Documents found
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814.More information
As a non-musical production intended for reading, a composer's personal website can be considered, as a whole, as a composer's “writing” in addition to serving as an archive for different forms of writing by or about the artist (presentation texts about works, interviews, etc.). Comparative analyses of a certain type of text that is omnipresent on composers' sites—the biography—as well as the approach to a presentation text about a work provide an insight into the composers' self-presentation strategies and the way they present their music. These analyses lead to the observation of a general tendency towards the production of contents for music professionals and the under-exploitation of the possibilities offered by digital technology for the promotion and mediation of contemporary music.
Keywords: Internet, écrits de compositeur·rices, musique contemporaine, révolution digitale, sites de compositeur·rices, composers' websites, composers' writings, contemporary music, digital revolution, Internet
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815.More information
From the perspective of a performer, the author discusses certain features of Gilles Tremblay's vocal works, with particular emphasis on the shape of his lyric output and the performance abilities it demands. Vocal training follows parallel paths of mutual inspiration: the development of the organic voice itself and that of its instrumental capabilities. All vocal technique revolves around this process. The author concludes that Tremblay adheres to an all-encompassing bel canto approach that draws equally from the voice's natural qualities and from its remarkable potential as an instrument.
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816.More information
AbstractThis directory is based on the Répertoire des Compositeurs published in 1998 by the Quebec branch of the Canadian Music Center (CMC). The author provides a catalogue of analyses of works by more than 60 CMC-affiliated Quebec composers in order to establish this initial catalogue, which comprises over 130 entries.
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817.
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818.More information
This article outlines the main steps in the career of musician Auguste Descarries (1896-1958), since its formation in Montreal, his stay in Paris and its links with the Russian neo-romantic environment, and its contribution on his return to the development of Montreal's musical life.
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819.More information
This article examines the relations between literature and the song. More specifically, it analyzes Richard DesJardins's « Tu m'aimes-tu » from the vantage point of the semiotics of reception, with special attention to the relation between music and text. This song, which brought its author into the public eye, constitutes at its core a recital that draws together the narrative strands implied in the nine other pieces in the album of which it is part. Starting from a number of discrete givens relative to space, time and diegesis, the general schema underlying the piece can be reconstructed. Following the unfolding of the song as it impresses the hearer at its first hearing, the author examines the means whereby the sense of the song; is constructed out of the minimal information that it provides.