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This document explores sacred music by women composers for the Revised Common Lectionary (RCL) of the Catholic and Christian churches. The study researches exclusively choral and vocal solo music by women composers for the church season of Lent. Other primary limitations include music in English, and music from the nineteenth century to the present. The main question answered in this document is: what sacred music has been published by women composers that may be programmed in church services? This question is answered in the included appendices. These appendices list the music by women composers appropriate for the specific RCL readings for each Sunday of Lent, as well as the holidays of Ash Wednesday, Maundy Thursday, and Good Friday. There are also appendices of choral and solo vocal pieces that are generally appropriate for the Lenten season. Every attempt was made to be as thorough as possible in identifying this music, with the understanding that no one compilation of this kind can ever be complete. Additionally, selected works by six composers are explored in this document: Emma Lou Diemer (b. 1927), Arletta O’Hearn (b. ca 1928), Jane M. Marshall (1924 – 2019), Rebecca Clarke (1886 – 1979), Violet Archer (1913 – 2000), and Undine Smith Moore (1904 – 1989). These composers are representative of the variety of styles, diversity, history, and levels of musical complexity within this body of music.

À l’aube des années 1960, Renée Claude fait ses débuts de chanteuse en interprétant Ferré, Béart et Brassens, mais aussi, et surtout, les siens (Ferland, Léveillée, Vigneault, DesRochers, Lelièvre). Sa rencontre avec l’auteur-compositeur Stéphane Venne, puis son association avec le parolier Luc Plamondon marqueront un point tournant dans sa carrière. Pendant plus d’une décennie, Renée Claude enchaînera les succès. « C’est notre fête aujourd’hui », « Le début d’un temps d’un nouveau », « Le tour de la terre », « Viens faire un tour », « Tu trouveras la paix », « Un gars comme toi », « Ce soir je fais l’amour avec toi » ... Au début des années 1980, alors que d’autres chanteuses de sa génération rendent les armes, Renée Claude connaît une incroyable renaissance avec un cycle d’hommages à Clémence DesRochers, Georges Brassens et Léo Ferré. Offerts aux quatre coins du monde pendant plus de 30 ans, ces spectacles confirmeront son grand talent d’interprète. Grâce à des dizaines d’entretiens, le journaliste Mario Girard retrace le fascinant parcours de plus de 50 ans de cette artiste incomparable. À travers son histoire, il raconte aussi celle du Québec qui a émergé de la Grande Noirceur pour se tailler une identité à sa mesure. Et on peut affirmer que Renée Claude y a largement contribué.

Montreal composer Jocelyne Binet's "Cycle de Melodies sur des Poemes de Paul Eluard" was programmed in 1955 by the French baritone Gerard Souzay in a performance that was most likely the world premiere. Unfortunately, Binet's song cycle never was published, and the work soon was forgotten. In the fall of 2016, the author discovered Bineet's original handwritten manuscript pages in holdings of Bibliotheque et Archives Nationales du Quebec and began the process of reconstructing the score. This article discusses the editorial journal undertaken when resurrecting Binet's forgotten song cycle, which was subsequently published in 2018 by Classical Vocal Reprints.

In the present academic research connecting geography and music,a real gap remains in the study of different issues associated with both music and geography and, particularly, to the recent music geographies. This paper advances a new geographical approach in music geography highlighting the relevance of time and space in music, in the artist‟s outstanding contribution to music and in their recognition from the local to the global. Particularly the study is focused on one of the most emblematic music artists of the world, analyzing through a spatio-temporal investigation the prestigious awards achieved by the singer Celine Dion, since this singer remains both a real music legend and an iconic artist gaining multiple awards and thoroughly appreciated and admired for her outstanding contribution to music and global popular culture. The research bases on such specific methods as internet research, visual methodologies, bibliographical analysis and geographic information systems (GIS). The latter is used to provide a professional map illustrating the spatio-temporal distribution of the multiple awards received by Dion the artist. The findings of the research highlight the highest scale of appreciation an artist can receive. The results of the study also suggest that the outstanding contribution of the greatest artists of the world, acknowledged by the highest national, international and global forums, provide significant information about their artistic involvement in the global popular culture. They have a strong relevance both in space and in time, thus labeling different cultural decades and distinct places and spaces throughout the world.

Un article de la revue Cap-aux-Diamants, diffusée par la plateforme Érudit.

