Documents found
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61.More information
In the regular concerts organized by contemporary music dissemination organizations in Quebec between 1966 and 2006, works composed by women are significantly minoritized (10 to 16 percent of the repertoire according to the organizations) and poorly integrated (Couture 2019a). The subject of the advancement of women in the field of composition and in the programming of artistic creation institutions remains largely unexplored in Quebec. It is essential to assess the scope and nature of available literature in order to deepen the issue and propose solutions. A scoping study was conducted to compile a structured and analytical inventory of available documentation on women composers of contemporary music in Quebec. From this literature inventory, three main findings emerge. First, despite significant advances in the feminist movement since the 1970s, gender equality in music has not been achieved. Second, this inequality results in a certain discomfort in discussing feminism, or even gender. Finally, many female composers adopt alternative musical practices (electroacoustic, improvisation, installation) often overlooked by funders and mainstream media, resulting in their double marginalization as women and music professionals.
Keywords: Compositrices Québec (Province), Musique de compositrices Québec (Province), Musique Québec (Province) siècle, Organismes de concert, Programmation musicale, Women Composers Quebec (Province), Music by Women Composers Quebec (Province), Music Quebec (Province) 21st century, Concert organizations, Music programming
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62.More information
The Jutra Awards, an annual competition rewarding Quebec's film industry, are in their first years of a renewed and improved approach to celebrating film music and its composers. This is the result of much debate—even controversy—in the industry, with respect to the credibility of the awards in the “Best Music” category. By studying the results of the competition since its inception in 1999 and in comparison with the regulations and the histories of the Felix, the Genie, and especially of the Academy Awards, we will show that the recent updates to the rules of eligibility for music at the Jutras are justified, but also that they can still be improved upon. One objective of this paper is to better understand the concept of originality in film music, as it pertains to competition in the film industry in Quebec. A second objective will be to question the importance of recognizing, in separate categories, “dramatic” orchestral film scores, original popular music and original songs. Also, we will consider the influence of an artist's pre-established popularity on his chances of winning an award for his work. Finally, based on the rule changes made for the 2011 Jutras, we will outline some implications for the future of the competition.
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Le singe musicien (2009) brings together selected published and unpublished texts written by Jean Molino between 1984 and 2005. Known for his theory of tripartition, Molino proposes a new basis for the understanding of the sociology, history, and anthropology of music. The wide-ranging nature of his thinking requires synthesizing his ideas, which constitute true programmatic foundations. This is the task we propose to accomplish in this study: to summarize the author's thoughts on the development of historical discourse from a few selected texts.
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Since its inception in 1966, the Société de musique contemporaine du Québec (SMCQ) has played a fundamental role in the history of original cultural productions in music, and more specifically in defining or “institutionalizing” new music in Quebec. Using the knowledge derived from the French Domaine musical experience, the SMCQ developed its own set of conditions favouring the performance and promotion of contemporary music. An examination of the SMCQ's first five concert seasons (1966 to 1971) reveals how it applied the parameters of this model to artistic direction, periodicity of performances, and appropriate training of musicians. It also reveals the ways in which the SMCQ had to adapt to the requirements of funding agencies, to the pressures of the cultural market, and to the public's needs.
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66.More information
This contribution has been formulated thanks to conversations, observations or experiences realised by a team of researchers over the last few years with a wide variety of music lovers who share an equally wide range of musical habits. One had to make oneself as open as possible to their extremely varied forms and patterns of listening habits. It was thus observed that the ears of music lovers were hardly inferior, incompetent, passive or obsessed with the single immediate joy of easy listening or a facile image but rather the ears of music lovers were active and creative. They are open to the new means of music, to the variety of repertoire possibilities and can instantly manipulate the diversity of musical styles. Music lovers can adapt to listening positions, beginning with their own physical disposition. This often leads to a very personal and inventive way of musical behaviour and of expressing oneself in music. Concentrating on the listening factor is therefore to reintroduce the invincible heterogeneity of a real event, full of nips and tucks. It is not merely a question of a work and a listener: there are bodies, dispositions and designs, the duration, an elusive object, an instant that passes, emerging musical states. After all, outside laboratories and schools, what else is music?
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Célestin Deliège has constructed a fundamental history of Western music that rejects the questions of detail unique to positivist musicology. For the author, the act of musical creation establishes the possibility of its own history. Musical innovation may not escape the demands of structure. It deploys types of reasoning that succeed in creating what previous musical works failed to contribute to musical discourse. Célestin Deliège's project is Hegelian in that, in its examination of creativity, it sidesteps the dominant idea of inspiration. He considers that the task of the musicologist is rigorously to reveal the work in all its historic necessity and singularity of purpose. In musicology, there is no real problem that is not also one of epistemology.
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AbstractThe life and works of Pascal Quignard entertain close relations to music. This essay examines the similarity between music and writing as Quignard conceives them. The regressive dimension of music is first considered, betraying its affinity with psychoanalysis, with which La leçon de musique shows great familiarity. Then is identified the influence of Claude Lévi-Strauss' structuralist anthropology, apparent in the manner in which Quignard maps the relations between music, oral language and writing. If writing possesses the same “uterine” referent as music, it is not possible, however, to speak of a musical model of literature. Music and its universal link with human origins functions, rather, as a place of memory for writings that struggle to distinguish between singular and universal.