Documents found
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361.More information
After underscoring the exceptional character and value of Célestin Deliège's work, the author outlines his own imperatives for music history. He summarizes what he identifies as four fundamental points that underpin the "intrigue" which lies at the heart of the book, and offers a critical discussion of these. Jean-Jacques Nattiez addresses each in turn, examining Deliège's assigning of a fundamental role to the idea of concept in music; his positioning of Webern as "father" of post-War music; his privileging of grammar as evolutionary principle; and his attitude towards (or neglect of) music perception in the evolution of twentieth-century music. With reference to this final point, Nattiez proposes a "counter-intrigue" that provides a different reading of the role Pierre Boulez accorded perception in the compositional process. The whole is rounded out with a tribute to Belgian culture.
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362.More information
The author, former Editor-in-Chief of the journal, considers the current state and the future of Circuit by bringing it back to the question of its relevance with respect to a long tradition of discourse on music found in the pages of the French-language musical press throughout the 20th century, a tradition which includes such journals as Le Ménestrel (1833-1940), Le Monde musical (1889-1940), Le Courrier musical (1898-1933) and especially the Revue musicale, which flourished beginning in the 1920s.
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365.
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366.More information
From the concept of paratext developed by Genette (1987) and adapted to music by Escal (1996), this article provides insights on the modalities of (re)presentation of works played by Société de musique contemporaine du Québec (SMCQ) as conveyed by concert's programs produced between 1966 and 2013. Following historical, organizational and musical programming contexts, concert's programs are studied in a comparativist perspective to show similarities and differences. First of all, formal descriptions of the front page, format and layout guide the reflection on non verbal paratexts. Second, examination on written notices of SMCQ's most played works asserts the authority given to composers, principal authors of the verbal paratexts about their own pieces. Thus, this article sheds light on SMCQ's musical thoughts' articulation and evolution during this period.
Keywords: discours sur la musique, paratextualité, programmes de concert, représentation, Société de musique contemporaine du Québec, Concert programs, Discourse about music, Paratextuality, Representation, Société de musique contemporaine du Québec
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367.More information
Basing himself upon texts written by Gilles Tremblay, with whom he dialogues in a critical and friendly manner, the author attempts to define Cage's position with respect to the roles that chance and necessity play in the act of composition.
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368.More information
Conducted between April and June 2023, this survey gathers the testimonies of four composers who have been expatriated at some point in their musical careers, with Quebec representing a point of departure, arrival or stage in their journey. Analía Lludgar (Argentina), Ofer Pelz (Israel), Evelin Ramón (Cuba) and Pierre Alexandre Tremblay (Quebec) were interviewed about the reasons for their expatriation, comparisons between host and home countries, and the personal and musical repercussions of their experiences. The survey reveals their sense of identity, as well as points of convergence and differences in their sociocultural perceptions of Quebec.
Keywords: expatriation, Québec, composition musicale, Analía Lludgar, Ofer Pelz, Evelin Ramón, Pierre Alexandre Tremblay
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370.More information
Research into the early musical training of Quebec composer Serge Garant in Sherbrooke from 1941 to 1951. The author studies the influence not only of family life, but also of three local musicians (Marcel Marcotte, Mimi Shea, and Harry Long) on the development of this composer before he went to Paris.