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Au sein de la province du Québec, la majorité des immigrants choisissent de vivre à Montréal et y forment des communautés au sein desquelles leurs pratiques musicales du pays d’origine perdurent au-delà du processus migratoire. Depuis trois ans, notre équipe de recherche travaille à Montréal auprès de diverses communautés issues de l’immigration pour comprendre comment le musical participe au « Vivre ensemble ». Nous émettons l’hypothèse que la musique est pour les immigrants un outil pertinent d’intégration et de négociation identitaire afin de vivre au sein d’une société conviviale et d’y contribuer. La perspective comparative qui est la nôtre vise à faire ressortir ce qui est privilégié selon les cas de figures par les communautés elles-mêmes tant au sujet des répertoires musicaux que des processus de reconstruction identitaires à travers la musique. Dans cet article, nous présenterons nos observations au sujet de la communauté issue de l’immigration roumaine et moldave. Le groupe ainsi nommé est loin de représenter une homogénéité quelconque en dehors de l’origine qui est mentionnée sur les fiches de données produites par Statistiques Canada. Nous nous appuyons sur des exemples précis issus de nos travaux de terrain auprès de cette communauté afin de démontrer que nous avons affaire à un cosmopolitisme musical qui trouve pleinement sa place et son expression dans un tel contexte urbain.

Dora Cojocaru is recognized as an outstanding representative of the Cluj school of composition, but also as a strong voice in Romanian musicology. While her musicological output includes books, studies, articles, radio programs, conference papers, master classes and scientific communication sessions, her most important contribution remains the book entitled Creația lui Gyӧrgy Ligeti în contextul stilistic al secolului XX [Gyӧrgy Ligeti's Work in the Stylistic Context of the Twentieth Century], which was the first book about Ligeti that appeared in the Romanian musicological landscape. Dora Cojocaru’s compositional portrait can be drawn by following the language characteristics and compositional devices used in the chamber cantata Dați-mi lampa lui Aladin [Give Me Aladdin's Lamp]. The composer’s work is characterised by a propensity for chamber music. The composer confesses that it is also a consequence of the fact that this genre comes with a plethora of expressive possibilities. In terms of the musical language used by the composer, its first characteristic is the concern to avoid repetition in expression and the variation of an already used musical material. This is strikingly evident in the chamber cantata Dați-mi lampa lui Aladin [Give Me Aladdin's Lamp]. Another peculiarity is the construction based on a developmental discourse, while a third characteristic is the frequent construction of the discourse based on an economy of means and on a musical material consisting of only a few notes. In the case of this cantata, it is essential to note the historical context, which is closely linked to the symbolic title suggesting the composer’s desperate desire to bring her brother back to life, although she is aware that this is only possible by magic. The composer’s choice of lyrics is derived from the fact that Trakl’s and Rilke’s texts allude to the theme of death, which is one of the frequent themes of late Expressionism, and are therefore pervaded by a tragic note, in tune with the composer’s musical intentions. If we follow the text-music relationship, we notice some extremely significant moments, in which music creates sonic images that are suggestive of the message of the text.

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

Produced by Juro Kim Feliz under the Canadian Music Centre Library Residency, Nomadic Sound Worlds is a four-part blog/podcast series exploring Canadian contemporary music through the lens of present-day global migration. A collection of essays named Letters of Transit: Reflections on Exile, Identity, Language, and Loss (ed. André Aciman, 1999) informs and inspires this project, with trajectories branching out from related themes including mobility, displacement, loss, reconciliation of polarized truths, and invention of selves. In this regard, the series will feature selected immigrant Canadian composers whose musical worlds collide with various personal stories of immigration.

This dissertation maps the interaction between jazz, identity, modernity and nation during the so-called "golden age" of jazz in Montreal (1925-1955). Drawing on the fields of musicology, women's studies (black feminist theory and feminist research methods in particular), critical dance studies, and cultural studies, this project provides a critical re-writing of the history of Montreal jazz, one which acknowledges various roles that racialized and ethnicized women played in the shaping of modern identities, pleasures and sounds in Quebec. Montreal's particular status as a "showtown" makes it a rich laboratory to study the collaborative creative relationships between jazz music and dance on the black variety stage in the first half of the twentieth century. I also map the specific parameters that articulate the discursive relationship between jazz and vice, in particular as these relate to the gendered and racialized embodiment of morality in interwar Quebec. Finally, this dissertation produces the first extensive biographical accounts and critical listening of several prominent Montreal-based female jazz artists, including pianists Vera Guilaroff and Ilene Bourne, all-girl groups such as The Spencer Sisters and the Montreal Melody Girls Orchestra, black women performers such as Tina Baines Brereton, Bernice Jordan Whims, Marie-Claire Germain, Mary Brown, Natalie Ramirez, as well as piano teacher Daisy Peterson Sweeney and dance teachers Ethel Bruneau and Olga Spencer Foderingham.

