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What is the public's place in serial music, which is always associated with the paradigm, total listening? The comparison between two concert societies intimately linked to the invention of this type of music (Schoenberg's Verein für musikalische Privataufführungen and Boulez's Domaine musical) allows us to dissociate the myth of a constantly unresponsive serialism from the reality of musical organisations formed and developed by the genre's principal craftsmen.For Schoenberg the rejection of musical mediation and of the publicity generated by concerts allowed the public to partake in rehearsals devoid of the same works, long before the practise had been made popular by recordings. These rehearsals were enhanced by written commentaries and by specific listening designs. With Boulez, the existence of the record was integrated into the listening framework: the programme juxtaposed works from different periods and with variable forces: the diffusion policy gave rise to an important discography that both fixed a style of interpretation and a repertoire.Both of these frameworks allowed the evolution of three distinct levels of repetition: repetition within a work, repetition of the work, rehearsal of a performance. But the articulation between these levels was different for Schoenberg and Boulez because the two institutions, despite their relative chronological proximity, belonged to two distant periods from the point of view of musical reproducibility (one still dominated by the score and the piano, the other, already dominated by sound recordings).
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The current study sheds light on the reception of 24 Préludes by François Dompierre, created by Alain Lefèvre on 14 July 2012 at Amphithéâtre Fernand-Lindsay of the Festival de Lanaudière. The evening, devoted to the discovery of a new work and the celebration of Quebec new music, was disrupted in the first half of the concert by applause from some parts of the audience, who felt justified in so doing by the virtuosity of the artist, even though the organizers of the Festival had requested to applause only at the intermission and at the end. In doing so, one of the strongest conventions of listening to classical music in concert (i.e., the idea of applauding only at the end of a work) became a source of social tension between those who wanted to applaud after each prelude and those who insisted on silence. In the end, silence was re-established after the eighth prelude, but only by resorting to the use of authority, which the author discusses in detail in order to understand the implications for the concert, the cultural scope and the historical dimension of such a situation. As a result, the very act of listening to a concert is called into question in terms of its aesthetic purpose. Moreover, the festival context for which Dompierre created the work must be taken into account for its relaxed listening atmosphere, providing the possibility for dissension between opposing values. For this reason, the study is ideally suited to the field of sociomusicology, a discipline that can analyze the fundamental conventions and the customs of our relationship to music, while highlighting the historical context of cultural acts such as listening to classical music.
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Voice over, a voice that hovers in the margins of a film, possesses all the more enunciatory power for its refusal to be embodied in gross audiovisual data. Classic Hollywood cinema developed a series of procedures to limit this power, this potentiality for voice over, freed from the image of a body, to block or fragment the unfolding of the plot. An analysis of Sunset Boulevard (Wilder, 1950) enables the author to unmask these procedures, whose aim is essentially to integrate the voice over into the body of the diegesis, to squeeze the voice over into the frame.
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Evolving out of Mario Bertoncini's Musical Design workshops at McGill University, Sonde quickly gained attention in Canada and around the world. Starting from exploratory games and meditative improvisations, the group uses electroacoustic techniques to explore the sonic possibilities of various materials. Often, the musicians happen upon a sonic source whose musical qualities surpass all expectations. Such is the case with the sahabi, a metal frame strung with dozens of metal strings. Two of these sound sources were built and have been frequently used by group members since 1976. The sahabi should therefore be recognized as a legitimate musical instrument. But what challenges come with this semantic shift? This article answers that question, drawing on the author's interview with Charles de Mestral, inventor of the sahabi and an important figure on the Quebec new music scene.
Keywords: Mario Bertoncini, design musical, électroacoustique, improvisation, sahabi, Sonde, Mario Bertoncini, musical design, electroacoustic, improvisation, sahabi, Sonde