Documents found
-
792.
-
794.More information
Known as the inventor of the “symphonic poem,” Liszt accompanies many of his works with writings of various forms, which we call “paratexts.” These paratexts seem to be a powerful way to get media attention on his music; but what can be said about their distribution, circulation, and reception? We will look for the prefaces of Liszt's symphonic poems, their traces and their influence in the press and more broadly in the French and German media space (including posters, programs, announcements and concert reports), in order to question their function in the media coverage of his music: to what extent do the paratexts allow the composer to orientate the listening process? What roles do they play in music reception? After some considerations on the role of paratexts in the Lisztian aesthetics, we propose some new ideas through several case studies (diffusion in Germany, Paris, Angers, and Nancy).
Keywords: concert, Franz Liszt, médiation, musique à programme, presse, concert, Franz Liszt, mediation, press, program music
-
795.More information
The second chapter of the Keywords section of the series “Anthologie du phem” (phem source readings) aims to report on the success of Henri Bergson in the musical field during the first half of the 20th century. In the general press as well as in specialized music journals, a theoretical framework based on notions initially forged by Bergson—such as “duration” or “intuition”—is developed, leading to the redefinition of the musical work and the defense of a modernist aesthetic. The three selected articles correspond to crucial moments in the assimilation of Bergsonian philosophy in musical field, from the first conceptual milestones laid down by the music critic Louis Laloy in 1914 to the use of Bergson's key ideas, now part of the current vocabulary, by the composer Désiré Pâque in 1935.
Keywords: bergsonisme, esthétique musicale, modernisme, philosophie, presse musicale, aesthetics of music, Bergsonism, modernism, musical press, philosophy
-
796.
-
797.More information
This article presents a contextual analysis of the work of four musicians, who have been asked to remix Quebec songs recorded before the 1960s. Through an examination drawing on ethnographic methods, the author tries to understand what makes musicians tick, by attempting to identify what motivates their creativity and what leads them to choose certain aesthetic styles over others. In a social environment qualified by sociologists as postmodern or ultramodern, the motivations appear diverse, fragmented, fluctuating, and highly contrasted from one musician to another, reflecting our anthropologically contemporary and urban times, generations, and realities. The author conceives music as a multifactorial phenomenon in which music and society are interrelated, and in constant movement and transformation.