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Cet article porte sur une intervention musicale et interculturelle de groupe qui visait l’amélioration du bien-être psychologique et l’intégration des personnes réfugiées dans la ville de Québec. L’expérience a regroupé 20 personnes, dont 10 Québécois de longue date et 10 personnes réfugiées nouvellement arrivées, qui se sont réunies à 10 occasions pour échanger et jouer de la musique ensemble. Les propos recueillis avant, pendant et après la démarche démontrent que l’activité a contribué à l’amélioration du sentiment de bien-être des réfugiés, mais aussi d’une majorité des Québécois de longue date. Les propos montrent que la démarche a aussi contribué à l’intégration des réfugiés.

Maps and map-making have been used in a range of research about musical phenomena in cities. Yet, most of these studies focus on musicians; few have attempted to understand how people take part in a city’s musical life in terms of event attendance. Likewise, little has been said about the attendance habits of immigrants, despite the quick transformation of urban populations due to the expansion of human migration. Approaching a subject that has received so little attention as the dynamics of participation of immigrants in a city’s musical life therefore requires an inventive research design. Building from a methodology combining semi-structured interviews and observation, I used maps and map-making to deepen the analysis of North African immigrants’ cultural practices in Montreal. Trying to give a spatial legibility to their musical activities in the city generated many technical and theoretical concerns, but was also helpful for reflecting on the project differently and highlighting some characteristics of the data that were not obvious from the initial fieldwork. In brief, maps and map-making proved to be efficient complementary tools to ethnography, bringing new insights and raising new queries about the practices being considered.

Perle Abbrugiati's article explores Coeur vagabond/Coraçao vagabundo, the fourth record by the French-Brazilian artist Bïa, released in 2006. The bilingual album comprises an equal number of Brazilian-Portuguese adaptations from French songs and French adaptations from Brazilian songs. The aim of the present article is to identify the strategies applied in the translation of songs. To this end, the article's author herself uses translation within the framework of a comparative approach, confronting Bïa's translations with her own literal translations (not suitable to be sung) of the original lyrics. The objective is not to trace 'mistranslations' but to point out in how many different and intricate ways a translation can be faithful while being creative, and in what way and to what degree the song translator may take the liberty of 're-semantisation'.

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.

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.

The Ammanuel Montreal Evangelical Church (amec) is composed of over 150 members of Ethiopian and Eritrean origin. Through the examination of their musical practices, this article analyzes how music is involved in the construction and expression of religious identities in the context of migration. It appears that in borrowing worship music widespread in Ethiopia and in its diaspora, the faithful highlight the "Ethiopianness" of the group, at the expense of the minority Eritrean identity. The author then reveals that each musical parameter conveys different identity facets. If the universality of the Gospel message is expressed through dance and lyrics, the repertoire and its instrumentarium convey the "Ethiopianness" of the congregation, while the rhythms refer to a multi-ethnic Ethiopian imaginary. As for the local identity (Montreal) of the congregation, it is represented by the combination of several hymns borrowed from the stars of Ethiopian Gospel music. Finally, the paper highlights some musical ambivalences of the faithful who, in the context of migration, feel torn between several cultures.