Documents found
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958.More information
The Parisian choreography scene in inter-war France was in a state of profound change. The 1920s had witnessed the decline of Serge Diaghilev's Ballets russes and the rise of new dance companies, notably the Ballets suédois, jostling traditions and challenging the relationship between music and dance. Then, in the course of the 1930s, a young dancer of Ukrainian origin became the ballet master of the Paris Opera and conquered both the public and the critics. In this article, we examine the discourse on dance, and specifically the debate around Lifar's artistic approach in La Revue musicale. As the most significant French music periodical of its time, La Revue musicale gave an important place to other artistic disciplines in relation to music, and in particular, to dance. We will focus on the scope and extent of writings on dance in this influential monthly review, the reception given to the creations of Lifar, and the ideas that developed around the relationship between music and dance.
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959.More information
Noticing the uneven line-up of male and female classical and contemporary music composers on the french national stages, this article questions the stubborn exclusion of female composers from the professional spheres and the promotion of their work. This paper draws from the French materialist feminists their analysis of the balance of power between the sexes in the light of the cultural area's characteristics, and presents hypotheses to explain the near absence of female composers in the cultural line-up of the last decade in France; therefore bringing together both materialist ideas and musical sociologists' analysis.
Keywords: compositrices, études féministes, violences sexistes et sexuelles, femmes artistes, sociologie de la musique, Female composers, Feminist studies, Sexist and sexual violences, Female artists, Sociomusicology
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960.More information
This interview presents Xenakis's views on the number of issues relating to "music and space": role of space in music, spatial dimensions, spatiality of pitch and of musical form, movement of sounds, motion of performers and audiences, influence of acoustic space on performance, function of spatial imagery in music, spatial features of Pithoprakta, Terretektorh, Nomos Gamma, Alax, etc. These issues arise from M. Harley's doctoral research into ideas of space and spatialization in contemporary music.