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In National Performance, Erin Hurley examines the complex relationship between performance and national identity. How do theatrical performances represent the nation in which they were created? How is Quebecois performance used to define Quebec as a nation and to cultivate a sense of 'Quebec-ness' for audiences both within and outside the province? In exploring Expo 67, the critical response to Michel Tremblay's Les Belles Soeurs, Carbone 14's image-theatre, Marco Micone's writing practices, Cľine Dion's popular music, and feminist performance of the 1970s and 80s, Hurley reveals the ways in which certain performances come to be understood as 'national' while others are relegated to sub-national or outsider status. Each chapter focuses on a particular historical moment in Quebec's modern history and a genre of performance emblematic of the moment, and uses these to elaborate the nature of the national performances. Winner of the Northeast Modern Language Association's Book Prize, National Performance is sophisticated yet accessible, seeking to enlarge the parameters of what counts as 'Quebecois' performance, while providing a thorough introduction to changing discourses of nation-ness in Quebec

Cette étude musicologique aborde la musique pratiquée et écoutée par les Chiliens exilés à Montréal pendant la dictature (1973-1989), se concentrant sur l’histoire de la musique du point de vue des auditeurs. Quelles musiques participent à l’expérience d’exil et quel rôle accomplissent-elles? Comment les musiques accompagnent-elles le processus d’adaptation au pays d’accueil et comment aident-elles à construire un lien avec le pays d’origine? Ce sont quelques unes des questions qui ont guidé le développement de la recherche, dont la méthodologie est mixte et se concentre sur l’entrevue. Trois dimensions de l’histoire musicale y sont examinées. Premièrement, la contribution de la pratique musicale au mouvement de solidarité envers le peuple du Chili, notamment à travers la formation d’ensembles musicaux et l’organisation des peñas et des concerts. Deuxièmement, le rôle des musiques dans la construction d’une communauté culturelle chilienne, où différents discours sur l’identité nationale et politique sont négociés. Troisièmement, la présence des musiques dans les expériences individuelles d’exil, de déracinement et d’adaptation. Les genres de musique populaire les plus présents, soit la Nueva Canción Chilena et la Proyección Folclórica, ainsi que leurs enjeux des significations identitaires et politiques, font partie de la problématique du présent texte. La cueca, considérée la danse nationale, occupe aussi une place privilégiée de la discussion, due à la place importante qu'elle occupe dans la communauté chilienne de Montréal.

My dissertation explores the eclectic singing careers of sisters Eva and Juliette Gauthier. Born in Ottawa, Eva and Juliettte were aided in their musical aspirations by the patronage of Prime Minister Wilfred Laurier and his wife Lady Zoë. They both received classical vocal training in Europe. Eva spent four years in Java. She studied the local music, which later became incorporated into her concert repertoire in North America. She went on to become a leading interpreter of modern art song. Juliette became a performer of Canadian folk music in Canada, the United States and Europe, aiming to reproduce folk music “realistically” in a concert setting. My dissertation is the result of examining archival materials pertaining to their careers, combined with research into the various social and cultural worlds they traversed. Eva and Juliette’s careers are revealing of a period of transition in the arts and in social experience more generally. These transitions are related to the exploitation of non-Western people, uses of the “folk,” and the emergence of a cultural marketplace that was defined by a mixture of highbrow institutions and mass culture industries. My methodology draws from the sociology of art and cultural history, transposing Eva and Juliette Gauthier against the backdrop of the social, cultural and economic conditions that shaped their career trajectories and made them possible.

The powerful concept of orientalism has undergone considerable refinement since Edward Said popularized the term with his eponymous book in 1978. Orientalism typically is presented as a totalizing process that creates polar oppositions between a dominating West and a subordinate East. U.S. orientalisms, however, reflect uniquely North American approaches to identity formation that include assimilating characteristics usually associated with the Other. This article explores the complex relationship among three individuals—U.S. composer Charles T. Griffes, Canadian singer Eva Gauthier, and German-trained Dutch East Indies composer Paul J. Seelig—and how they exploited the same Javanese songs to lend legitimacy to their individual artistic projects. A comparison of Griffes's and Seelig's settings of a West Javanese tune (“Kinanti”) provides an especially clear example of how contrasting approaches manifest different orientalisms. Whereas Griffes accompanied the melody with stock orientalist gestures to express his own fascination with the exotic, Seelig used chromatic harmonies and a chorale-like texture to ground the melody in the familiar, translating rather than representing its Otherness. The tunes that bind Griffes, Gauthier, and Seelig are only the raw materials from which they created their own unique orientalisms, each with its own sense of self and its own Javanese others.

