Documents found
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The authors chart the course of musical creation over the past ten years. After establishing the historical context they catalogue noteworthy tendencies in composition, institutional and other frameworks of production for composers, writings on Quebec music, current support systems and the difficulties of the last decade.
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This article discusses the impact of popular music on the creation of art music through an examination of Béla Bartók's research and creation activities. In the first part, I will discuss the scientific work of Bartók as an influential researcher of folk cultures and a great communicator of his own work on popular music traditions, with special emphasis on his findings in the region of Biskra, Algeria. In the second part, I will examine the composer's creative work by discussing the impact of these findings on his musical discourse, particularly in the third movement of his Suite Op. 14 for piano.
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AbstractSeveral years ago, Hennion and Fauquet announced, in their study titled La grandeur de Bach, that the time had come, two hundred and fifty years after Bach's death, to humanize the great Master. Two decades earlier however, the author of Les Variations Goldberg had done just that. Huston's first novel not only demonstrates the social function of classical music in western culture but also the problem of the radical subordination and self effacement of listeners and performers in the presence of what is considered the great “classics.”The present analysis of the Goldberg Variations examines the presentation of a musical artifact in a novel that, on the one hand, borrows its structure from J. S. Bach's Goldberg-Variationen, and on the other hand, integrates within its narrative the thoughts of audience members during a private performance of Bach's piece. In a way that one may call “intermedial”, the theme and variations form becomes a means to infiltrate Bach's composition and reinstate its humanity. This literary appropriation of Bach's Goldberg-Variationen stands in opposition to formalist approaches in which the musical object is isolated from its contexts of production and reception. In the novel, each guest is assigned a variation and as the variations unfold, another point of view is heard. These assembled “interpretations” connect Bach's composition to an assortment of attitudes and behaviors ranging from physical discomfort to exaltation, from a critique of class structures to masculine and feminine responses to music. This novel thus overrides the bourgeois ethos that has placed the “great” works of classical music in the ethereal summits of perfection and purity and instead amplifies the voices of its consumers, be they passionate fans, harassed performers or simply reticent listeners.
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AbstractA child of the 1970s and 1980s, “musique actuelle” has basked in the glow of its own halo for a number of years. Three women were part of its beginnings and continue to this day as incomparable musicians and administrators. Others, more “sound” artists than musicians, emerged at a crucial moment in the development of technology, particularly in the mid-1990s. A large number of these women turned to non-instrumental audio art, musique bruitiste, mixed media, experimental electronic music, installations, and multimedia. They were little known, neglected by major media producers, and the majority of musical teaching institutions—though a number of these women were educated by the latter. This article provides a window on these creative female personalities.