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In Toronto and Montreal, Brazilian popular music performances constitute a context for intercultural encounter. Performances offer Brazilians the opportunity to present their culture of origin while emphasising their identification with it. The issue of representation is quite complex, however, due to the involvement of a majority of non-Brazilian musicians, audience members, artistic directors, producers, promoters, and journalists. This dissertation focuses on music reception and cultural representation and how these may influence each other after music has been decontextualised and recontextualised. I look closely at local non-Brazilian audiences possessing different degrees of familiarity with Brazilian music, and I demonstrate how cultural stereotypes influence their conceptions and expectations of Brazilian music, culture, and people. I argue that a desire for cultural difference and the exotic, encouraged by discourses of cultural diversity, influences the reception of performances. I suggest that, through the privileged gaze of non-Brazilian attendees, performances may be adjusted to correspond to audience fantasies of Brazil. Some non-Brazilians would like to become knowledgeable of, and even intimate with Brazilian culture, which would satisfy their desire to be cosmopolitan. However, pleasure frequently matters more to them than a nuanced understanding of Brazilian culture; this explains, I contend, why some Torontonians and Montrealers have become comfortable with essentialist and stereotypical representations. I examine how some non-Brazilian musicians, promoters, and band agents reinforce mythologies of Brazil to meet audience demands and sometimes to satisfy their own fantasies. I analyse the reproduction of similarly problematic discourses on Brazil in the presentations of Brazilian artists as both a form of autoexoticism and a particular type of tactical or strategic essentialism. Rather than to represent and understand Brazilian culture, I argue that, through local music performances, Brazilians and non-Brazilians in Toronto and Montreal interpret Brazilianness.
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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.
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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.
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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.