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Vivier: A Night Report is a kind of poetical archive of musical details, protocols, experiences, concepts, memories, fears, desires and sorrows connected to Canadian composer Claude Vivier's (1948-1983) unusual destiny. All characters from Marko Nikodijević's opera originate from Vivier's life and works but they are re-indexed, or reenacted differently. The countertenor voice of Vivier is what primarily makes him different from all the rest of the characters. Even it could be claimed that the rest of the voices are dominated by Vivier's vocal presence on stage. Vivier stands as symbol for minority, queer, vulnerable. During his short life he was trying to get his own voice, voice as the personification of freedom and possibility to be heard. Finally he gets vivid, imaginative opera in which both his physical and personified voices are shining by creativity that his art emanate. He gets his singing voice, and he finally gets heard.
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In the 1940s it was unheard of for women to be members of a professional orchestra, let alone play "masculine" instruments like the bass or trombone. Yet despite these formidable challenges, the Montreal Women's Symphony Orchestra (MWSO) became the only all-women orchestra in Canadian history. Formed in 1940, the MWSO became the first orchestra to represent Canada in New York City's Carnegie Hall and one of its members also became the first Canadian black woman to play in a symphony in Carnegie Hall. While the MWSO has paved the way for contemporary female musicians, the stories of these women are largely missing from historical records. From Kitchen to Carnegie Hall illuminates these revolutionary stories, including the life of the incredible Ethel Stark, the co-founder and conductor of the MWSO. Ethel's work opened doors of equal opportunity for marginalized groups and played an important role in breaking gender stereotypes in the Canadian music world.
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Un article de la revue Magazine Gaspésie, diffusée par la plateforme Érudit.
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Découvert au milieu des années 50, admiré et adulé, Michel Louvain fait encore battre les coeurs près de 60 ans après avoir amorcé sa carrière. Ce livre-coffret retrace le parcours irréprochable de cet artiste accompli, qui a remporté les honneurs autant pour ses performances sur disque, sur scène et à la télévision que pour son soutien à des causes sociales.
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Claude Vivier's haunting and expressive music has captivated audiences around the world. But the French-Canadian composer is remembered also because of the dramatic circumstances of his death: he was found murdered in his Paris apartment at the age of thirty-four. Given unrestricted access to Vivier's archives and interviews with Vivier's family, teachers, friends, and colleagues, musicologist and biographer Bob Gilmore tells here the full story of Vivier's fascinating life, from his abandonment as a child in a Montreal orphanage to his posthumous acclaim as one of the leading composers of his generation. Expelled from a religious school at seventeen for "lack of maturity," Vivier gave up his ambition to join the priesthood to study composition. Between 1978 and 1981 Vivier wrote the works on which his reputation rests, including 'Lonely Child', 'Bouchara', and the operas 'Kopernikus' and 'Marco Polo'. He went to Paris in 1982 to work on a new opera, the composition of which was interrupted by his murder. On his desk was the manuscript of his last work, uncannily entitled "Do You Believe in the Immortality of the Soul?" Vivier's is a tragic but life-affirming story, intimately connected to his passionate music. Bob Gilmore is a musicologist and performer and teaches at Brunel University in London. He is the author of 'Harry Partch: A Biography'.
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Le tout premier livre monographique et scientifique axé sur la culture Hip-Hop au Québec, rédigé par Kapois Lamort, historien spécialiste diplômé de l’Université du Québec à Montréal ( UQAM); cet ouvrage retrace les 35 ans d’existence du H.I.P.H.O.P. à travers la société québécoise de 1979 à 2015
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: Taking Elin Diamond’s and Rebecca Schneider’s recent work in drama and performance studies as a starting point, this essay looks at two eras of burlesque in Montreal—the 1940s-50s and 2012—tracing a shifting landscape of popular entertainment, politics, religion, and social attitudes toward female sexuality. There is a central question underlying this examination: Why burlesque? Why now (or, rather, again?). I argue that burlesque offers an archive that evokes a different, more glamorous history than the one passed down to women by second-wave feminism. Burlesque also provides an alternative to popular culture’s commodification of female sexuality, technology’s mediation of social life, and heteronormative culture’s privatization of sexuality, giving women—and men—a stage on which to make fun of our cultural fixation with sex and the female body. Both nostalgically looking back and eagerly reaching for the new, neo-burlesque repeats the past as it simultaneously reinvents it.
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In this dissertation I explore how Indigenous methodologies that foreground cultural advocacy, revitalization, and education can be articulated using Indigenous language and cultural metaphor in research on North American Indian composers. Toward this end, I apply the Kanienkéha (Mohawk) concept of "non:wa" or "now" that also refers to three modes of perception--the now of the past, the present, and the future--toward understanding the intersection of innovation and tradition in classical Native music. This research joins the existing discourse that critiques binary oppositions separating Indigenous tradition (as past) and innovation (as present and future). Through interviews, fieldwork, and musical analysis, I illustrate Native values of interconnectedness, relationality, continuity, politics, and soundscapes in the processes of Native composition as well as the resultant works, I explore how these, in turn, may be understood through the application of Indigenous research techniques. In collaboration with a cohort of contemporary musicians, I look primarily at two Navajo composers--Raven Chacon and Juantio Becenti--and examine my own work as a composer, performer, and ethnomusicologist of Kanienkéha descent to explore the following questions: How can the topic of classical Native music best be served by using Indigenous methodologies in fieldwork, research, and representation and What is classical Native Music and is it different from other contemporary classical music styles? Drawing on the teachings of Indigenous dotahs (elders/teachers), the scholarship of ethnomusicologists, and examining oral and written tradition while using language and cosmology as cultural metaphors, I present a variety of possibilities for looking at Indigenous music through Indigenous eyes. Rather than offering a set of conclusions, I offer a set of tools for discussion and reflection: 1) how we might understand a definition of classical Native music; 2) how we are part
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How can the ephemeral touch of a caress become an aesthetic object? How can a fingernail scratching the mineral surface of a sheet of schist become music? How can intimate tactile experience become the scene of a collective artistic ritual? How does Magali Babin turn electronic sound into a medium for eccentric sensoriality? This article takes us into one region of Magali Babin’s artistic practice: the tactile world of sound that she uses in her solo performances. Author of a polymorphic sonic oeuvre, Magali Babin is a Quebec artist, performer, and composer whose artistic practice has incorporated sonic installations for the past two years. She is a key figure in Montreal’s alternative audio art, “edgy” improvisation, and experimental music scenes, moving freely among cutting-edge artistic categories.