Documents found
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481.More information
This article retraces the history of a prolific, yet culturally neglected and marginalized music industry—that of library music of the 1960s and 1970s. It questions its modes of production, mediation, and distribution, examining different aspects and moments of shared or relayed creativity. In doing so, it highlights a network of mediators, objects, infrastructures, composers, and musicians that have hitherto remained anonymous and invisible. Library music could be viewed as a specific but historically undervalued embodiment of popular music—a form that could be described as parallel music or “paramusic.” This article aims not only to reconstruct its little-known modus operandi, but also to reconsider the ways in which creativity, experimentation and standardization, originality and borrowing, and art and commerce are interrelated. More broadly, it seeks to reassess how these categories influence the shaping of objects of study and canons within popular music.
Keywords: film, phonographie, remédiation, télévision, film, library music, phonography, remediation, television
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484.More information
Recent publications on the Star Wars saga underline the flip side of sound improvement: the plethora of sound effects is said to eclipse the orchestral score, sometimes to a point of inaudibility – in this second episode in particular. In their interviews, the composer and the sound designer themselves allude to a constant rivalry. This, our article questions to what extent and in which way the interactions between music and sound effects succeed in exceeding a mere conflicting alliance. We will also bring out what significations they bear regarding the images and the dialogue. Indeed, the fluctuation of primacy of sound effects or music is hardly insignificant regarding the narration and the dramatic situation in which they occur. Furthermore, we can notice a musicalization of sound effects which, far from taking on a mere illustrative function or just displaying a “realistic effet,” are truly heard for themselves.
Keywords: effets sonores, musicalisation, musique de film, Star Wars, John Williams, film music, musicalization, sound effects, Star Wars, John Williams
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485.More information
Starting from the sensory and musical capabilities of the very young child, we wish to underline the importance of the relation to sound in his or her development and what this implies in the conception and realization of an artistic project for young audiences. Beginning with the auditory perception of the infant, the role of his or her surroundings and transitional space that sound plays in the life of the baby, and of his or her precocious musical capability, we ask the question what is the place of sound and music in the human being's evolution. Then, through the "Tigouli" creation project, we suggest a way of accompanying the baby on the path of artistic creation, taking account of the "primary" sensitivity that is appropriate, and using the musical language of a present day composer.
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486.More information
In the 1980s, after studying with Gilles Tremblay, Isabelle Panneton met the Belgian composer Philippe Boesmans when he visited Montreal. Impressed by his music, she travelled to Belgium to study composition with him between 1984-1987. This period was decisive for her, opening the door for her musical personality. As a prelude to an analysis of Panneton's trio Les îles, scored for violin, cello and piano, this text recounts the significant moments in Isabelle Panneton's years studying with the Belgian composer and sheds light on the ties that unite them.
Keywords: Isabelle Panneton, Philippe Boesmans, musique de chambre, développement motivique, Belgique
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489.More information
One of the main characteristics of popular music is still the reusing of musical material borrowed from a multitude of styles and trends (remix, adaptation, sampling, etc.). This practice is called transphonography, and stems from intertextuality, a concept developed by Gérard Genette, a literary scholar, and adapted to music by musicologist Serge Lacasse. In this article, the author references transphonography to study the various musical and thematic transformations in the gothic metal symphonic group Therion's reworking of ABBA's song “Summer Night City”. Along the transformations of musical elements in order to adapt ABBA's music to Therion's aesthetics, some transformations induce a shift in the very significance of the song.