Documents found
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631.More information
During the season running from May 2004 to May 2005, Montréal witnessed creative activity of rare intensity in the field of contemporary opera: as well as the staging of the operas Elia (music and libretto by Silvio Palmieri) and L'archange (music by Louis Dufort, libetto by Alexis Nouss), we witnessed the revival of Harry Somers' Louis Riel, a major work for Canadian music in the second half of the twentieth century. This article presents a review of these three productions against the backdrop of a plea for the revival and reinterpretation of new operas, beyond their first performance alone.
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633.More information
The model often relayed in the mainstream literature about Hans Zimmer, highlighting the masculinity and epic character of Zimmer's music, the massive and powerful sound of his scores, and the omnipresence of a marked rhythmic pulsation tends to neglect an important part of Zimmer's approach to film scoring, and proves to be inadequate for analyzing the composer's most recent scores that do not correspond to this schema. This is the case, in particular, of Interstellar, which soundtrack largely exceeds this predefined general framework.I show how the treatment of the music places the human at the heart of the film, and in what ways Zimmer focuses his score on the relationship between Cooper and his daughter Murph. From the example of this film, my study also offers another approach of the composer's aesthetics, which is complementary to the dominant model, inviting to rethink Zimmer's filmography – including its epic side – under a rich and open angle.
Keywords: Interstellar, Hans Zimmer, Christopher Nolan, bande-son, musique de film, effets sonores, immersion, mixage, Interstellar, Hans Zimmer, Christopher Nolan, soundtrack, film music, sound effects, immersion, mixing
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634.More information
In this programmatic article, the authors take the opportunity to present the state of the art in studies of Franco-American musical life, as well as a theoretical framework for transnational cultural history as it applies to the practices, products and actors of the Francophone cultural industries of the American Northeast. The authors then apply this framework to an initial summary case study of two companies established in Massachusetts during the 1910s and 1920s: 1) E. L. Turcot Editions, founded by Edmour Louis Turcotte in Lowell in 1913; 2) and La Patrie Disc Français, founded around 1919–1921 by Joseph David Noël in Lawrence. The case study illustrates the transnational and circulatory, rather than national and diffusionist, nature of how sounds (and music) were marketed among francophones in Quebec and New England in the early twentieth century.
Keywords: vie musicale, industrie culturelle, histoire transnationale, francophones, Québec, Nouvelle-Angleterre, musique en feuilles, enregistrement sonore, musical life, cultural industry, transnational history, francophones, Quebec, New England, sheet music, sound recording
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635.More information
AbstractThe expression “musique actuelle” has taken on a special meaning in Québec, but this meaning, while uncontroversially refering to a relatively well-defined repertoire of music, remains vague as a result of the extraordinary diversity of this very repertoire. However, faithful to the corpus it describes, the expression evolves with this repertoire, rather than remaining fixed in time. The occasion of the 25th edition of the Victioriaville International Festival of Musique Actuelle (FIMAV) in May 2008 allows the author to describe the state of musique actuelle today.Du 15 au 19 mai 2008, le Festival international de musique actuelle de Victoriaville (FIMAV) tient sa 25e édition. Le seul fait d'avoir maintenu en vie durant toutes ces années, à l'extérieur des grands centres que sont Montréal et Québec, un festival célébrant l'un des genres les plus obscurs du spectre musical, voilà qui mérite d'être souligné.
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639.More information
AbstractThree commentators review recent books dealing with differing aspects of contemporary musical creation : a Festschrift in honour of Swedish-born composer Bengt Hambraeus on the occasion of his seventieth birthday (P. Broman et al., editor) ; an essay devoted to the politics of governmental support for contemporary music in France, and most particularly to the evolution of the concept “musical research” (Veitl) ; a vigorous and open polemical attack of IRCAM (Institut de Recherche et de Coordination Acoustique-Musique) in Paris (G. Born), to which an important player in the history of this institution responds with equal passion (Barrière).
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640.More information
Using the example of Onzième, a performance staged by the Théâtre du Radeau in 2011, the author examines sound creation in the theatre and its effects on the overall perception of a show by approaching it via its most distant layer: background noise. To reflect on this, we rely on different notional tools borrowed from the worlds of radio, film and music.