Documents found
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491.More information
A one-day conference about Music and nation in the inter-war period (Europe-The United States and South America) took place on 10th December 2015 at the Maison de la Recherche in Paris. Musicologists and historians questioned the connection between music and the national feeling that can be found in interwar democracies. In studies about the 19th century and authoritarian regimes, this link has already been put forward. However, this day is the first step of an international research project launched by the Department of Cultural History of Contemporary (or Modern) Societies at the University of Saint-Quentin-en-Yvelines and by the laboratory of Synergy, Languages, Arts and Music (slam) of the University of Evry-Val d'Essonne as well as the Institute of Research in Musicology (cnrs, University Paris-Sorbonne). The association between “music and nation” was questioned again in 2016 in Manchester. In the near future, the issue will be at stake in Montreal during a symposium which will take place in October 2018.
Keywords: musique, nation, entre-deux-guerres, Europe, Amériques, Music, nation, inter-war period, Europe, America
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492.More information
This contribution aims to present and illustrate the general characteristics of C'è musica & musica, a television program conceived and directed by Luciano Berio, in collaboration with Vittoria Ottolenghi and under the technical direction of Davide Mingozzi. The twelve episodes were broadcast in the spring of 1972, on the second of the two channels available at the time on Radiotelevisione Italiana (Rai). Described by the press as an “exceptional Kolossal,” due to the extraordinary scale of the human and financial resources made available by Rai, it was intended above all as an informational program, pursuing at least two major objectives: on the one hand, to give an account of the immense wealth of positions, perspectives, contents, genres and issues linked to music in the contemporary world, in varied and extensive social, political and production contexts; on the other, to bring the public closer to those who create music and those who make a living from it, whether in composition, conducting, vocal or instrumental performance, organization, music criticism, or the teaching and learning of music.
Keywords: musique et societé, musique au siècle, musique à la télévision, éducation musicale, musique et communication
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493.More information
Dance is an important axis of Poulenc's output and an essential paradigm of his style. As such, it merits a general examination. Explicit references (i.e. in titles) or implicit references to dances are found throughout all of Poulenc's oeuvre, including outside his ballet music, and flow into an imaginary dance realm inspired by the composer's own readings and reminiscences. Popular city dances as well as ancient dances are a logical part of the neoclassical aesthetic that also informs Poulenc's construction of a “personal folk tradition”. A prime example of this is Les Biches, composed for Diaghilev's Ballets russes, in which Poulenc deployed his individual poetics rooted in the symbiotic relationship between music, dance, and his own intimate vision.
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494.More information
Cris Derksen is a cellist, vocalist, beat-maker, and composer working across and against genre boundaries. This essay examines Derksen's first large-scale orchestral project, Orchestral Powwow (2015), and her most recent, Controlled Burn (2023). These two orchestral projects illuminate Derksen's creative and cultural identities as a classically trained Indigenous cellist with a long performance history of improvisation, looping, and collaboration. They also reflect three important qualities of Derksen's identity(ies) and compositional approach: adaptation, flexibility, and transformation. These qualities not only clarify Derksen's orchestral writing in the last almost decade. They also offer crucial reminders about Indigeneity more broadly: that Indigenous individuals, communities, nations, and their worldviews and cultural practices are not fixed. Rather, as Deloria (2004) and others (Senungetuk 2019) explain, adaptation, flexibility, and transformation are central to Indigenous worldviews and traditions. These two works by Derksen demonstrate the power of Indigenous sovereign sonic territories, and they offer non-Indigenous listeners an invitation to listen, learn, and act in anti-colonial solidarity.
Keywords: orchestre, Cris Derksen, autochtone, anti-colonial, souveraineté
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495.More information
The attention paid to audiovisual technology by researchers today has made it possible to shine new light on several moments in film history. Among these is the advent of direct cinema in the late 1950s and early 1960s, making it possible to rethink the connections between the emergence of new forms and a society in the midst of sweeping changes fifteen years after the end of the Second World War. Arising at the same time as Hollywood cinema was trying to inaugurate a period of renewal by accentuating the spectacular quality of movie-theatre projection, direct cinema was a way for documentary cinema to take part in a movement involving many media forms, including television, radio and recorded music. What these media had in common were questions around mobility, a major concern at a time of plentiful technological innovations. Several filmmakers in the United States at the time made feature-length pop music films with the intuition that this was the liveliest expression of a generation of youth in the process of inventing what would later be called the “counter-culture.”
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496.More information
Keywords: ethnographie, mémoire, migration, musique, violence, ethnography, memory, migration, music, violence
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498.More information
Keywords: déplacement