Documents found
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571.More information
The artistic environment in Montreal is unique, featuring a fluidity of aesthetics and expressive forms. With this is mind, this survey includes the viewpoints of six creators and sound artists from three distinct generations, who have all experienced this context: Monique Jean and Jean-François Laporte (1960s generation), Patrick Saint-Denis and Cléo Palacio-Quintin (1970s), and Adam Basanta and Émilie Payeur (1980s). In this text, these artists all address four main themes: the definition of their artistic practices, their thoughts on pluri- and/or multi-disciplinarity, their perceptions of the artistic environment when they began working as compared to today, and their perspectives on learning in an institutionalized setting versus being self-taught. The answers published here shed light on a diversity of perceptions, which feeds into a diversity of practices, in addition to different contextual trends specific to each generation, and personal viewpoints on a city's institutions and artistic activities.
Keywords: arts sonores, enquête, multidisciplinarité, Montréal, générations, sound arts, survey, multidisciplinarity, Montreal, generations
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572.More information
In this article, composer Philippe Leroux begins by looking at the relationship between continuity, sound and gesture. He goes on to explore how the energetic traces of these gestures are transformed into gestural substitutes, and the way in which the act of listening appeals to the gestures of sound production or to physical or psychic virtual gestures. He then considers in how the concept of energetic phrasing functions as a way to combine all of these notions, at once from the point of view of listening and composition. This leads the author to redefine the musical work as a transitional space in which the action of relating sound events to each other supplants the classical notion of development by extension and proliferation of a fundamental idea.
Keywords: geste, énergie, phrasé, espace transitionnel, relation, gesture, energy, phrasing, transitional space, relationship
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574.More information
Over the last twenty years or so, musical historians who have attempted to describe the old ways of listening to music have been confronted by one major difficulty: the lack of available material concerning this activity the further one goes back in time. There were however some observation points that researchers could occasionally consult (personal diaries, musical fragments specifically noted in order to be "listened to"). But the most insurmountable obstacle was not the lack of archives. A cunning form of anachronism was lying in wait for the most well-intentioned researcher. One might ponder whether people listened to music in the 18th century (William Weber) or whether they heard the musical examples inserted into 16th century treatises (Collins Judd in Reading Renaissance Music Theory) but it didn't necessarily mean one left our modern listening habits to one side. In considering any history of listening one must place oneself in historical context—as indicated by the reference to the history of books and reading (Chartier)—even if it means emerging into uncharted listening areas.
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577.More information
Poetry sings whilst music speaks. A community of voices underlies both spoken and musical language, originating in this echolalia where words and notes assemble according more to prosody than to grammar and solfege related rules. The resulting “intonations” lead to what Heidegger called Stimmung, ie. the affective tonality, characteristic of a given time, of a “choral or orchestral life”—which Rimbaud calls the foundational element of our humanity. Pascal Dusapin's Aufgang and Outscape rest on this vocal community, where one ears the “Beyond” (Auf) and the “Outside” (Out) of this posthistory in which we now live: the subtle interlacing of solo and orchestral instruments invoke new tonalities, where other forms of temporality can be found—musical and poetic, of course, but also historical and political.
Keywords: Pascal Dusapin, prosodie, intonation, Stimmung, vie chorale, posthistoire, Pascal Dusapin, prosody, intonation, Stimmung, choral life, posthistory
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579.More information
Since its appearance in the early 1980s, the notion of “sound art” has struggled to find a stable definition. The vagueness of this term has not prevented it from often being used in the visual arts, where it highlights the dominant role of sound in the creation of certain works of art. This article addresses the inherent issues surrounding this notion by looking at two major exhibitions associated with the emergence of the term “sound art”: Für Augen und Ohren: Objekte, Installationen, Performance [Berlin] and Écouter par les yeux: objets et environnements sonores [Paris]. My focus is on the discussions that followed these exhibitions, wherein it became possible to move beyond sound objects and into the realm of different ways of listening, within the visual arts themselves. This leads me to gauge the theoretical and practical effects of this paradigm shift, and to look at its aesthetic and political consequences. From this standpoint, it is important to open this inquiry to include the history of sound techniques, studied notably in the field of Sound Studies, as well as the relationships between listening and action, which has been analyzed in ethology.
Keywords: art sonore, exposition, histoire, écoute, action, sound art, exhibition, history, listening, action
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580.More information
The musical history of Quebec cannot be summarized with a simple chronological listing of names and works. Several musicians have constructed local, national and international networks, often interdisciplinary, which have shaped the musical world. These relationships developed particularly during the first half of the twentieth century. This article examines a particular case: the power relationships between clerical, political, and intellectual networks in the awarding of government grants to composers between 1919 and 1929. In the absence of clearly stated objectives justifying these grants, certain intellectuals brought pressure to bear in support of the musical creation of Rodolphe Mathieu, while the clergy favored Eugène Lapierre for the directorship of a conservatory under its control, and Claude Champagne's political supporters ushered him into the directorship of a State Conservatory.