Documents found
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352.More information
In 2020 in Quebec, the COVID-19 pandemic led to the cancellation of many musical events. In addition to the concerts, it was also the jam sessions that had to stop. These events usually bring together music lovers for collective improvisation sessions framed by rules that vary depending on the location, the participants, and the genre of music. This article focuses more specifically on a community of electronic music producers and fans who have chosen to transpose into the digital environment the jam event they used to organize. Our research aims to understand what digital transposition does to collective creation and through which technical devices it materializes. In the face of both technical and organizational constraints and limitations, the meaning of the jam is evolving from music played together to music produced and composed collectively. Thus, our research shows that the will to develop a temporary collective, common project encourages participants to negotiate with the potential format of the event.
Keywords: jam, improvisation, collaboration, transformation numérique, COVID-19, jam, improvisation, collaboration, digital transformation, COVID-19
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353.More information
This text presents the project and artistic path of the Molinari Quartet as led by its founder, violinist Olga Ranzenhofer, who is also its artistic director. The author recounts her remarkable encounters with two great Canadian artists, Guido Molinari and R. Murray Schafer, who influenced the quartet and inspired its members to explore contemporary art and create connections with the audience. She describes and explains the events Le Quatuor selon… and Les Dialogues, which allowed the musicians and the audience to explore the string quartet repertoire of the 20th and 21st centuries through the presentation of complete quartet cycles by important contemporary composers. Olga Ranzenhofer offers a passionate account of the string quartet musician's long and rewarding process, from choosing repertoire to playing in concert, through numerous hours of work and recording a cd.
Keywords: Quatuor Molinari, quatuor à cordes, Guido Molinari, R. Murray Schafer, musique contemporaine, Molinari Quartet, String Quartet, Guido Molinari, R. Murray Schafer, contemporary music
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356.More information
In a lively and lyrical appeal, composer Michel Gonneville recommends to Lise Bissonnette that she immerse herself in an attentive and active listening of contemporary music. He notes that creative strategies and perceptive ones rarely meet. He chooses not to deny himself an ideology of breaking off which can sometimes be at the source of exhilarating experiences, and he maintains that the creation of Beauty is still the most profound objective of "artists who have broken away". He invites amateurs of music to listen to their century.
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359.More information
During the 1950s and 1960s, critical decades in the history of contemporary music, a number of Canadian composers attended the renowned contemporary music summer courses at Darmstadt, Germany (the Internationale Ferienkurse für Neue Musik), including Barbara Pentland, Gilles Tremblay, Norma Beecroft, Bruce Mather and Pierre Mercure. These lectures, concerts, discussions and meetings would have a major impact on their respective careers. For instance, Bengt Hambraeus, originally from Sweden, helped spur the rise of integral serialism, rubbing shoulders with Maderna and Nono. At Darmstadt, Pentland discovered the music of Webern while Beecroft, Tremblay and Mather were influenced by hearing works and lectures by Boulez and Stockhausen. Works by Hambraeus, Beecroft and Tremblay were performed. Mercure, meanwhile, attended Pierre Boulez's courses in analysis, composing his last work (based on improvisation) and prepared the creation of the future Société de musique contemporaine du Québec.
Keywords: Darmstadt, Canada, compositeurs, musique contemporaine, histoire, Darmstadt, Canada, composers, contemporary music, history
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360.More information
In an article on the well-documented impact of gamelan on the musical language of Claude Debussy, Nicholas Cook suggests an interpretation of Debussy's music that navigates between a point of view that claims that gamelan presented a “confirmation” of principles already acquired by the French composer, and another that judges his gamelan-inspired techniques to be imitations of a foreign musical culture. This article applies Cook's reasoning to the case of Javanese inspiration in the work Oralléluiants (1975) by Gilles Tremblay (1932-2017), by attempting to go beyond the opposition between orientalist stylistic pastiche and a more profound “stylistic assimilation” with respect to the Québécois composer. It proposes the notion of “cognitive filter” as a way to understand the way gamelan influenced Tremblay without having the same effect on other composers exposed to the same musical cultures. The expression “cognitive filter” designates any schematisation of music that listeners owe to training, ability, acculturation and their psychological particularities, and which represent and order perceptual data in order to allow for the apprehension of previously unfamiliar musics.
Keywords: Gilles Tremblay, gamelan, compositeurs québécois, interculturalisme, musique contemporaine, Gilles Tremblay, gamelan, Quebec composers, interculturalism, contemporary music