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AbstractA review of “masculine” and “feminine” attitudes towards music composition of the past fifty years highlights the contributions of Micheline Coulombe Saint-Marcoux and Marcelle Deschênes to the development of Québécois electroacoustic music. The author re-creates the historical context for the composers' childhoods, adolescences, and periods of training in Montreal and Paris, and follows this with a discussion of how they negotiated the dominant trends of the 1970s. She then turns to the composers' roles as pioneers: in their wish to depart from well-trodden paths, Coulombe Saint-Marcoux and Deschênes turned to new technological tools that would allow them to express a new artistic sensibility. From this perspective, they should be considered the “sherpas” of Québécois electroacoustic music.
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466.More information
Founded in 1889, Sohmer Park was a part of Montreal's cultural landscape for thirty years, but up to the present day it has been the focus of only two substantial studies, as well as several articles that give only a vague idea of its musical activities. We have almost no knowledge of the nature and the true scope of its repertoire, of the percentage taken up by “serious music” versus that taken up by “dance music,” or of older versus contemporary repertoire, of national versus international. Relying on a still somewhat slim body of work, the goal of this article is to call attention to the issues and methodologies underlying the author's research and to give a brief sketch of its findings. Following the collection and analysis of all the currently available programmes, this study determines, among other things, whether the park contributed in a major way to the development and instruction of a middle-class clientele who had access to few instruments for serious musical training, to the “education of the public” by more “sophisticated” music and to the attraction of this audience to concerts and lyrical productions offered by traditional downtown theatres. The goal of this essay is to provide a more complete picture of what a contemporary witness described as “the leading conservatory of the day.”
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The novels of Jacques Poulin give great emphasis to music and songs, especially French songs. The latter run through Poulin's major novels, from Volkswagen Blues to Un jukebox dans la tête and Le vieux chagrin—all titles referring to the profoundly musical nature of his work. The presence of songs is part of the “little music” that give the novels such a singular tone. This article focuses on the network of musical correspondences appearing throughout Poulin's novels and the importance of this dimension of the text as an interpretive vantage point.