Documents found
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This paper deals with the musical adaptation of poems related to concentration camps written by John McLeod: Chansons de la nuit et du brouillard and Three Poems of Irina Ratushinskaya. The article covers the intertextual and historical background of the two cycles and focuses on the philosophical implications stemming from the specific structuring of the musical phrase in both song cycles.
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664.More information
While the late 19th century saw the consolidation of musical genres like the symphony and the concerto, as well as instrumental formations like the modern symphony orchestra and the string quartet, the 20th century witnessed the appearance of unprecedented instrumental geometries, chiefly motivated by new aesthetic necessities. For many composers after the Second World War, these new instrumental combinations were seen not only as a new point of reference for musical expression, but also a way of escaping the sociocultural connotations attached to traditional ensembles. Returns to historical forms and genres were often subject to questions, and even strong criticism, but what do those challenges mean today? To what extent does the medium determine the message? In this article, the author surveys the opinions of seven musicians, including composers, conductors, artistic directors, and performers.
Keywords: Adorno, forme musicale, genre musical, géométrie instrumentale, médium, message, Adorno, musical form, musical genre, instrumental geometry, medium, message
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Based on an ethnosemiotic study of two concerts broadcast in livestream in 2019 and 2020 by the Indochine music band, we observe how fans express themselves about live performances and how they document them on Twitter and Instagram. Through the analysis of their publications and comments, we study which images of these concerts are published, “redocumentarized”, and what meaning and emotions are carried in these publications. The two platforms are places for sharing opinions and emotions. They show that the live experience is lived by anticipation and by extension, and that logics of collection coexist with self-visibility and promotion of the beloved artists.
Keywords: Musique live, musique populaire, pratiques numériques, plateformes, ethnographie, live music, popular music, digital practices, live, platforms, ethnography
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668.More information
The celebration of Quebec City's 400th anniversary in 2008 emerges from a long tradition of celebrations illustrating conflicts arising from the representation of history, conflicts between high (scholar) and low (popular) culture, between Church and State. If the State has focussed on reminding us of Champlain's role in the founding of the city and the French-Canadian civilization, the Church has always claimed the importance of Mgr Laval in the development of the young colony. In studying the role music played in ceremonies celebrating Quebec City between 1859 and 1959, a clear picture emerges : the impossibility to separate Church and State, so important in the founding of Quebec City, but also how they complement each other and how the programming of music not only reflects this complementarity but also the Zeitgeist. If operas arias sung by American artists were so much heard during the 19th century, local musicians and singers were gradually called on in celebrations, up to the point where ultimately, works by young composers from the region of Quebec City were part of the music programming. If the memory of Champlain is closely linked with that of Mgr Laval, their reciprocal commemoration initiated musical events that were different but complementary where folk music and songs were heard along with works of composers.
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Musical synchronism is essential to interpreting written music. Performance musicians are skilled in their capacity to achieve real time synchronization and coordination, with multiple musicians each playing their part to produce a coherent result. To successfully elicit a context of interaction between musicians and the machine raises interesting challenges for artificial intelligence and the practice of mixed music. This article explores musical synchronism in mixed music, looking at the practical, artistic and technological aspects, and presents recent and historical points of view drawn from subjects of musical research related to this question.
Keywords: musique mixte, suivi de partition, synchronisme musical, informatique musicale, électronique en temps réel, mixed music, score following, musical synchrony, computer music, live electronics