Documents found
-
722.
-
723.More information
Indicating first a debt of gratitude to his teachers, Garant, Tremblay, Stockhausen and Pousseur, the author then traces the evolution of his compositional technique with particular reference to the use of harmonic spectra and the somewhat free approach to serial principles. He situates his own path with respect to the modernism/postmodernism debate and does not hesitate to express his reticence.
-
724.
-
725.
-
726.
-
727.More information
The malbar drum is an instrument which, in Reunion Island, is generally considered sacred due to its use mainly in Hindu religious ceremonies. However, over the last thirty years, this Indo-Reunion musical tradition has seen its practice and repertoire expanded. Indeed, the instrument can be used as much during Hindu rituals as in circumstances free from the initial strictly religious context.
-
728.More information
The goal of this article is to better understand, from a critical perspective, Walter Benjamin's thoughts on recording by comparing two media for technological reproduction, the phonograph and cinema, examining in particular the later development of the phonograph which made rock music popular. In the past few years, several musicologists and theorists of popular music have used the cinematic medium to describe rock music. The author proposes to extend the analysis of these diverse analogies with cinema in order to better understand what pertains to capturing, to reproduction, to mass duplication and to editing/mixing. He will revisit the work of Walter Benjamin, in particular by examining what he said about the phonograph in his own day, comparing it to cinema for its technological reproducibility. For Benjamin, cinema goes much further by virtue of the role of the filmmaker, who reveals the “visual unconscious.” Does not rock music, which Benjamin could not foresee, create, precisely, an auditory unconscious?
-
730.More information
This article offers an unprecedented exploration of Villa-Lobos' contribution to stage dance by highlighting his collaboration with prominent Russian choreographers such as Adolph Bolm, Léonide Massine, George Balanchine, and Serge Lifar, who promoted his modernist music not only in Brazil but also internationally. This fresh research reveals an unexpected wealth of choreographic work and relevant artistic projects, although sometimes unfinished, that could be revisited today.
Keywords: musicologie de la danse, modernisme, ballet, chorégraphie, Heitor Villa-Lobos, musicology of dance, modernism, ballet, choreography, Heitor Villa-Lobos