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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.
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