal of prepublication notice and criticism from the theatre and music worlds. Prevost's aim was to use music to give sense to a text that was nonsensical. But this raises the question: does being squeezed into a rigid musical structure ruin the “explorean” character of Gauvreau's work? Setting Gauvreau's text to music incited controversy two times: for Mercure, in 1949, and Provost, in 1996.
Keywords: (opéra), Claude Gauvreau, Serge Provost, Pierre Mercure, Raymond Gervais, François Tousignant, Le vampire et la nymphomane
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316.More information
In France, as in Quebec, music mediation is a fast-growing professional outlet for music and musicology students, alongside research and teaching. Our experience as teachers shows that many are enthusiastic about this field, but report difficulties in articulating the objectives and values underlying training in mediation and training in musicology. This article is based on the accounts of musicians who are or have been trained in musicology at the CNSMDP, and members of the institution's student representative bodies. Analysis of these accounts first enables us to establish a typology of positions adopted in relation to the mediation/musicology articulation. Secondly, the article initiates an epistemological reflection on the relationship between musicology and mediation.
Keywords: Musicologie, médiation culturelle, enseignement supérieur, musicologie publique, musicologie appliquée, musicologie créative, Musicology, cultural mediation, higher education, public musicology, applied musicology, creative musicology