Documents found
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702.More information
From the observation of La nuit des Mayas, a participatory concert based on the concert-mediation plan Musiques entre les lignes, designed by Thierry Weber at the Haute École de Musique of Lausanne, this article aims at measuring the different dimensions, effects and issues of the concept of participation through its application to the music mediation sector.
Keywords: concert-médiation, jeune public, médiation de la musique, musicien-médiateur, participation, mediation-concert, music mediation, musician-mediator, participation, young audience
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703.
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705.More information
This article explores the seldom-discussed reception of Igor Stravinsky's The Rite of Spring (1913) in Montreal, Quebec. This discussion focusses on two Montreal performances: the Canadian premiere, on March 5, 1957, conducted by Igor Markevitch (1912–1983), and the Radio-Canada broadcast recording of November 7, 1963, conducted by Pierre Boulez (1925–2016). The examination begins with an overview of the local francophone press discourse from 1913 to 1957 to delve into perceptions of both Stravinsky as a composer and his controversial ballet. This is followed by an in-depth analysis of the various emerging lenses for reception that include music critics as well as composers of Quebec's avant-garde. Finally, this paper not only contributes to and augments reception studies on Stravinsky and The Rite of Spring, it also opens future research avenues as our findings indicate that Stravinsky and the musical events described here had an important impact on the establishment of specific musical institutions in Quebec.
Keywords: institutions musicales, Québec, réception , Igor Stravinski, musical institutions, Quebec, reception, Igor Stravinsky
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706.More information
Neoclassicism was an important trend in Canada in the 1940s and 1950s, particularly in Quebec. According to historian George Proctor, it served as a middle-ground between the old and the new, between conservatism and the “extreme” modernism of the twelve-tone school. The European origins of the current is discussed and so are the main musical characteristics that generally define it, even though no real consensus exists on that matter. A survey of various performances of neoclassical works by Montreal orchestras and a study of their reception in the press help bring to light a few key-moments attesting the penetration of musical neoclassicism in Quebec. Considered the main leader of the movement from the middle of the 1920s onward, Igor Stravinsky visited Montreal three times between 1937 and 1946. His influence in Quebec is emphasized, as that of French pedagogue Nadia Boulanger, a strong promoter of his works and teacher of many French-Canadians in the 1940s and 1950s. Other renowned French modernists, such as Ravel and Poulenc, had an impact in the province, as did the works and theoretical writings of Paul Hindemith. This is clearly demonstrated in composer Jean Vallerand's work as a music critic. In Quebec, the main proponent of neoclassicism is without doubt Jean Papineau-Couture (1916-2000), but Maurice Blackburn (1914-1988) presents another interesting case. Finally, in view of the quality of many works composed during or after World-War ii, in Quebec and elsewhere, one should question the derogatory aura of the “neoclassical” label, too often reduced to a couple of simple traits, such as the use of pastiche. This harsh judgement is mainly due to composers of the following generation, advocates of a more pronounced avant-gardism. A wider perspective should allow to reconsider the importance of the neoclassical trend in Canadian contemporary music as a whole.
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709.More information
A discussion of postmodernism in music. Colette Mersy interviews composers José Evangelista, John Rea and Frédéric Rzweski; journalist and artist Raymond Gervais ; musicologist Jean-Jacques Nattiez; and sociologist Régine Robin. The first topic is the difficulty of defining "postmodernism." The discussion then moves to "the return of the audible" and the listener's importance for contemporary composers, stylistic hybridization, and the return to simplicity. The participants examine the relation of modernism to Leftist politics, postmodernism's contradictions and the concerns of today's composers.
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710.More information
In Jean-Joseph Benjamin-Constant's work, music is everywhere—in his representations of instruments and his homages to great composers, be they Beethoven or Camille Saint-Saëns. From easel to large wall paintings, the artist plays on the relationship between painting and music. We perceive the fourth art as a relevant thread to discuss Benjamin-Constant's work with the objective to analyze the strategies used by the artist to evoke music in his work and renewal the link to Eugène Delacroix.
Keywords: Benjamin-Constant, Eugène Delacroix, beaux-arts, musique, orientalisme, XIX-XXe siècles, Benjamin-Constant, Eugène Delacroix, Fine Art, music, Orientalism, 19th-20th centuries