Documents found
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642.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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646.More information
This article studies heterophony in the thought and works of Karlheinz Stockhausen (1928-2007). It focuses on Stockhausen's writings and scores in the light of the theoretical work proposed by Estonian ethnomusicologist Žanna Pärtlas on heterophony. Stockhausen associates this texture with so-called “statistical” composition, which allows the composer to distribute pitches and durations randomly. This practice is illustrated in the so-called “qualitative” graphic notation and the correspondingly freer performances given by the musicians of Momente, and in the use of sound samples from traditional and non-Western music in Telemusik. Heterophony and “statistical” music can then be seen to be part of a new form of musical orality specific to the twentieth century, which, following Paul Zumthor, can be described as a “second” orality — that is, orality that developed in a context of “writing hegemony” — and “mediated” by new electronic devices.
Keywords: Karlheinz Stockhausen, hétérophonie, oralité, composition statistique, Karlheinz Stockhausen, heterophony, orality, statistical composition
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647.
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648.More information
Most of the research on the influence of jazz in art music after World War I has focused on comparisons between features of some particular works and the kind of jazz from which they borrowed.This article tries to go one step further by analyzing the aesthetic scope of borrowings in jazz and by contextualizing them in the art music world of the end of the 1910s and the beginning of the 1920s. From two cases studies, Georges Auric's Adieu New-York! (1919) and Paul Hindemith's “Ragtime” from Suite 1922, it is shown that composers hijacked jazz, as it were, instead of merely trying to imitate it, and that the country in which they worked had an impact on the way they used jazz.Indeed, in Adieu New-York! and the « Ragtime » from Suite 1922, both Auric and Hindemith borrowed some traits of the jazz repertoires that they knew in order to assert their own aesthetic stance in the musical world to which they belonged. Wereas Adieu New-York! can be heard as a musical equivalent of what Jean Cocteau, in Le Coq et l'Arlequin, considered as real French music, Hindemith's « Ragtime » shares a lot with German Expressionism and its way of depicting German society under the Weimar Republic. The way composers used jazz can thus be understood as means to support or oppose aesthetics trends debated in France and Germany.
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