Radicada há mais de vinte anos na França e no Canadá, Bïa Krieger conquistou um público cativo nesses países, onde recebeu prêmios importantes, como o Grand Prix de l’Académie Charles Cros (França), Prix de l’Adisq (Canadá) e Félix du Meilleur Album Musiques du Monde (Canadá). Esta entrevista contempla o seu trabalho como versionista, com enfoque nas versões em francês para canções de Chico Buarque.

The singer-songwriter Lhasa de Sela (1972-2010) launched her career and produced her three records in Montreal where she arrived in 1991. Not only did she change the face of migrant song in Quebec, but she also enjoyed international success, embarking on long world tours and selling more than a million records. This analysis will focus on the songs from her second album, The Living Road, and will show that Lhasa de Sela transcended linguistic and artistic frontiers by crossing the geographical border when she made Montreal her home and creative hub.

One of my favorite compilation CDs of the last few years is Unclassics: Obscure Electronic Funk and Disco, 1975–1985, released in 2004 on the Environ label. The thirteen tracks on Unclassics were collected and remixed by house/techno artist Morgan Geist, who offers them as all-but-forgotten dance music gems from just outside an Anglo-American musical axis, from places like Spain and Italy. The style that ostensibly unites these tracks is “Eurodisco,” though, as we shall see, that label does not accurately subsume all of them. “Italo-disco” seems an even cruder reduction, but circulates among critics, fans, and collectors as a meaningful label for much of the music gathered here. While some of the cuts on Unclassics have long been the idiosyncratic favorites of DJs or dance music collectors, more is going on here than the resurrection of cultish or neglected treasures. Unclassics is one milestone within the significant rehabilitation of European and Italian disco that has unfolded over the last decade. Mixed Up in the Hague, Vol. 1, a compilation first released privately in 1999, was a key event in this rehabilitation; other collections, like I-Robots: Italo Electro Disco Underground Classics and Confuzed Disco: A Retrospective of Italian Records, have followed. Zyx, the Germany-based label that dominated the field in the 1980s and early 1990s, is actively marketing dozens of compilations of its own Italo-disco from that period. The garish red and green covers of Zyx’s Italo anthologies, which filled the discount cassette bins of European airport stores fifteen years ago, have been redesigned so that they now look authoritative and curatorial. Radio and DJ sets devoted to this music now abound on the Internet. Think Italy. Without claiming mind-reading powers, it’s a comfortable prediction you’ve already got tacky piano sample records and frenzied all-night clubbing in mind, a nation that when it isn’t knocking out club records by the cartload likes nothing more than to party all night on a hillside by the sea. Italian music has been in and out of style more often than the flares revival. There are enough piew-piew-piew zaps during these 55 minutes to wipe out a small nation of roller skaters. For almost two decades, tracks like those collected on Unclassics held the status of morbid symptoms, reminders of the decay and dispersion of dance music in the years between disco and house music. Even as they reclaim these tracks as lost gems, the liner notes to Unclassics embrace that morbidity, relishing the ways in which so many of these pieces are seen to have gotten things wrong. My favorite track on Unclassics is a Spanish cut from 1979, “Margherita,” whose guiltless dishing out of pleasures betrays the compilation’s broader sensibility. Piercing little synth notes alternate with thick, rolling movements that could drive an army forward. Mariachi horns interweave with tinny keyboard glissandos in rounding out sections. Changes come precisely when we want them; each gimmicky sound or flourish dutifully returns just as we start to miss it. As “Margherita” moves in unstoppable fashion around its wheel of styles and sections, it is easy to think that this is music trying too desperately to be liked. Dominant understandings of the European contribution to disco read its influence selectively, focusing on the robotic, synthesized sounds of Kraftwerk or Giorgio Moroder. These versions of Eurodisco’s history link such figures as Can, Patrick Cowley, Afrika Bambaataa, and Juan Atkins in a heroic story that sends disco to Europe so that it may return, reinvented, to an American underground able to realize its radical potential. When Eurodisco is remembered for its sleek mechanical control, however, what gets forgotten is the lush extravagance that seemed to mark so much of it. As early as 1977, North American critics had recourse to a well-entrenched moral geography in characterizing disco music from continental Europe as “florid,” given to flamboyant passion and bombastic overlays of effects.1 Arguably, the peculiarity of so much Eurodisco came from the ways in which its extravagant lushness often went hand in hand...

