Documents found
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AbstractThe author, musicologist, explores the childhood and youth in Argentina of composer alcides lanza, citing several events that would have a marked influence on his work and future activities. She sees here the origin of his innate talent for drawing and his passion for music theater. The principle stages of his early music education with Julian Bautista in Rosario, then in the Faculty of Music at the Di Tella Institute in Buenos Aires, founded by Alberto Ginastera, demonstrate that his first influences were European but also American. A lively interest for experimental music rapidly brought lanza to electroacoustic music. A few of his works are briefly described. Professor at the Faculty of Music (McGill University) in Montreal since 1971, lanza continuously encourages a dialogue between North and South America.
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The School of music Vincent-d'Indy of the Sisters of the Holy Names of Jesus and Mary (formerly known as the École supérieure de musique d'Outremont before 1951) proved to be one of the best school of music of the entire province of Quebec. This great reputation cannot overcome the fact that it was a catholic institution. Therefore, what was the real place of the catholic spirituality through the cursus? By studying the constitutions and Coutumier, the superior's circulars, the school's programs and the print books published by the nuns, we can identify the spirituality of this congregation and understand the way in which it was lived and transmitted.
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“Refus d'un cantonnement dans la seule bourgade plastique” wrote Borduas in Refus global. In 1948, abstraction became the mandatory path signalling the break with artistic tradition. Since the 1980s, much critical attention has focused on the multi-disciplinary aspect of the activities of the Automatist group. Having written the libretto for the opera Le Vampire et la nymphomane – a work created in close collaboration with Pierre Mercure –the poet Claude Gauvreau was the most vociferous voice defending the place of music within the Montreal group. This study first looks at the main components of this contribution, then explores the causes, based on the surrealist ideal, of the public disagreement between Claude Gauvreau and Pierre Mercure in 1949 over the opera Le Vampire et la nymphomane. An unpublished letter that Gauvreau wrote to André Breton finally reveals some of the core ideas behind the fascination and rejection that marked the exchanges between Automatism and Surrealism.
Keywords: opéra, automatisme, Refus global, surréalisme, modernité, opera, automatism, Refus global, surrealism, modernity
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339.More information
How can one analyze the arts and put forward the relationships they have? A review of Deleuze and of Nancy's theories results in two hypotheses: according to the one, the arts are linked by the somatosensory experience, according to the other, the power of metaphors in language can help circulate from one sense to the other. We present here an experiment done with third year college students who chose music and a text that they felt to be close according to their prevailing atmospheres. Afterwards, they refined the musical and textual analysis so as to find out the common characteristics to both pieces. The aim consisted in acquiring a method and a vocabulary for comparing art pieces and for analyzing the perceptions of different art works. The proposed method allowed the students to characterize their reception of the arts, according to the general atmosphere and the precise technique of each musical or textual piece.
Keywords: correspondance entre les arts, musique et littérature, réception transartistique, somesthésie, métaphore dans la langue, vocabulaire de l'art, orrespondence between the arts, music, and literature, transartistic reception, somatosensory, metaphor in language, art vocabulary
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This article demonstrates two main contributions to musicology in Célestin Deliège's book. Firstly, his approach via a strictly historical point of view has enabled, for the first time (aside from R. Toop) a substantial study of the New Complexity school. As such, he has made the existence of this school musicologically "official." Secondly, through a critical, daring and engaged approach, Deliège has created a link between musicology and some of the complex ideas of Edgar Morin and writers of Nouvelle Histoire. This article is more than a simple apology. It provides succinct reflection on the key concept of complexity for contemporary science and art.