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The Judeo-Spanish song tradition has experienced many changes in recent years as it enters the 'world music' scene. Change, however, can be seen as a constant feature of the many aspects of Judeo-Spanish song and performance practice. Here, various genres are examined, together with some of the changes they have undergone in repertoire, style and context, and a selection of reactions to changes on the part of Sephardi Jews interviewed over several years. To a large extent, the repertoire has moved from the home to public representation, and is performed more by professional artists with no Sephardi background than by people from Sephardi communities, raising questions of appropriation and representation.
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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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Defining the differentiated semantics of new and novelty, reversing the dictum non nova sed nove into non nove sed nova, the author of the chamber cantata „Give me Aladdin’s lamp” is based on the rich experience of leading myriad of mid-century modernism. The investigation of the paradigms of new relationships between vocal and instrumental in creation of Dora Cojocaru, is directed in present at the chamber cantata for mezzo-soprano, brass quintet and percussion on lyrics by Emil & Dan Botta, Georg Trakl, Rainer Maria Rilke and Ady Endre (1998). The relations text - melody by their phenomenological reduction to fruitful combinations between poetic word - musical sound in Dora Cojocaru’s cantatas represent a stylistic-rhetorical subsumption of autochthonous and foreign experiences in promoting new compositional and interpretive skills meant for adaptation of appropriate musical expression in portraying contemporary aesthetic message. They are designed on the wide range of contemporary aesthetic values from the grotesque in nascendi to the absurd in morendi. As long as the Cantata Galgenlieder in der Nacht with lyrics by Christian Morgenstern (1995) is conceived at the grotesquely pole on the axis of the field of contemporary aesthetics, the Cantata Give me Aladdin’s lamp is designed in the sphere of the tragic. In the composer’s vocal and instrumental creation (and not only in them) the experiences of today’s musical composition and interpretation are rethought creatively, suggesting in perspective the permanence of modern horizons.
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Defining the differentiated semantics of new and novelty, reversing the dictum non nova sed nove into non nove sed nova, the author of the chamber cantata „Give me Aladdin’s lamp” is based on the rich experience of leading myriad of mid-century modernism. The investigation of the paradigms of new relationships between vocal and instrumental in creation of Dora Cojocaru, is directed in present at the chamber cantata for mezzo-soprano, brass quintet and percussion on lyrics by Emil & Dan Botta, Georg Trakl, Rainer Maria Rilke and Ady Endre (1998). The relations text - melody by their phenomenological reduction to fruitful combinations between poetic word - musical sound in Dora Cojocaru’s cantatas represent a stylistic-rhetorical subsumption of autochthonous and foreign experiences in promoting new compositional and interpretive skills meant for adaptation of appropriate musical expression in portraying contemporary aesthetic message. They are designed on the wide range of contemporary aesthetic values from the grotesque in nascendi to the absurd in morendi. As long as the Cantata Galgenlieder in der Nacht with lyrics by Christian Morgenstern (1995) is conceived at the grotesquely pole on the axis of the field of contemporary aesthetics, the Cantata Give me Aladdin’s lamp is designed in the sphere of the tragic. In the composer’s vocal and instrumental creation (and not only in them) the experiences of today’s musical composition and interpretation are rethought creatively, suggesting in perspective the permanence of modern horizons.
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Elle en a fait du chemin, la petite Lynda qui a débarqué au Québec après avoir quitté une Algérie à feu et à sang! De l'intégrisme religieux à la liberté d'être, nous découvrons le parcours de la jeune fille affranchie, la naissance de l'artiste, de la conférencière, de la femme et de la mère qu'elle est aujourd'hui.