Documents found
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923.More information
The works of Luigi Nono and Helmut Lachenmann have always explored the notion of listening. Where as Nono's approach takes the form of a critique which radically distinguishes listening from seeing, giving way to a dialogical mode of thought, Lachenmann thematizes the tactile perception of sonic phenomena, in which an intersubjective approach gradually resonates with ideas borrowed from contemporary Japanese philosophy. A presentation of the theoretical foundations of these two musicians, as well as a discussion of their translation into music, this article brings to light their differences of approach.
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924.More information
Gwoka music of Guadeloupe consists of three inseparable elements : singing, drum and dance. To try to understand this musical practice, the ethnomusicologist cannot limit himself to an analysis of the sound structure, but must consider all the elements which surround the musical practice such as the context, the dance and the participation of the public. The study of gwoka as performance illustrates the interaction between these diverse constituents.
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925.More information
Counter to the cliché of a Mallarmé thinker of the Book and the printed Page, this article shows that the acts of reading aloud and recitation are at the very heart of Mallarmé's conception of poetry. According to Mallarmé, lyric poetry, in its highest form that is the Ode, is intimately linked to the chant, that is to say the voice. The Ode is not only meant to be recited or sung, but the “poetic principle” itself is based on the articulatory properties of words, properties by which they acquire a color, a quality and a particular sense: from the beginning, the “poetic principle” implies their vocal realization. By playing against each other the facets of words being actualized by voice, verse acquires an unprecedented evocative strength and fully deploys Meaning. Voice is central to the Ode in order that it recover, by public recitation, its ancient function: ensuring the communion of men within the city. Ode “dramatized or cut expertly,” which Banville's Le Forgeron and Florise (annotated by Mallarmé) exemplify, lends itself particularly well to this function. The cuts materialize conflicts between “prosodic attitudes” and the human passions they express. But these conflicts may be related, on a deeper level, to the underlying drama of the human condition, that is to say the eternal struggle between light and shadow, nothingness and being, anxiety and joy. In inscribing drama within prosody so that it manifests through voice, Ode allows empathy through the consciousness of men's condition, the preferred celebration at the core of human expression.
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926.
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927.More information
The crisis linked to COVID‑19 has not spared the world of education, and schools and universities—including music colleges—have had to rethink their teaching methods. Music teachers have had to mobilize the digital tools at their disposal to pursue their training tasks.
Keywords: Continuité pédagogique, musical, enseignement à distance, pédagogie de la musique, enseignement mixte à distance, Online distant training, musical e-learning, musical training, distance learning, blended learning in music
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928.More information
Musical education and choral singing programs from French junior high schools published between 1995 and 2008 show that practices in computer assisted instruction (CAI) have evolved very quickly, notably thanks to the progress of tools created for computer aided music (CAM). The combined effect of CAI and CAM has allowed the exploration of new pedagogical practices and profoundly changed teachers' teaching style in musical instruction at the junior high level. This article is a retrospective analysis of the experiences of a group of music education and choral singing teachers in the early 2010s. This action research was undertaken from the sequence of courses given by the teachers grouped in small teams within the community, using only copyright-free software to observe the impact of CAM on students' musical learning. It shows how these new technologies used in musical education allow the students to develop their interest and be more actively engaged in musical learning. This article gives an account of this academic and pedagogical research by placing it in the context of the works completed and published during this time period and proposes critical study using characteristics specific to the theories of the activity.
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929.More information
The concept of professionalization applied to migrant musicians raises a number of challenges in sociomusicology, because it combines the impossibility to establish a career profile valid for all in music and the need to take into account several dimensions other than strictly socioprofessional to understand the process of the artist's integration in his new environment. This study was conducted in Montreal with the Constantinople Ensemble which involves several musicians born outside the country. First, the article aims to trace the individual trajectories of the migrant musicians Didem Basar, Liu Fang, Kiya Tabassian and Ziya Tabassian since their arrival in the city. Then, we will discuss the professionalization through the reconstruction of Constantinople history. This will help to understand how the ensemble has been structured, how it has established itself in Quebec musical life, and how it has acted for its members as a space for the search for a musical identity.
Keywords: ensemble Constantinople, identité musicale, insertion socioprofessionnelle, milieu musical montréalais, musiciens migrants, Constantinople Ensemble, migrant musicians, Montreal's music scene, musical identity, socioprofessional integration
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930.