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AbstractAn excursion into the companion piece repertoire, that is, works which have the particularity of having been designed to be performed alongside other pre-existing works. In order to find the titles of works which belong to this still little-known genre, more than 450 composers, performers and ensembles were contacted, and over 200 of these responded. The result is a provisional list of 150 works classified according to the work which they were composed in order to ‘accompany'. This short article reveals above all the scope and complexity of the concept of the companion piece, and, consequently, the importance of grasping its definition, and of making the genre known.
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AbstractContinuing her answer to one of the “50 questions” she addresses in her book Composer de la musique aujourd'hui, Reverdy describes the many obstacles that French women must deal with to become composers. Following a brief autobiographical sketch, Reverdy addresses the question of the supposed essence of music composed by women, and attacks the myth of “innocently” composed music. She concludes with a discussion of the politics of musical composition.
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From the perspective of a performer, the author discusses certain features of Gilles Tremblay's vocal works, with particular emphasis on the shape of his lyric output and the performance abilities it demands. Vocal training follows parallel paths of mutual inspiration: the development of the organic voice itself and that of its instrumental capabilities. All vocal technique revolves around this process. The author concludes that Tremblay adheres to an all-encompassing bel canto approach that draws equally from the voice's natural qualities and from its remarkable potential as an instrument.