To measure Maryvonne Kendergi’s contributions to the smcq, it is necessary to revisit her career in Quebec, which was based on the solid academic and professional training she received at Parisian institutions from 1929 to 1952. Thereafter, in Montreal, she was hired by Radio-Canada for her exceptional voice, and in September 1956, she embarked on a brilliant radio career as a promoter of contemporary music. Kendergi gradually introduced the listening public to the arcana of the Montreal avant-garde. In this endeavour she was encouraged by Stockhausen’s arrival in Montreal in 1958, by composers’ efforts in organizing International Music Week in 1961, by the foundation of the smcq in 1966, and by the influence of the latter organization, particularly in its collaboration with the Université de Montréal in establishing the Musialogues in 1969. The role of Kendergi’s exceptional skills in broadening the influence of the smcq is explored in this article.

Cet article porte sur les rôles que les femmes ont joué dans le développement d’une scène jazz à Montréal. Les archives témoignent de l’importance des pianistes Vera Guilaroff et Ilene Bourne, de l’enseignante de piano Daisy Peterson Sweeney, des enseignantes de danse Olga Spencer Foderingham et Ethel Bruneau, ainsi que des danseuses de variétés dans le développement de la plus grande scène jazz du Canada au cours de la première moitié du xxe siècle. Cet article contextualise la présence des femmes dans ces espaces performantiels précis (le piano, l’enseignement, la danse) et explore les processus historiographiques liés à leur exclusion des récits historiques.

« Il y a de ces moments où l'on peut avoir l'impression de patauger dans une boue solide, presque opaque, à travers laquelle la lumière peine à passer. Et pourtant, lorsqu'on s'y attarde un peu, combien de fois tirons-nous nos initiatives les plus courageuses, nos créations les plus belles, nos décisions les plus sages au moment où nous sommes nous-mêmes couverts de boue, lorsque nous nous retrouvons dans la merde jusqu'au cou ? » Florence K a vécu une enfance de saltimbanque. Elle baigne dans la musique et les tournées. Dans Buena vida, elle livre un récit rempli d'humanité, de musique, de voyages, et dévoile une partie de son existence qu'elle surnomme « l'abysse ». Sa vingtaine a été parsemée de grandes joies, entre le bonheur de la maternité et celui d'avoir réussi à faire de la musique son gagne-pain. Mais Florence est aussi passée par un trou noir qui a bien failli l'engloutir et duquel elle est sortie encore plus amoureuse de la vie. C'est en toute transparence qu'elle partage sa descente aux enfers et sa renaissance, car « la vie, c'est tout ce qu'on a ».

Ce livre présente l'apport culturel des musicien(ne)s et chanteurs/chanteuses d'ascendance arabe, berbère et nord-africaine au Québec de 1962 à 2017. Qui sont les artistes issus de ces cultures les plus importants au Québec ? Qu'ont-ils produit ? Quelles sont leurs démarches artistiques et quelles difficultés éprouvent-ils ? Comment les médias et le secteur culturel québécois les accueillent-ils ?

The author focuses on the multilayered social identities internalized by seven second-generation Italian-Quebec artists and how it is manifested in their artwork. She examines how Quebec's political landscape, especially the impact of Quebec's linguistic, nationalist and cultural debates, and the subjects' parents' experience of immigration, impinged on the artistic process and production. The author demonstrates how these artists connect their Italian ethnicity to a creative practice to achieve a sense of balance between family traditions, personal identity, and belonging. The seven artists are: Vittorio Rossi (Playwright, Actor); Agata De Santis (Documentary Filmmaker, Producer, Blogger); Sandra Coppola (Filmmaker, Scriptwriter); Luisa Pepe (Singer, Songwriter); Franco Taddeo (Comedian); Michaela Di Cesare (Playwright, Actor); and Marco Calliari (Author, Composer, Musician).