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Cet article examine l’expérience des auditeurs chiliens exilés à Montréal, se concentrant spécifiquement sur leurs écoutes pendant la dictature militaire (1973-1989). Issus d’une méthodologie mixte qui combine l’histoire orale et l’analyse musicale, les résultats de cette recherche musicologique révèlent la place primordiale que l’audition musicale eut chez les exilés dans la reconstruction d’un lien avec leur pays d’origine, ainsi que dans le développement du mouvement de solidarité avec le peuple chilien. L’article explique, d’abord, le déploiement des goûts musicaux et identifie les répertoires canoniques qui demeurent au centre des écoutes. Ensuite, il aborde le rôle de l’usage des enregistrements en vinyle et cassette, et de la radio dans la diffusion des musiques. Enfin, les deux dernières sections explorent les significations associées aux pièces musicales ‘Gracias a la Vida’ et ‘Vuelvo’, mettant en relief la complexité de la réception en ce qui concerne la construction des identités culturelles, le récit des histoires personnelles et communautaires.

Enchanted by the vocal music of Serbian-born Canadian composer Ana Sokolović, Tamara Bernstein visited the composer at her home in Montreal. Sokolović’s music draws on several sources, including the theatrical world and the culture of the Balkans. The extended vocal techniques in Sokolović’s music are rooted not in the avant-garde music of the twentieth century, but in the oral traditions and poetic voice of Serbia. It seems that the more the composer returns to her cultural roots, the more she embraces the universality of the human soul.

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 chanteuse mexicano-américaine Lhasa de Sela, également passionnée par la peinture, le dessin, la photographie et l'écriture, retrace son parcours et dévoile les lectures, les artistes et les pensées qui la nourrissent (Jung, Hugo, Géricault, Cat Stevens, etc). En 1998, la chanson la Llorona la fait connaître en Europe et au Québec.

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.