Documents found
-
592.More information
This paper analyses the social determinants of access to artistic recognition in classical music. Rejecting naturalist theoretical models focused on talent as the ultimate explanatory principle of the success of artistic careers, it aims to highlight the social conditions of acclaim in music. Thus, the recognition process is studied through the instrument inequalities it creates, which are closely tied to social differentiations. After revealing these inequalities, which tend to lead mainly to the recognition of interpreters of socially selected instruments, the author examines ways used by to interpreters of instruments that are socially more open to overcome the lack of recognition they receive. More often than not, these musicians are encouraged to teach. The study of musicians' career paths reveals the social dynamics they are subjected to, from social origin, which conditions in particular their early familiarization with the principles of classical music, to gender inequalities that shape the way in which they “accept their status.”
Keywords: musique, consécration artistique, division sociale du travail, inégalités instrumentales, revalorisation de l'enseignement, music, artist recognition, social division of labour, instrument inequalities, revaluation of teaching, música, consagración artística, división social del trabajo, desigualdades instrumentales, revalorización de la enseñanza
-
594.More information
The idea of fiction's movement towards musical structures, which was closely dependent on the Romantic project of “progressive universal poetry”, occurred gradually, accompanying the absolute music movement that took root at the close of the eighteenth century. This article focuses first, on recalling the main attributes of this utopian arrangement, termed meloform, to next observe what might be called its secularization: cut off from the Romantic faith in the supremacy of art and deprived of its ontological roots, the “musical” novel tended, after the Second World War, to adopt a more pragmatic attitude, notably embodied in the less totalizing, often isomorphic narratives of singular musical opera. In recent times, thanks to novels like The Time of our Singing by Richard Powers, Apologie de la fuite by Léonid Guirchovitch, Confessions by Jaume Cabré or Central Europe by William T. Vollmann, there seems to be a “rebirth” of complex fiction that is ambitious, polyphonic and reflexive, one that reconnects, without reverting to all of Romantic doctrine, to the ideal of a musical ideality of the literary text.
-
595.More information
How does my mixed Egyptian and Quebecois heritage impact my method of composing, writing, and drawing? What about being queer, neurodivergent, poor, or having suffered from mental health problems? In other words, how, from an intersectional perspective, can someone fit into a given artistic framework and communicate meaning to an audience that, for the most part, does not share my “codes”? And how can I speak in my own voice, an especially small minority voice, to prevent others from appropriating my reality?
-
597.More information
Written between 1955 and 1988, these essays, published under the title kéleüta, provide an excellent insight into the author's wide-ranging thoughts. Provost's review identifies the essential characteristics of Xenakis' thinking, then focuses upon the importance of his contribution to the development of musical creation and to artistic thought in general.
-
598.
-
599.
-
600.More information
A revised transcription of a subsequenty held roundtable discussion in which the participants Isabelle Panneton (composer), Jean Boivin (musicologist), and Michel Robert (Professor of philosophy) question Henri Pousseur on the basis of their reading of four of his texts. Topics relating to Pousseur's texts involve the present-day social significance of music and music education as well as… happiness.