Documents found
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431.More information
Marcelle Deschênes, pioneer of electroacoustic composition, pianist, educator and multimedia artist. Born in 1939 in Price, Marcelle Deschênes made her mark in the 1980s and created the very first electroacoustic composition program at the Faculty of Music at the Université de Montréal. She was involved in various organizations and research groups and paved the way for women in an almost exclusively male field. She also worked with young people and non-musicians. She is known for her large-scale multimedia shows and her innovative creative approach stemming from the era of Laurie Anderson, Michel Lemieux, and La La La Human Steps. At a time when everything was allowed and the stage had become an integral part of the musical production known as the classical tradition, she surrounded herself with collaborators such as Raôul Duguay, Les mimes électriques, Jacques Collin, and Paul St-Jean (L'Écran humain). It was a musical period bursting with new ideas in all artistic spheres.
Keywords: électraoacoustique, Deschênes, pionnières, multimédia
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432.More information
Along with his friends Wilfrid Lemoyne and Suzanne Gagnon, Serge Garant stayed in Paris from October, 1951 to May, 1952. While discovering the innumerable cultural treasures of the French capital, he attended the legendary classes in analysis given by Olivier Messiaen at the Paris Conservatory. He also studied with Andrée Vaurabourg-Honegger, one of the city's leading music pedagogues. This would prove to be an important stage in Serge Garant's musical training, as witnessed not only by his correspondence, but also by his compositions that date from this time. This article highlights some of the salient moments of Serge Garant's Parisian sojourn, such as his discovery of the music of Messiaen and Pierre Boulez, and assesses the impact of these experiences on his subsequent career.
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434.More information
In a very concise formulation all his own, Edgard Varèse sums up how the sound film is an opportunity for music to get out of the impasse in which it finds itself; this opportunity is due to the very singular spatiotemporal drama that cinema imposes on visual and sound configurations, and to the relationship between the two: “a co-penetration of visual volumes and planes, and of sound volumes and planes” (Varèse 1983, p. 57). A simplistic interpretation of this formulation would see it as nothing more than the application to cinema of a label often taken up by Varèse to present his own musical practice; a sophisticated interpretation can see in it an aesthetic idea whose poetic power some music and film creators and theorists continue to discover today: the music of a film must surpass itself towards a musicality of cinema, and this musicality of cinema is a matter of production and temporal implication of spatial events and material affects.
Keywords: cinéma, Edgard Varèse, musicalité, musique, son organisé, cinema, Edgard Varèse, music, musicality, organized sound
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435.More information
When Lerdahl and Jackendorf apply Chomsky's generative linguistic model to tonal music, they are led to the postulate that musical competence is innate; this leads immediately to the problem of the generalization of this theory to all music. Neuro-physiological cognitivism offers part of the solution, notably in the form of the theory of modularity, but Fodor's dichotomy between central processes and modules is not born out through the observation of complex facts.In general, an ontology of events must replace an ontology of objects. The author shows how in his own research, Piaget's notion of "infant grammar" is resuscitated, through the introduction of the notion of an "evolving musical grammar". This model generates dynamic, global structures which have a temporal orientation and which are anterior to the notions of interval, pitch or duration. It thereby avoids the contradictions of the aforementioned cognitivism, and supplies the foundations of any approach to music which emphasizes its temporal quality.
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436.More information
In 2021, the Paris Conservatory of Music and Dance initiated a collective reflection on mediation training for its students. Through the analysis of different sources (internal questionnaires intended for students, teachers, interviews with educational leaders, participatory research group, consultation workshops, student or external media), this article, after having described the approach adopted by the Conservatory, analyzes the levels of community support for the project of integrating training in cultural mediation into study courses. Secondly, it attempts to take stock of the changes in the narratives and values they carry by focusing on two moving notions: that of excellence for what concerns the training of interpreters and that of scientific neutrality for the training in musicology. By outlining some parallels with other institutional spaces of music (education or diffusion), it proposes the hypothesis that the development of mediation training leads to a paradigm shift within the art school that is the Paris Conservatory.
Keywords: Conservatoire de Paris, médiation culturelle, musique, récits, excellence, neutralité, Paris Conservatory, cultural mediation, music, narratives, excellence, neutrality
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437.More information
The article opens with a detailed chronology of the Canadian tour of Pierre Boulez and the Ensemble InterContemporain (May-June 1991), listing all activities and making reference to the reactions which they elicited. The text offers a representative selection of newspaper and radio commentary virtually unanimous in praising the exceptional qualities of both the concerts and the conductor. The article also gives examples of various polemical statements while acknowledging the reserved reception of the theories of Pierre Boulez. Through a series of statements from Canadian musicians who worked with Boulez, the article reaffirms the kindness and the great accessibility of the man himself.
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439.More information
In this lecture given on May 8, 1996 at the Chapelle historique du Bon-Pasteur (Montreal) under the sponsorship of the ARMuQ's Tribune of Composers, the author continues with his discussion heard for the first time in 1995, « Postmodernité, que me veux-tu » (Circuit, vol. VIII, No. 1, 1997). He analyzes his vocal work Alma & Oskar (melodrama from beyond the grave).
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440.More information
The notion of oral and written modes of transmission are often associated with the idea of ‘primitive' and ‘civilised' in the collective imagination, and by extension, concepts of so-called literate and illiterate cultures, popular vs. learned, immaterial vs. material. In reality, oral and written modes of transmission come out of practices that, while opposed, are complementary to each other. These modes use different manners of functioning, the auditory and the visual. The oral and written traditions co-existing in music are not without a certain historical tension. This is reinforced by the search for authenticity in notation and the significance given to it, often justified from the standpoint of orality. Due to this, the 20th century has given birth to a multitude of languages, techniques, levels of perceptions and conceptions of sound structures, bringing into question the function and place of the score, a symbol seen as the pinnacle of Western musical thought.The purpose of this text is thus to explore the relationship between oral and written modes of transmission using Western contemporary musics as a point of reference, referring also to the fields of composition and ethnomusicology to point out and juxtapose their similarities and differences in approach.
Keywords: oralité, écriture, paradoxes, ethnomusicologie, composition, orality, writing, paradoxes, ethnomusicology, composition