Documents found
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71.More information
This article aims to show how Louis-Albert Bourgault-Ducoudray's travels in Greece in 1874 and 1875 were the starting point of a reflection about the classical style in music. It also aims to articulate the constitutive elements of his method as a composer-historian, whose project is to renew contemporary music in contact with ancient sources. This project, based in the idea of a universal Hellenism, is firstly elaborated while he is in Greece. Bourgault-Ducoudray, winner of the Prix de Rome in 1861, engages in ethnographical analyses and believes to discover a modal and rhythmic legacy kept in the traditional Greek songs, which he also finds in the Mediterranean Basin and in France. Building on the Hellenism ideology, maintaining an ambivalent relationship with academism, he defines from 1878 a classical canon and a corpus of French classical musicians in a similar approach to Taine's in Philosophie de l'art en Grèce (1869). Compared to Romain Rolland and Guido Adler, Bourgault-Ducoudray promotes at the Conservatoire de Paris a national classical style which characteristics foreshadows those of the so-called « neoclassicism » of the 1920's.
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72.More information
The author discusses the history, which is still waiting to be written, of Musique en jeu, the French music journal from the 1970s, which was an explicit model for Circuit. The article includes details about the journal's birth and evolution over the course of the decade through interviews conducted at a public round table discussion on the past, present and future of music journals with two of Musique en jeu's cofounders: its main organizer Dominique Jameux and one of its most notable collaborators, Jean-Pierre Derrien.
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73.More information
The perspective of an "outsider" sometimes allows one, by comparison, to discern the specificity of a practice in a given place. These two articles, written from the points of view of an English Canadian and of a member of the Groupe de musique expérimentale in Bourges, point to the richness and to the variety of electroacoustic production in Quebec.
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76.More information
Ce texte discourt sur quelques aspects de la naissance de la musique électroacoustique au Brésil, tout en établissant des liens entre la musique contemporaine brésilienne et les circonstances économiques, politiques et sociales de l'histoire du Brésil. Après avoir décrit l'émergence soit du mouvement anthropophagique dans la culture brésilienne, soit du nationalisme musical, l'auteur chercher de situer les premières réalisations du genre et d'éclaircir les circonstances de la fondation du principal centre de recherche et création en musique électroacoustique au Brésil : le Studio panaroma à São Paulo.
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77.More information
After the completion of my dissertation, I engaged in a dialogue with the musician Jean-Luc Plouvier concerning Anne Teresa De Keersmaeker, a choreographer whose defining work was almost entirely based on texted Western music. This dialogue on Keersmaeker's output allowed us to question processes like “true dialogue”, and issues such as “relationships between music and dance”, “requirements and approaches between two art forms”, and even “gaps between creation and reception”. In this article, I will discuss the experience and the results of this collaboration between a dancer and a musician, and demonstrate – from the dancer's point of view – the contributions that can be made to choreographic studies through musical analysis and aesthetics.
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79.More information
Trained to hear patterns in even in noise, musicians often transform the noise of difficult times into their art – but this very act of analysis abstracts them from being immersed in the turmoil. This tendency is enhanced by the desire of most musical expressions to privilege moments of kairos, of being together to an extent unknown in the world around us. Does our addiction to being together prevent us from hearing the slow and uncoordinated changes in our planet's climate? Is music complicit in our mental estrangement from the world? Can we think of musical strategies that counteract this long-ingrained trend? The author offers three tentative perspectives to wean ourselves from musical kairos-dependency: elastic timing, forced non-togetherness, and music that overextends our listening attention.
Keywords: timing, déréglement climatique, composition, synchronicité, kairos