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Gerardo Gandini est l'un des compositeurs les plus influents de l'Argentine. Plongé dans la dure réalité sociale de l'Argentine, Gandini parle, dans cet entretien, de sa vision de la composition. En raison de l'absence totale d'une politique culturelle de la part de l'État et de l'indifférence des sponsors privés ainsi que des médias, le travail de la composition se déroule, selon Gandini, dans un difficile isolement. Gandini jette aussi un regard particulier sur les enjeux du pouvoir dans le monde de la musique contemporaine. Enfin, Gerardo Gandini nous parle de ses expériences dans le champ de la musique populaire, notamment de sa collaboration avec Astor Piazzolla.
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Hosted by Catherine Perrin, this round table brought together viewpoints from Lise Bissonnette, Michel Gonneville, philosopher Michel Seymour, a fan of contemporary music, psychologist François Filiatrault, a lover of baroque and early music who is quite reticent about today's accomplishments, and the mime specialist Aline Gélinas who speaks from a performer's point of view. The debate centered upon three important questions: Does the appreciation of contemporary music necessitate previously acquired knowledge?, Is the dissemination of contemporary music satisfactory?, Are there barriers to liking contemporary music? At the conclusion, each participant spoke about what he or she expected from contemporary music.
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This article offers a panorama of the presence of music in the literary review Mercure de France during an effervescent period for French musical life. In the pages of the review, Jean Marnold built on the scandal following Maurice Ravel's failure at the Prix de Rome, as this played a decisive role in the spread of a violent polemic surrounding the creation of the Société musicale indépendante. Music thus occupied an important space—over 700 texts between 1890 and 1914—that shed light on the music scene and the issues driving it at the time. Wagnerism was the favourite subject of the review's music critics as evidenced, moreover, by the inquiry into German influence on French intellectual life conducted by the review in 1902. But probably the most significant factor is the symbolist network established around the review, which found its musical direction through support for a forgotten composer, Gabriel Fabre, whose music charmed fashionable circles at the turn of the twentieth century. The Mercure de France is therefore an exceptional source for studying the reception of music whose richness lies in its interdisciplinary character.
Keywords: Critique musicale, Débats esthétiques, Gabriel Fabre, Jean Marnold, Symbolisme, Wagnérisme, Music criticism, Aesthetic debates, Gabriel Fabre, Jean Marnold, Symbolism, Wagnerism
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It's been 50 years now since the smcq began presenting “today's music,” and voices have been complaining about the representativeness of its programs since almost as long. Looking at some of the critiques made against smcq through the years and meeting with Walter Boudreau, its current artistic director, the author shows that The Times They Are a-Changin' indeed. There are many more contemporary music ensembles now than back then, while the number of composers has exploded. So it's become vital to preserve a repertoire that did not exist before while also making way for new voices. Looking at smcq's 51st season program, we can see how Boudreau manages to meet this challenge.
Keywords: Walter Boudreau, festival mnm, Serge Garant, programmation, Société de musique contemporaine du Québec (smcq), Walter Boudreau, mnm festival, Serge Garant, program, Société de musique contemporaine du Québec (smcq)