Documents found
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601.More information
What does it mean to ask someone to try to “hear (x) as a (musical) work”? This sentence refers to an aspectual perception involving a type of object and a type of attention, in such a process, the active role of knowledge with regards to the production of an artifact is highlighted. Here, a first level of understanding will coincide with one's capacity to identify musical objects and follow their concatenation. The transition to the upper level of understanding depends on the identification of symbolic, intentional and more generally contextual references. While at the first level the listener considers the expressive properties supervenient upon the physical and phenomenal properties of the musical object, at the upper level, he or she focuses on the artistic properties of the work supervenient upon expressive and structural properties. By asking someone to try to hear a piece of music “as a work”, we thus invite that person to identify a structural type in the sounds being heard, and to apply criteria which allow the choice of aesthetic properties with an artistic value among those supervenient upon the physical and phenomenal base.
Keywords: Propriétés esthétiques, survenance, oeuvre musicale, objet musical, entendre-comme, compréhension musicale, Aesthetic Properties, Supervenience, Musical Work, Musical Object, Hearing-As, Musical Understanding
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602.More information
By exploring the exchanges between two composers, Max d'Ollone and Charles Koechlin in Le Ménestrel and Le Monde musical in 1932, we will question their conception of the public of music in order to better understand the way in which they defend an artistic, even aesthetic position. D'Ollone raised the question of whether composers must take into account the tastes of the public in order to be successful in a context of crisis in the operatic repertoire. Koechlin's response was to propose a singular categorization of audiences that took into account both social conditions and listening sensitivities. By using their “media” power through well-known music magazines, they seek no less to influence points of view, particularly in terms of musical taste. The interest of this exchange is not limited to the duel between composers and magazines, as the director of the Opéra-Comique, Georges Ricou, gets involved in the reflection through musicologist Paul Bertrand, columnist in Le Ménestrel.
Keywords: composition, goût musical, Charles Koechlin, Max d'Ollone, public de l'opéra, composition, Charles Koechlin, musical taste, Max d'Ollone, opera audience
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603.More information
AbstractWith these four texts, pianist Marc Couroux presents a portrait of four composers for whom, according to him, the notion of Canadian and Quebecois identity is of primordial importance and integrated within the creative act. He situates them with respect to significant moments in the history of Quebec concert music, while pointing out particularities within the aesthetics of each.
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604.More information
An interview with composer and multimedia artist Miodrag Lazarov Pashu, conducted by his son, musicologist and pianist Viktor Lazarov. They start by discussing Lazarov Pashu's immigration to Canada in the 1990s, followed by the beginning of his career and doctoral studies in Montreal. The composer talks about the culture shock he experienced upon his arrival in Canada and his difficult adaptation to a new artistic environment. He describes his performance in a New York gallery in 1993 and explains the change that occurred in his artistic direction in the 1990s. The composition of his first quartet, a pivotal work, is situated in this context, followed by a comparison of the artistic approaches and cultural institutions in Belgrade and Montreal. The composer speaks about the influence of Rachmaninov's music on his piano works and his compositional process, particularly in relation to Valse (2008). Finally, Viktor Lazarov describes his creation and interpretation of this piece, leading father and son to trace a link between musical interpretation and the art that the composer defines as phenomenalist.
Keywords: immigration, composition, phénoménalisme, interprétation musicale
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606.More information
The Quebec composer Rodolphe Mathieu (1890-1962) is but little known. A pioneer of musical modernity in Quebec, he joined the modern group in 1915 and composed most of his works before 1933. A member of Montreal's intellectual and artistic community, he wrote several texts in which appear some of the first reflections on the creative process. While a regionalist tendency advocated a return to folklore as a source of inspiration for typically Canadian music, he chose to promote a creative course which aimed at originality and individuality. Convinced that intellectual development necessarily came from discussion and the confrontation of ideas, between 1930 and 1935 he organised the "Soirées Mathieu", multidisciplinary moments that featured the composer's extended social network. Among the guests was André Laurendeau, one of his students. The study of the relationship between Laurendeau and music shows that he envisaged a musical career before he committed himself to political journalism.
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