Documents found
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421.More information
Featuring the same musicians since 1994, for 25 years the Quasar saxophone quartet has developed an artistic approach focused on creation and innovation. Through close collaboration with composers at various stages of the creative process, the quartet actively participates in the enrichment of the repertoire for their ensemble. Through workshop structures such as the Électro Series, Quasar is not only at the cutting edge of new musical practices, they also foster the exposure of Quebec and Canadian music locally and internationally. After briefly contextualizing the musical milieu in Montreal that saw the ensemble's formation in the 1990s, this article traces the milestones that led Quasar to their unique and distinctive art.
Keywords: Quasar, quatuor de saxophones, musique contemporaine, musique mixte, interprétation, diffusion, musique québécoise, musique canadienne, Quasar, saxophone quartet, contemporary music, musique mixte, performance, diffusion, Quebec music, Canadian music
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422.More information
For the last twenty years, hip-hop in West Africa, among the few musical genres common to the whole region, has considerably contributed to the vitality of the local musical sector as well as to social change among the West African youth. hip-hop music has asserted itself through the articulation of new socio-cultural and ideologico-political perspectives. Drawing the nowadays globalised geographies of hip-hop and its musical expression, this article suggests an analysis of the political production of hip-hop musical from the West African collective, AURA. The mobilisation of those hip-hop actors thus illustrates the application of the differential politics and the politics of difference inscribed in this musical genre in West Africa.
Keywords: hip-hop, AURA, production politique, Afrique de l'Ouest, musique-rap, hip-hop, AURA, political production, West Africa, rap music, hip-hop, AURA, producción politízale, África del Oeste, rap-música
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423.More information
While presenting her detailed synopsis of the Montreal 1991-1992 concert season within all sectors of contemporary music, the author muses upon the development of today's music in this special place in North America and wonders whether or not the creative environment is in good health or in a period or remission.
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425.More information
In this piece, a composer of instrumental music and student of the Darmstadt generation of teaching explains how he situates himself as creator with regard to present-day developments in postmodernist music. He underlines the successes and failures of modernism without hiding his own preferences and deceptions, and marks out a personal, nuanced, non-partisan position.
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This article surveys recent examples of intercultural music-making in Canada, and interrogates the politics of intercultural music by examining how multilateral understandings of cultural identities are represented and circulated by sonic practices, and, importantly, how utopic narratives of social diversity in Canadian policy can become creatively unsettled. Ensembles such as the Vancouver Inter-Cultural Orchestra, Big World Band, and the New Canadian Global Music Orchestra have dedicated themselves to performing music that draws from a range of influences where interculturality is manifest in an aural aesthetic. Artists such as Yamantaka // Sonic Titan and Lido Pimienta respond to and critique racialization and marginalization in ways that are not explicitly represented in sound. Finally, collaborations between Indigenous and non-Indigenous musicians have taken on a particularly acute valence as a means of articulating resurgence and cultural sovereignty in Canada's post-trc milieu.
Keywords: performance interculturelle, diversité, multiculturalisme, colonialisme, politique culturelle, intercultural performance, diversity, multiculturalism, settler colonialism, cultural policy