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Rababoo is a Canadian Metis soup made of pemmican (often, minced bison), fat, and water, and flavoured with berries. But the term was also used to designate musical “mixtures” in Canada around 1862. It was then that, on the edges of the Mackenzie River, Robert Kennicott wrote that aboriginal travellers and singers were the ones who used the expression in the following way : « When the Indians try to sing a travelling song, the different tonalities and melodies create a rababou. » In this paper, we will examine the musical rababou in Quebec and demonstrate that more research is needed to better understand past and future forms of rababou.
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In this interview, conducted on 18 August 1994, Violet Balestreri Archer revisits her past, recreating the experiences of her youth from the earliest days of her childhood in Como and Montreal to her graduation from Yale University in 1949 and sharing highly personal memories of her family, teachers, and friends. She recalls her first visit to Italy, her school years, her piano lessons, her early attempts at composition, her participation in the Montreal Women's Symphony, and her compositional studies with Douglas Clarke at McGill University, Béla Bartók in New York, and Paul Hindemith at Yale University. In listening to her story, we discover "who" she is and "how" she succeeded in establishing her compositional voice and in creating a space or "room" for herself in a profession traditionally dominated by men.
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This chronological catalogue of Violet Archer's earliest completed compositions, including works written from 1932 to 1943, is based on manuscripts in her possession and on deposit at the University of Calgary Library, as well as published scores and reproductions of manuscripts in the University of Alberta Library and the libraries of the Canadian Music Centre. It provides the date of composition for each work and summarizes the supporting evidence, including dates found on manuscripts, the types of paper used, entries on lists of works compiled by the composer, and dates of first and early performances. Also included are the medium of performance of each work, a list of movements, the source of any text, and the location of scores and recordings.
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