En plus d’offrir un portrait des productions culturelles queer au Québec tant francophones qu’anglophones, dont certaines autochtones, cet ouvrage s’attarde à révéler le caractère queer de celles qui ne le sont pas de facto. Il se présente comme un manuel de référence sur le sujet, avec des essais critiques – qui portent autant sur la littérature et le monde du spectacle que sur les arts médiatiques ou la presse gay – et des textes expérimentaux – fictions, dessins, récits autobiographiques. Plus de 27 œuvres de fiction publiées entre 1965 et 2017 y sont analysées sous différents aspects, avec des méthodologies diverses, mais toujours sous l’éclairage queer (un terme à la nature instable, paradoxale, que calque la forme éclatée de l’ouvrage). Du polyamour à l’inceste, en passant par le racisme, l’urbanité, le suicide, le non-désir d’enfant, l’alimentation ou les processus de production, le queer met en scène des personnages hétéros ou homosexuels, intersexués, cis, trans, travailleur·euse·s du sexe, gros et plusieurs autres… Cette juxtaposition d’états, de genres, de thèmes, de formes et de pratiques constitue l’une des forces de ce livre qui intéressera bien sûr un lectorat d’intellectuel·le·s et de personnes issues des communautés LGBTQIA2S+, mais pas seulement. Il deviendra, sans nul doute, une ressource indispensable pour l’enseignement de nouvelles perspectives dans le cadre des sciences humaines et sociales.

Three volunteer hosts and programmers of a feminist music show at a campus-community radio station, Anna Leventhal, Catherine McInnis, and Angela Wilson, sat down in 2008 to chat about feminist radio. They discussed the concept of a feminist music show and the possibilities and limitations of female-only spaces; the “fem-con” concept that campus-community radio stations be mandated to play a certain amount of music by women, in the same way they are mandated by the CRTC to play Canadian content; the transformative social and political potential of community radio; and the inclusion of trans and gender-nonconforming voices on the show.

Ageing and memory - two aspects of life everybody has to face eventually. The contributions to this volume explore the cultural mediations of these categories. Through a series of approaches focused on practices and acts of memory, narratives, reminiscence, representation and collective memory, they seek to better understand and critically reflect on how ageing is experienced in variegated ways across the lifespan. By covering a variety of phenomena, from biopics, music by the elderly, and artefacts, among other, they all contribute to further the understanding of memory as a cultural process always in the making - situated in particular contexts, and shaped by its material conditions of existence.

Though they no longer call themselves Top 40, popular music radio stations remain present on the dial today, complete with loud, mostly male DJs, hoping to attract a mainly female audi ence. Using the talk on two Montréal music stations, which hire mainly male announcers who select music assumed to fit wom en’s tastes, Christine Maki examines the continuing perception that women’s voices aren’t low or authoritative enough and that emotional issues prevent them from presenting difficult news stories. Her conclusion: the overall medium remains relatively unchanged over the decades, despite massive evolution in the wider media landscape.

In this review, I discuss the architectonics of sound composition according to sound artist and designer Nancy Tobin. This chapbook advocates for a comprehensively integrated presence of a sound artist in the processes of rehearsal and espouses a dramaturgy of hearing. Tobin’s distinction between hearing and listening gives forth onto a series of self-studies of her experience of spatial and temporal arrangements presented in the form of e-mails to mentees. Her appreciation for the acoustics of the performance space extends to the composition of sound to be heard (on occasion as boldly interventionist) and the technologies of broadcasting it: the choice and placement of speakers, as well as their interaction with the performers. Tobin argues for a definition of sound composition for performance as a complex collaboration with the production—curatorial in terms of the space of ephemerality. My review concurs with the efficacy of her approach by my recognition of the moments in productions that have remained as some of the most memorable of my theatregoing.

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'.

Article sur l'artiste sonore Nancy Tobin.

À partir des dimensions spatiale, temporelle et musicale, ce mémoire expose les modalités de reconnaissance des improvisatrices de jazz dans les jam-sessions de Montréal. En se référant au concept de Jeu chez Mead, l'autrice montre que l'authentification des musiciennes en situation d'improvisation est le produit de la communication mise en forme par ce type d'interaction. Toutefois, le contexte des jam-sessions montréalais maintient un «entre-soi» masculin défavorable à la reconnaissance des musiciennes comme improvisatrices distinctes dans ce jeu musical. Ainsi, l'improvisation dans ces événements de jazz participe à la reconduction des inégalités de genre.