Documents found
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905.More information
In 1911 a Gala in honour of French aviation was organized in Paris that featured a performance of Icare, an épopée lyrique [lyrical epic] composed by Henry Deutsch de la Meurthe. An oil magnate, important patron of both music and aeronautics as well as a composer, Deutsch de la Meurthe was a remarkable figure who built bridges between the diverse worlds of technological industry, sport, and French musical life. This article proposes an examination of his opera, Icare, by situating it within the historical and musical contexts of the development of French aviation and the composer's musical output. The resulting portrait also allows for a re-evaluation of claims made by artists associated with the aesthetics of futurism that L'aviatore Dro (1915) by Francesco Balilla Pratella had been the first opera based on an aeronautic subject.
Keywords: Henry Deutsch de la Meurthe, Aviation, Icare, Opéra, Machinisme, Henry Deutsch de la Meurthe, Aviation, Icarus, Opera, Machines
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906.More information
This article takes Tuesday, December 6, 1921—the date when most women in Quebec were allowed to act for the first time on their new citizenship status since suffrage—as a case study on the notion of cultural citizenship within historical women's musical cultures. Taking as a point of departure the traces left that day in the Montreal press by ensemble directors, composers, teachers, patrons, silent-film piano accompanists, local and touring variety stage artists, singers and instrumentalists at anniversaries, religious events and political rallies, this article offers a glimpse into the wide variety of roles occupied by women at the dawn of the “Roaring Twenties” and around the launch of commercial radio in Quebec. The musical lives of two women whose musical activities are reported in the December 6, 1921 press are examined in detail: Ella Charland (1896-1987) and Léonie Claude (1893-1963).
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907.
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908.More information
This article seeks to understand how Québécois popular music became a national cultural symbol during the 1960s and 1970s and how this social construction contributed to redefining collective identity at the time. It sheds light on the role of external cultural influences and on relations with other national communities by studying various musical styles and attempts to develop careers abroad. The article analyses the discourse of the cultural press in order to show how so-called authentic Québécois songs were distinguished from popular music of merely commercial value. The cultural press played an important role in the construction of the collectivity's identity by providing it with an image of itself and of its culture that corresponded both to its reality and to some of its aspirations.
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910.More information
In a career spanning 45 years, David Cronenberg's filmography includes 22 films. Since 1979, Howard Shore has scored 15 of them. Though Cronenberg's world is well known now, the weight of the contribution of his composer remains largely unmeasured. And this, despite the fact that music seems to play a primary role in the director's process since Shore is involved very early on. This unusually early involvement of the composer is indicative of the central role held by Shore and his music: how to define it ? This paper does not seek to determine the functions of film music. Instead, it explores the creative processes that give rise to it. The creative processes of Cronenberg and Shore, who “learned everything together,” thus have similar characteristics. More precisely, they present common artistic figures that gather them into a single artistic vision: the autodidact, the experimenter, the improviser, the painter/sculptor, and the artist-artisan.
Keywords: cinéma, David Cronenberg, musique de film, processus créateur, Howard Shore, cinema, creative process, David Cronenberg, film music, Howard Shore