Documents found
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32.More information
Since the emergence of recording, music has been enriched by a multitude of eclectic practices inspired by the development of our knowledge of the musical phenomenon. With the multiplication of cultural transfers and the reconstitution of musical practices of the past, the word “music” itself, used in the singular, now seems very narrow to apprehend all the ways of thinking about the musical phenomenon through time and space.
Keywords: épistémologie, gnoséologie, esthétique, ontologie, histoire des représentations, epistomology, gnoseology, aesthetics, ontology, historical representation
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34.More information
The history of electroacoustic music is the most significant musical achievement since Bach's time. Far from complete, it's a history that continues to be shaped by genuine, if somewhat marginal, artists operating at the fringes of fashion and consumerism. While it has achieved general acceptance, electroacoustic music remains largely misunderstood and neglected. This situation could change fairly quickly however, spurred by the declining appeal of consumer products, a waning interest in middle-of-the-road popular music, the planned obsolescence of world-wide cultural plundering, and the exhaustion of vintage-chic and mixes.
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35.More information
Where is the film music? This question is expected to help map the territory of our film music experience. This study's starting point is a sequence from Leos Carax's film Mauvais sang (1986). In this sequence, music is the main purpose of the dialogue: it uses the radio broadcast of two songs to configure the filmic space, and the characters' bodies are lead by their rhythm. In doing so, the whole sequence is subjected to the phenomenology and expressive logic of music: transparency and reflection, colours and shapes, human body choreography and visual rhythm, etc., every component of the sequence is shaped by the music. In consequence, the staging creates a space for the viewer, the film theorist and the musicologist, where the film materials can truly meet. It is a space where it is possible to experience altogether a musical work, a musical reality and the musicality of film. This space is also instrumental when answers are sought to the question: where is film music?
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38.More information
By making reference to polemical articles and the commentaries from radio programme "Musique de notre siècle" (music of our time), the author shows how Garant defended the modernist current in the twentieth century against the tenents of neo-classicism and academism, and how he defined the tasks of contemporary Canadian music.