La chanson « Montréal », d'Ariane Moffatt, a remporté un vif succès durant l'été 2006. Ce mémoire examine les causes de cette popularité. Après une revue des diverses méthodes existantes en recherche en musique populaire, trois types d'analyse se succèdent. En premier lieu, l'étude présentée ici décrit la chanson de manière théorique; on y observe le fonctionnement de la voix, de la mélodie, de la métrique, de la basse, des phrases, de la tonalité, des accords et des instruments utilises, images par une transcription précise de l'enregistrement de la chanson. Puis, le présent travail étudie les codes musicaux qui se retrouvent dans «Montréal». Dans cette deuxième section, le message musical du morceau est analysé, en tenant compte du contexte socioculturel de l'été 2006, de l'histoire nationale et musicale qui a précédé la sortie de cette pièce et des paroles de la chanson. Finalement, cette étude investigue la composante identitaire de «Montréal» en examinant les croyances nationalistes des Québécois, la place de la chanson dans l'imaginaire collectif de ce peuple, et la tradition musicale populaire de la province.

A l'instar des ecrivains de la litterature migrante, des chanteurs et des chanteuses venus de divers pays ont fait du Quebec leur port d'attache et le foyer de leur carriere artistique. Ce phenomene assez recent a fait qu'au cours des dix dernieres annees on a vu debarquer au Quebec des artistes d'Hai'ti, du Bresil, du Mexique, du Maroc, du Rwanda, du Tchad, de l'Algerie, et du Venezuela, chacun avec sa musique, sa couleur, et sa sensibilite propre. Dans cette nouvelle branche de la chanson quebecoise on trouve les themes de predilection de la litterature migrante tels que l'exil, la nostalgie, le sentiment de perte, l'adaptation a un nouveau pays, l'integration, le racisme, la xenophobie, et l'hospitalite. La chanson quebecoise s'enrichit de ces differents apports; car ces artistes apportent avec eux non seulement des voix, des sons et des styles musicaux nouveaux, mais aussi des themes inedits et des trames narratives originales qui refletent leur culture d'origine, leur passe, et leurs valeurs de meme que leurs emotions liees a leurs defis actueis et a leurs reves pour l'avenir. (1) Dans cet article, nous examinerons en detail l'ceuvre de deux d'entre eux: Lynda Thalie qui, selon Monique Giroux, l'experte en chanson francophone de Radio-Canada, "est, parmi les artistes neo-quebecois, celle qui a pris le plus de place et est la plus susceptible de conquerir un large public" (cite par Vignaux) et Corneille, celui qui a jusqu'a ce jour remporte le plus grand succes aussi bien commercial que d'estime. II a vendu plus d'un million et demi de ses deux premiers disques, et a lance son premier disque en anglais, "The Birth of Cornelius," au Japon en mai 2007. (2) Lynda Thalie: l'exilee d'Algerie

The object of this dissertation is the meeting of Middle-Eastern and Western music. The dissertation includes an essay and seven original compositions (scores and recordings). The text begins with the exposition of the basics of Middle-Eastern music required to understand my artistic approach. The 'taqasim', a major musical form in the Middle-East and a source of inspiration for my work is presented in more detail. The second chapter deals with the philosophy of aesthetics involved in the intermixing of musical cultures. Concerns about the coherence of commingled languages are exposed. The concepts of intermixing, cultural identity and coherence of a work are submitted for discussion. For a given work, does the notion of coherence retain its essence from one person to the next according to culture and social context? This questioning is directly linked to the creation and generation of the processes of development for the musical material in my compositions. Throughout the chapter, I position my approach in relation to the thinking of authors such as Adorno, but also relative to personal experiences. In chapter 3 I describe the writing processes I have developped in order to create a sound fabric wherein Middle-Eastern music meets that of the West. My work defines processes for treating parameters in order to draw together elements of both Eastern and Western musical expressions into a distinctive language <math> <f> <fr><nu>.</nu><de>7</de></fr></f> </math> the key to this is grasping how one musical element influences another. Using analysis as a starting point for the comparison of musical parameters in each of the languages, I have elaborated new commingling (intermixing) techniques. This chapter is therefore devoted to the cross-relational writing techniques that have been evolved to adequately support my artistic approach. The final chapters of this dissertation feature the detailed analyses of three of my compositions: 'Jet Stream, Algorythme and PLB'. Each piece's form, sections and sub-sections are presented followed by the analysis of its basic musical material and development.

The music of Canadian composer Claude Vivier (1948-1983) was used as a fractalized material for the creation of the composition Chambres de ténèbres/tombeau de Claude Vivier (2005) by Marko Nikodijević. Vivier’s opus and his marginal queer acting were the pillars of Nikodijević’s meticulous reading/deconstructing of Vivier’s world through his own artistic dilemmas.

Un article de la revue Jeu, diffusée par la plateforme Érudit.