Documents found
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561.More information
The connection of the religious speech and rap music of the « MC preacher » is historically related to the process of formation of the hip-hop movement. This movement is embedded in an intercultural dynamic strongly impregnated with religiosity. The speech of Preaching Rap in Senegal, in the field of the religious communication, can be analyzed as :a transgression vis-à-vis orthodoxy, through the music and the media, via secular expression ;a « polynuclearization », the islamic message is no longer reserved exclusively to the islamologues ;« Polyplaces », the sacred places no longer have the monopoly concerning the communication of the sacred messages. In other words, religious expression is experienced in sacred places as well as in profane places ;A strategy, the receptivity of the Senegalese public to religious reference is in relation with the marketing strategy of sacred messages.But, this speech, this trend of the rap characterize also hybrid nature of a movement engaged socially, politically, and culturally ; situated in a midst of diffluent dynamisms, (involvement and business, local and global) whose arrangement constitutes one of its daily challenges.
Keywords: rap, rap prédicateur, hip-hop, musique prédicatrice, islam, sacré, profane, communication, Rap, Preaching Rap, hip-hop, Preaching Music, Islam, Sacred, Profane, Communication, rap, rap predicativo, hip-hop, música predicativa, Islam, sagrado, profano, comunicación
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562.More information
Around 1880 and for a considerable time thereafter, Joseph Vézina (1849-1924) was at the forefront of musical life in Quebec City. A recent revival of interest in his music has to some extent been stimulated by festivities surrounding the 400th anniversary of the founding of Quebec City. Vézina's output is almost entirely devoted to the wind orchestra, but many of his pieces display inconsistencies of orchestration that complicate their analysis and prove a challenge to their modern performance. Extant copies of his music, made after his death by his son Raoul Vézina, and the absence of any intermediary scores from a period when his music was nonetheless regularly performed, lead us to believe that clues about Vézina's real orchestration style lie elsewhere than in the surviving musical texts. In this article, the enigma is partially elucidated though an examination of the wind orchestra's development over time, and through a survey of prevailing orchestration theory during Vézina's period of influence.
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563.More information
How does one compose for harpsichord today? Over a century after its rediscovery, this instrument remains anchored in its early repertoire. By engaging with the composition of a work for this instrument, a composer makes a statement about history in general and about the history of this instrument in particular. Gérard Pesson's Le Tombeau de Rameau questions the notion of tribute through its use of this historical instrument. Rejecting the use of direct citation, it is through the intimate integration of writing techniques and period genres that Gérard Pesson brings history into play in his oeuvre.
Keywords: clavecin, histoire, Gérard Pesson, tombeau, hommage, harpsichord, history, Gérard Pesson, tombeau, tribute
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565.More information
The author gives an overview of musical practices described in the Quebec press between 1764 and 1824. In order to organize this information and provide an historical context which is lacking in the press, he draws upon the historical framework of Lower Canada presented in a book entitled The Illustrated History of Canada, edited by Craig Brown. The contributions of each group (Germans, Scottish, Irish, Americans, English, Canadians, Amerindians) to the cultural life of Quebec as well as the degree to which individuals felt bound to their cultural heritage are then evaluated. The author explains how the foundations of Quebec musical life were established in this period and how attitudes developed at that time by francophones and anglophones persisted until recently. This is a reconstruction (by Simon Couture) of Lucien Poirier's last lecture, which he gave at the beginning of 1995.
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566.More information
The author discusses a lesser-known aspect of Gilles Tremblay's life and career: the composer's commitment to citizenship. Through a reading of Tremblay's published writings, he analyses the latter's position on the value and importance, for Quebec society, of a state-run music school (the Conservatoire), of a state-run radio and its inherent cultural significance, and of commissions of musical works that emanate from government and their impact on musical creation. The author also demonstrates the ways in which Gilles Tremblay enriched deliberations over Quebec's musical future through his contributions to the public debate on the issue.
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567.More information
Jazz had a prominent place on French radio and in the French press after the Second World War, and gradually took its place on French television after 1955. The vast majority of the programs making up the first regular series on jazz, À la recherche du jazz, created by Maurice Blettery, were directed by Jean-Christophe Averty. They reveal a tension between two didactic ambitions: one used jazz as a pretext to address “social topics,” while the other sought to explore music for its own sake and to espouse jazz as the sign of a new equilibrium between “high-brow” and “popular” culture. Although the earliest programs were constructed around an often awkward alternation of clips from feature films and remarks by acknowledged experts, Averty gradually broke free of the series' editorial constraints to set the music to images and explore the resources television offered. In the late 1950s, he took over new programs such as Modern Jazz at Studio 4, in which he featured musical performances and made jazz an ideal locus of experimentation for inventing a visual world which we might describe, long before the work of Nam June Paik, as video art.
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568.More information
Digitization has transformed the way popular music circulates across cultures. To begin with, exchanges between cultures have become more intense than ever; what's more, digital technology is contributing to the emergence of a new paradigm involving interactive audience participation and more widespread forms of “creativity” in musical practices, within and between cultures. From a transdisciplinary perspective that brings together popular music studies with concepts from comparative literature and traductology, this article examines the effects of digital technologies on the transfers of music across borders (cultural, territorial, linguistic, or semiotic), based on an analysis of the circulation of “Despacitoˮ, the worldwide Latino hit performed by Luis Fonsi and Daddy Yankee in 2017. Number 1 in 40 countries around the world, “Despacitoˮ has been adapted, translated and transformed countless times on the Web, using a wide variety of discursive strategies, by professionals and amateurs alike, across a multitude of languages, cultures and musical styles, always in line with local particularities. To this end, I will first present a typology of musical transfers (Marc 2015), focusing on digital issues. Secondly, I will analyze some of “Despacito's” journeys around the world from its origins in Puerto Rico. This case study will enable us to explore the extent to which concepts such as originality, fidelity and creativity, derived from translation studies and comparative literature, can be applied to the transfer of popular music today, particularly on the basis of postcolonial theories of translation (Bassnett 1999). Finally, the aim is to reflect on the transcultural logics underlying the circulation of popular music, which eschews the traditional centre-periphery logic to follow a rhizomatic pattern that reflects a form of transcultural iterability (Derrida 1988).
Keywords: circulation musicale, cosmopolitisme culturel, numérisation de la musique, traduction et musique, transculturalité, cultural cosmopolitanism, digitization of music, musical circulation, transculturality, translation and music