Documents found
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83.More information
The cofounder of the journal tells the story of the origins and subsequent development of Circuit over the course of the decade in which he was Editor-in-Chief. Examining the intellectual context which saw the inception of the journal, the author emphasizes the importance of Circuitas a forum of important aesthetic debates. Some of the themes mentioned include issues on post-modernism, musique actuelle and electroacoustic music.
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84.More information
The place of music education in Quebec's school system is highly controversial. Public opinion varies between fear that music might disappear altogether from the curriculum, and confidence that it will remain there in spite of it all. What is the reason for this ambivalence? The answer perhaps lies in the very concept we have of music education. In this article, Claude Dauphin considers the primary goal of music education by distinguishing it from musical training, arguing that the former belongs to the general sphere of education, while the latter has the aim of preparing an individual for the music profession. With this distinction in mind, the author discusses the kinds of pedagogical materials used in the Quebec school system and, more specifically, describes the activity of academic researchers in the field of music education. This is achieved by examining graduate thesis and dissertation topics and by assessing the broader influence of academics who have chosen music education as their area of research.
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86.More information
This article discusses the "strange familiarity" of our record stores. Its ambition: to explore the condition of committed record retailers. In order to do so, the author questioned the layout of the record shelves of the FNAC and of the Virgin Megastore in Bordeaux in order to question their vocation: which forms of life are spoken of and called forth by these musical propositions?
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88.More information
As a rebuttal to the Independent Melodists, the music critic of Le Devoir claims that the path taken by composers such as Monteverdi, Haydn and Mozart was truly innovatory, that the arrival of the twelve-tone system was historically inevitable, and that the music of the Second Viennese School has indeed entered the repertoire. He notes that non-European musics and music before the fifteenth century are not tonal, and that Schoenberg quit the Conservatory at Berlin because of anti-Semitism. He reaffirms the need, from the point of view of value, to make differences between Cézanne and Bouguereau, just as one must make between Milhaud and Varèse.
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90.More information
Starting with Plato and Thucydides, the author points out to the dialectic in the history of music that confronts simultaneously the resistance on the part of traditionalists with the moving forward of modernists. She cites ancient texts about Bach, Beethoven, Chopin, Berlioz, and Stravinsky where an analogy with today's criticisms about modern music is evident. Throughout the ages, she observes, this never-ending scenario always focuses upon chromaticism, broken rhythms, sonic materia and new forms, the complexity of compositions, the inaudible, virtuosity, technique and hermeticism. She insists that what really is at issue is the difference between good and bad music.