Documents found
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763.More information
Gilles Tremblay's orchestral work Fleuves, commissioned by the Montreal Symphony Orchestra (MSO), touched off considerable controversy in the world of art music in Quebec toward the end of the 1970s. This study examines the thread of commentaries published in contemporary Francophone and Anglophone presses, creating a narrative of the work's evolution from commission to premiere on May 3rd, 1977.
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764.More information
Throughout the second half of the twentieth century, musical analysis has turned for structuralist inspiration to linguistic models in order to rejuvenate and make traditional methods more explicit. In this article, which is both a critical bibliography and an epistemological claim, Jean-Jacques Nattiez examines the contexts in which musicology and linguistics intersect. He presents various applications of phonological models, paradigmatic models (with a discussion of the work and legacy of Ruwet), and various descriptive musical grammars of generative thought that have been proposed. He examines works not only from the Western canon but also ethnomusicological and popular music repertoires.
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765.More information
This article presents certain theoretical aspects and discusses some epistemological challenges of the author's research into the links between mathematics and music. After a general introduction on the context of “mathemusical” research at Ircam and the place of the misa project (Computer Modeling of Algebraic Structures in Music and Musicology) in the research activities of the Musical Representations team, we discuss the problem of algebraic formalization in set theory and transformational theory, two analytic paradigms whose theoretical and computational aspects we have studied in the process of constructing an abstract model of musical structures and processes. Musical analysis based on the theory of sets and their transformations raises interesting philosophical questions, notably in their relationships with phenomenology and the cognitive sciences. In particular, relating our musicological perspective with phenomenology, we advance the idea of “phenomenological structuralism” in a reinterpretation of the structural tradition in musical analysis.
Keywords: phénoménologie, recherche mathémusicale, Set Theory, structuralisme, théorie transformationnelle, phenomenology, mathemusical research, set theory, structuralism, transformational theory
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766.More information
A brief introduction to the approach adopted in this issue devoted to the history of the Darmstadt Ferienkurse, built up from the publication of archival materials, musicological inquiry, and the recording of testimonials from former participants. "Contemporary music", a term frequently applied to the learned music of the past fifty years, appears to derive to a great extent from the Darmstadt phenomenon. Thus a study of the institution seems inevitable—but with new questions and new expectations—and integral to any analysis of present-day contemporary music.
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767.More information
The composer John Rea is an intellectual who draws his influences and his thought from several fields of knowledge. We invited him to draw up lists of books according to selected criteria: his student days, his current concerns, the books he has kept for decades, his most precious titles, his recommendations to music lovers and music students, his favorite books. Each category is then discussed in order to understand the aspects that are most important to him. What emerges is an unusual intellectual journey marked by a curiosity to understand the world that draws analogies from his own compositions.
Keywords: analogies, auteurs, connaissance, John Rea, structures, analogies, authors, knowledge, John Rea, structures
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768.More information
There are few operas or tragedies dealing with the myth of Orpheus in France during the classical era. The two works studied in this article (Orphée by Louis Lully and Michel Du Boullay, Orphée by François-Joseph de Lagrange-Chancel) belong to the Racinian tragedy's tradition and use the aesthetic canons of the lyric tragedy as created by Lully. The aim here is to show how these works put the myth into a new perspective by integrating a reflection on the notion of tragic as well as on Evil. Moreover, we will question their position in relation to tradition, especially Italian.
Keywords: époque classique, Mal, mythe, tragédie, tragédie lyrique, classical era, Evil, lyric tragedy, myth, tragedy
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769.More information
For a long time ethnomusicology has approached musics of the world from an essentializing perspective with roots that can be traced back to Plato. But one cannot escape the conclusion that oral traditions are now subject to changes that are just as rapid and abrupt as those of the societies from which they emerge. Some traditions are on the verge of disappearance, whereas others are confronted by the challenges of globalization, and in particular the various processes of urbanization, intercultural mixture, and exhibition-as-spectacle that have ensued. In light of this situation, a movement to protect musical patrimonies whose existence is threatened has arisen, especially under the auspices of an organization such as UNESCO. Between two extremes—“emergency ethnomusicology” and an ethnomusicology of change—this article offers some thoughts on what is newly at stake in the discipline as well as on the resulting deontological issues confronting the researcher.