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Rababoo is a Canadian Metis soup made of pemmican (often, minced bison), fat, and water, and flavoured with berries. But the term was also used to designate musical “mixtures” in Canada around 1862. It was then that, on the edges of the Mackenzie River, Robert Kennicott wrote that aboriginal travellers and singers were the ones who used the expression in the following way : « When the Indians try to sing a travelling song, the different tonalities and melodies create a rababou. » In this paper, we will examine the musical rababou in Quebec and demonstrate that more research is needed to better understand past and future forms of rababou.
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This article traces music critic Émile Vuillermoz's changing views on Igor Stravinsky. Vuillermoz, who kept company with Stravinsky in Paris starting in 1910, was initially a fervent supporter of the composer, until the early 1920s. He enthusiastically applauded Stravinsky's early works, which he believed sought to provoke sensations rather than appeal to the listener's reason. A letter sent by Stravinsky to Vuillermoz on June 28, 1912, which is now receiving musicological attention for the first time, is of particular interest since the composer indirectly endorses aesthetic principles that are the antithesis of those for which he would later advocate, especially with regard to the non-expressiveness of music. Stravinsky's neoclassical turn influenced the younger generation of composers working in France, who saw it as a means of freeing themselves from Debussyism. Vuillermoz, ever a fervent champion of Debussyism, therefore gradually turned away from the Russian composer, but without ever denying his genius. Vuillermoz's writings on Stravinsky became the site of debates that went beyond the mere evaluation of his works: the critic was defending his conception of music-sensation and fighting those who rejected the Debussyist and “impressionist” legacy. Vuillermoz would thus undertake to isolate the composer by presenting him as a maverick whose example should not be followed.
Keywords: critique musicale, néoclassicisme, presse française, Igor Stravinski, Émile Vuillermoz, French press, music criticism, neoclassicism, Igor Stravinsky, Émile Vuillermoz
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Starting from the French idiom of “par-dessus le marché” that Derrida uses in a conversation with the artist Soun-Gui Kim when discussing the aporias and paradoxes generated by the globalized market of art, I examine how this idiom functions in a performative and ekphrastic way: it asserts both excess and the excess of excess, which calls up the silence that accompanies the unfolding of Truth in art. Since Soun-Gui Kim interprets this silence in Buddhist terms close to her work with John Cage, I then sketch the Cagean dialectic of silence and music before reopening the debate between Derrida and Paul de Man about Rousseau's conception of music as a system of temporal signs.
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Musicologist and composer Ramon Pelinski studies Kagel's propositions in Exotica from the point of view of compositional strategies, structures and notions about perception prompted by the work. Adopting very resolutely a postmodern and actualistic point of view, the author identifies the ambiguities that result from Kagel's use of "exotic" musics and analyzes in detail which attitude it implies with respect to the concept of the Other.