Documents found
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832.More information
There are many aspects shared by traditional African music : movement of the body through dance when listening to music, existence of a regular beat underlying these movements and a tendency for musical events to be placed against this regular beat, a feature called « contrametricity ». The perception of the beat both has a physiological dimension (since movement of the body when listening to music seems to be universal) and a cultural one since contrametricity is developped to a high degree in African music. We will show how « contrametricity » contredicts theories of the perception of beats derived from Lerdahl and Jackendoff hypothesis. We will furthermore investigate the comparison between African music and jazz, and discuss aspects of jazz that are considered as different from African music, namely the existence of a hierachical meter, and will show that it is less distinctive that one usually admits.
Keywords: Chemillier, Pouchelon, André, Nika, rythme, détection de la pulsation, contramétricité, jazz, musique africaine, perception de la musique, universaux, cognition, Madagascar, Mali, Gnawa, Chemillier, Pouchelon, André, Nika, Rhythm, Beat Tracking, Jazz, African Music, Music Perception, Universals, Cognition, Madagascar, Mali, Gnawa, Chemillier, Pouchelon, André, Nika, ritmo, detección de la pulsación, contrametricidad, jazz, música africana, percepción de la música, universales, cognición, Madagascar, Mali, Gnawa
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833.More information
In this editorial we are not conducting a scientific study of conditions appropriate to musical composition for a young public; nor are we tackling the subject of the psychological bases associated with children's listening in order to ascertain universals which might perhaps allow us to define the theoretical and aesthetic foundations of music (conceived) for a young audience. We are simply trying to establish a circumstantial "framework" for reflection on musical creation for a young audience, a framework which puts the works, as well as their raison d'être, into perspective. Does the post modernist era have an influence? Did economic and technical constaints contribute to the definition of the genre that seems to belong to our contemporary period? To what extent do we really possess adequate structures of distribution? These are the questions which we pose and to which we would like to provide some elements of response.
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834.More information
A fundamental tool of modernisation, was the new medium that is the radio also a vector for all the new ideas that were emerging in the Quebec of the 1930's ? Our exploration of the programs broadcasted in those times shows that radio obeyed more mercantile and conservative interests than a desire to convey all the changes then emerging.
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840.More information
After initiating the reflection in “Les femmes et la chanson au Québec” published in the collection Écouter la chanson (Savoie 2009), I set out to find a new way of looking at women's place in the history of Quebec chanson. The goal was to reframe my previous topics of study to understand the role(s) played by women in the evolution of chanson practices over the years as well as the strategies to be implemented to produce a history of their practices and contributions rather than a history of their invisibilization. Despite access to increasingly vast and diversified resources, our very method of thinking about the corpus and the approaches that we adopt continue, intentionally or not, to prioritize two dimensions of the chanson history in Quebec: production (evolution of technology in general, and specifically, the mediums used, record labels, catalogues, scores, labels, etc.) and “text” (textual and musical content, performance). Yet the disciplinary upheaval brought on by the combined effect of the Annales School, cultural studies, and gender studies, among others, has contributed to favouring systemic, even poly-systemic, approaches to analyzing culture (as production, form, mediation, appropriation, etc.). While new sources are certainly needed to write a new history, we also need to renew, clarify, and take responsibility for the way we look at data. This is the perspective from which I have carried out a vast study of chansons in the 1940s. I have analyzed the music from a two-pronged, female standpoint that deliberately deviates from strict musical production by focussing on the tastes of female audiences as well as representations in the songs of behaviours linked to the female gender.