Documents found
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672.More information
In this article, we offer a critical account of a school survey carried out in 2021–22 by students in the “Music Mediation” master's program at the Université Toulouse – Jean Jaurès. In addition to presenting the premises and selected results of the survey, it will also be examined from a pedagogical angle, given its formative aims. Indeed, the Master's program offers a unique approach, contributing to training in mediation through research.
Keywords: médiation, enquête, pédagogie, théâtre d'opéra, pratiques culturelles, mediation, survey, pedagogy, opera house, cultural practices
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673.More information
During the 1930s, what is now known as the Montreal Symphony Orchestra began its life as the Société des Concerts symphoniques de Montréal. The various aspects of the history of its founding make for a fascinating study in Montreal concert life. The society's relationship with the contemporaneous Montreal Orchestra and its conductor Douglas Clarke provides a snapshot from a musical and sociological point of view of the tensions and lack of communication between the two co-existing communities. This article is a brief summary of the author's doctoral dissertation on the circumstances surrounding the creation of the two ensembles, as well as the conflict that motivated one group of individuals to found Les Concerts symphoniques. The linguistic duality of Montreal comes once again to the fore.
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674.More information
In referring to the Mutek festival, the media speaks at great length of "avant garde electronic music," "cerebral music," new electronic music," or of "experimental techno." To gain a clear understanding of the difference between institutional electroacoustic music and these "new electronic musics," the author of this article, whose initial intention was to write a review of the Mutek 2002 festival, examines the conditions that lead to their birth.
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678.More information
Building up from the works of contemporary theatre directors, this article uses a phenomenological perspective to analyse the role of the acoustic image in today's theatres of sound. In particular, I examine how, in their “atmospheric aspect” sound and music are used to represent the temperature of a play and how they can re-orient the perceptual faculties of spectators.
Keywords: Théâtre du son, logique de la vision, écoute, voix, image acoustique, environnement sonore, Theater of Sound, Logic of Vision, Listening, Voice, Acoustic Image, Sound Environment
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679.More information
The notion of "structural listening", which appears in Introduction to the sociology of music, led to a multitude of comments, many of which are misunderstandings. Rather than making such a listening approach his definitive credo, Adorno's thinking was greatly enriched, even inspired, on this point. Yet it is revealed as not so much a process of "listening" as one of musical "hearing", thereby demolishing the privilege that the translation of the verb hören in French incorrectly affords the term "listening". Between "to listen" and "to hear" there is a radical difference of meaning that this privilege negates. By the same token, one takes exception to the fact that there is an invariable essence to listening, one of an equally invariable "subject".The modern promotion of listening, linked as it is to that of the technical emergence of the "listener", corresponds to the metaphysical development of the occidental subject and of its "oto-nomie", which is symptomatic of a "listening deficiency" that is one of the forms that Freud explored culturally. The truth of "hearing", however, can be realised only with the absence of the subject and its finality. The ear therefore emerges from a temporality, which La recherche du temps perdu shows is the heart of the matter, that the subject always hears "back to front"; to resolve and construct itself in temporal form, technically "to the work".
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680.More information
Le Chevalier de Neige is an opera that has lost its music. The only real success by Boris Vian during his lifetime “under his own name as a sizable artistic project” (Marc Lapprand and François Roulmann, our translation), is today only known in the textual form of the libretto, which has continuously been published since 1974. This article is the result of research undertaken in public and private archives on the work and its intermediate stages. Among those, the handwritten scores by the composer Georges Delerue, to establish “the adventure of its conception” (Boris Vian, “Quelques mots sur Le Chevalier de Neige”), and to allow us to reconsider Le Chevalier de Neige such as it was conceived.