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682.More information
At the time of New France, the streets of Quebec and Montreal did not want for musical sounds. Sources of the period enable us to recreate the sonorous environment. The military companies stationed in the towns each had fife and drums that participated in various celebrations. Official proclamations, read after the parish Mass on Sundays, were announced to the sound of the drums. The year was punctuated by religious feasts that, in the spring and summer seasons, were enhanced by processions. These gave rise to popular merry-making, accompanied by singing and musical instruments, to the sound of canons and artillery salves, sometimes with catastrophic results. Documents kept in Montreal archives indicate the exact itinerary of the processions through the town and the music sung at each station.
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In the musical compositions of his films, Jean-Luc Godard invites us to hear how he listens to musical works, invents arrangements with the means of the cinema that could bear a double signature such as Beethoven-Godard, Dvořák-Godard, as the arrangements of the musicians Beethoven-Liszt or Bach-Webern. For this study, we have chosen to focus on works for cello, instrument for which Godard seems to have a predilection as for bowed strings in general for the plasticity of the sound material. We analyze the arrangement of the Concerto for Cello and Orchestra in B minor, op. 104 by Antonin Dvořák (1895) in Je vous salue, Marie (1983), and the conversation between two composers and performers, Godard on the editing bench and David Darling, with his eight-string cello and the original works created for the filmmaker.
Keywords: Jean-Luc Godard, musique et cinéma, arrangement, instrument, violoncelle, Jean-Luc Godard, music and film, arrangement, instrument, cello
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688.More information
In Cuba, the first decades of the 20th century reveal an extremely interesting social and cultural context for the historian. The reasons for this are related to several factors: Cuban society was confronting a new demographic situation after the abolition of slavery and the ensuing displacement of the African slave population towards urban centres; the birth of the Republic of Cuba, following the end of Spanish colonization, was marked by a strong dependence on the United States; avant-garde political and cultural movements led to an unyielding struggle against traditionalist mindsets. The political sphere was the centre of the most controversy, falling prey to corruption, student assassinations, and the presence of the American military. In this context, one of the finest artistic movements in the history of Cuba took place: Afro-Cubanism. This movement, which sought to reclaim the African origins of the Cuban nation, was also a quest for increased modernity, and would become the starting point for 20th century Cuban art. Among the figures who stand out in this movement is the composer Amadeo Roldán, who acted as both creative pioneer and disseminator of its ideas. In his works, as in his musical poetics, can be found the origins of 20th century Cuban music up to the present time, as well as the wider Pan-American struggle which sought modernity and universality through research into folklore.
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689.More information
The usual basic terms as allegro, adagio, presto, used for naming the parts of Mozart's sonatas, Beethoven's concertos or Brahms' symphonies could be interpreted as fact of total abstraction either of absolute concrete process. Those movement headings express a state of the human soul and emotional mood likewise the constitution of the music as object. In this article I use the word of autonymy to qualify the association of the content and the form characterizing this type of musical works and the manner for naming them. Nevertheless the question of titles could not be resumed by this specific paradox because a history of referential designation between musical works and the external world existed also. In this type of work the link between music and facts is operated by the metaphorical title. It is the common path used by the French composers from Couperin to Debussy, from Rameau to Messiaen as we can see in those colourful titles: Le Rossignol en amour, Les Langueurs tendres, Les Moissonneuses, L'Entretien des Muses, Les Fées sont d'exquises danseuses, Couleurs de la Cité céleste. Could we see the French manner as a national musical feature associated with picturesque facts and, at the opposite side, the Italian and German style connected with formal and architectural representation? So the title would be not simply a symbol of the musical expressive individual project but an icon of the links between the art and the world.
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690.More information
As the first woman to win the Prix d' Europe in composition, in the avant-garde of writing and research in electroacoustic music, and a fighter for the arts and the role of the composer in society, Micheline Coulombe Saint-Marcoux was undeniably a pioneer. She was also the first Quebecer to compose a work for solo percussion. In the tradition of Karlheinz Stockhausen's Zyklus (1959) and Helmut Lachenmann's Intérieur I (1966), Trakadie (1970), for percussion and fixed sounds, represents the beginning of this discipline in Quebec. In addition to offering an analysis of Trakadie, this article places the work in context by discussing two other pieces written by Coulombe Saint-Marcoux in the same time period: Séquences (1968, rev. 1973) and Épisodie II (1972).
Keywords: Micheline Coulombe Saint-Marcoux, percussion, électronique, Québec, Trakadie