Documents found
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732.More information
Tremblay's artistic personality revolves around a single axis of spirituality and sacredness, which also defines his conception of nature and consequently, of forms, sound, and silence in his musical works. These works and the composer's written discourse are combined in the unique and central figure of an artist of faith who conceives of the act of composing as an extension of divine Creation. This study is an attempt to better understand Tremblay's aesthetic and spiritual process through an analysis of his published writings on spirituality and nature.
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733.More information
A nordic perspective has always occupied a central position in my imagination, conjuring an array of symbolic imagery such as open spaces, harshness of elements — in particular the wind and the cold — as well as various dimensions of silence and solitude. The musical manifestation of these wintry qualities is subjected to an analytical examination of Solstice d'hiver for flute sextet, and of a range of my other compositions that display a nordic character. These manifestations include my choice of texts relating to winter as a source of inspiration: choice of instrumental timbres frequently associated with cold; use of extended instrumental techniques that can depict the sounds of icy winds and northern expanses; the harshness of certain sonorities; instilling silence in the composition; evocation of space through the range that separates sound structures; creation of a mystery-filled atmosphere recreating the perspective of human solitude within the immensity of the landscape.
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735.More information
A variant of interview, the “journalistic investigation” is very successful as soon as it appears in late 19th century France. When music is the object of the investigation, journalists mainly appeal to composers who can then append their authorized signature to their articles. While putting creators at the front of the media stage, this genre also implies that the composers' discourse is beyond their full control: their answers are published and commented on by a journalist and then inserted into a polyphonic millefeuille, since the journalist reports the words of different personalities who get advantage of the survey to fuel the debate among peers. Considering some cases in this large corpus, this article gives an account of the issues raised by this literary genre takes and of the different forms it takes up to 1950.
Keywords: compositeurs, enquête, France, presse, xxe siècle, composers, France, press, survey, 20th century
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738.More information
In his well-known Le Coq et l'Arlequin (1918), Cocteau is the leader of Satie and the other young musicians that fostered Satie's model. More than twenty aphorisms are directed brutally against Debussy's music, because Cocteau wishes to see a French music avoided of characteristics that belonged to impressionist music.In the aftermath, his writings evoked Debussy a couple of time, precisely in twenty varied articles. Until 1940, Cocteau justified the positions that he developed against Debussy when he was young: he tried to legitimate himself with the explanation that his position was an attitude of young rebellions against their elders.After that step, Cocteau will be more nuanced in front of Debussy; he will no more justified himself as long as he claimed his admiration for Debussy and his chef d'oeuvre, Pelléas et Mélisande—he conceived the decors and costumes for the production of the opera that took place in the Théâtre municipal de Metz in 1962.
Keywords: Cocteau, Debussy, écrits, France, littérature, Cocteau, Debussy, France, literature, writings
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739.
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740.More information
The second of Gainsbourg's four feature films, Équateur is the only one adapted from a book, Le Coup de lune by Georges Simenon (1933), which tells the story of a love affair in colonial and racist Gabon of the 1950s. Although it is the eroticism and brutality of the relationship between Timar and Adèle that interests Gainbourg above all, he takes special care to offer a vision of Africa that moves away from exotic clichés. Shot on location, the film is set in a humid and heavy atmosphere. For his project, Gainsbourg-the-composer takes a back seat to Gainsbourg-the-director with a greatly reduced musical score. If there is indeed a musical vision of Africa, it is not in the music, but rather in the treatment of the voices and sounds analysed here in detail. As Gainsbourg said, “In fact, the film is the music.”
Keywords: Serge Gainsbourg, Équateur, Afrique, bande-son, musique de film, Serge Gainsbourg, Équateur, Africa, soundtrack, film music