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Un article de la revue Magazine Gaspésie, diffusée par la plateforme Érudit.

Découvert au milieu des années 50, admiré et adulé, Michel Louvain fait encore battre les coeurs près de 60 ans après avoir amorcé sa carrière. Ce livre-coffret retrace le parcours irréprochable de cet artiste accompli, qui a remporté les honneurs autant pour ses performances sur disque, sur scène et à la télévision que pour son soutien à des causes sociales.

Claude Vivier's haunting and expressive music has captivated audiences around the world. But the French-Canadian composer is remembered also because of the dramatic circumstances of his death: he was found murdered in his Paris apartment at the age of thirty-four. Given unrestricted access to Vivier's archives and interviews with Vivier's family, teachers, friends, and colleagues, musicologist and biographer Bob Gilmore tells here the full story of Vivier's fascinating life, from his abandonment as a child in a Montreal orphanage to his posthumous acclaim as one of the leading composers of his generation. Expelled from a religious school at seventeen for "lack of maturity," Vivier gave up his ambition to join the priesthood to study composition. Between 1978 and 1981 Vivier wrote the works on which his reputation rests, including 'Lonely Child', 'Bouchara', and the operas 'Kopernikus' and 'Marco Polo'. He went to Paris in 1982 to work on a new opera, the composition of which was interrupted by his murder. On his desk was the manuscript of his last work, uncannily entitled "Do You Believe in the Immortality of the Soul?" Vivier's is a tragic but life-affirming story, intimately connected to his passionate music. Bob Gilmore is a musicologist and performer and teaches at Brunel University in London. He is the author of 'Harry Partch: A Biography'.

Le tout premier livre monographique et scientifique axé sur la culture Hip-Hop au Québec, rédigé par Kapois Lamort, historien spécialiste diplômé de l’Université du Québec à Montréal ( UQAM); cet ouvrage retrace les 35 ans d’existence du H.I.P.H.O.P. à travers la société québécoise de 1979 à 2015

In the stories recounting the early days of the rap scene in Montreal, actors of Haitian descent were particularly active on the rap scene: this is evident in rap texts, where frequent occurrences of Haitian Creole can be found. Considering this characteristic of Montreal rap, we propose a reflection on the issues around the visibility of Haitian migrants, and descendants of Haitian migrants, in Quebec public space by focusing on the practices and experiences of Montreal female rappers of Haitian descent. In this contribution, which aims at understanding the processes of hegemonization and minoritization at work in the Montreal and Quebec context, we will examine in particular how the vectors of differentiation involving language, “québéquicité” or gender, are manifested and reproduced in the media coverage of artistic productions.

This chapter explores the possibilities multilingual hip-hop offers for language instruction within multiethnic classrooms in Montreal shaped by multiple discursive practices. The authors review current research on multilingualism and teaching and propose strategies for overcoming the French prescriptivist monolingual mindset in education in Quebec. They also turn to poetics, and in particular the literary theory of Edouard Glissant (Caribbean discourse, 1989; Poetics of relation, 1997) and the Martinican school of Créolité, offering possibilities for rethinking relationships between oral and written, vernacular and standard language forms and for igniting language teachers’ pedagogic imaginations.

: Taking Elin Diamond’s and Rebecca Schneider’s recent work in drama and performance studies as a starting point, this essay looks at two eras of burlesque in Montreal—the 1940s-50s and 2012—tracing a shifting landscape of popular entertainment, politics, religion, and social attitudes toward female sexuality. There is a central question underlying this examination: Why burlesque? Why now (or, rather, again?). I argue that burlesque offers an archive that evokes a different, more glamorous history than the one passed down to women by second-wave feminism. Burlesque also provides an alternative to popular culture’s commodification of female sexuality, technology’s mediation of social life, and heteronormative culture’s privatization of sexuality, giving women—and men—a stage on which to make fun of our cultural fixation with sex and the female body. Both nostalgically looking back and eagerly reaching for the new, neo-burlesque repeats the past as it simultaneously reinvents it.

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.

Centring the voices and experiences of trans identified people as experts on their own lives and agents of change, Trans Activism in Canada opens up a dialogue between scholars and community members in an effort to improve the lives of sex and gender variant people

In this thesis I argue that the relationship between the increasing ubiquity of digital audio technologies and the transformation of aesthetic hierarchies in electroacoustic and sound art traditions is not deterministic, but negotiated by producers and policy-makers in specific historical and cultural contexts. Interviews, observations, and historical data were gathered during sixteen months of ethnographic fieldwork in the Canadian city of Montreal between 2011 and 2012. Research was conducted and analysed in collaboration with a transnational group of researchers on a programme of comparative research that tracked global changes to music and musical practice associated with digital technologies. The introduction presents Montreal as a rich ecology in which to track struggles for aesthetic authority, detailing its history as a key site of electroacoustic and sound art production, and its local positioning as a politically strategic 'hub' for the Canadian culture industry. Core chapters examine the specific role of digital mediation in the negotiation of electroacoustic and sound art aesthetics from multiple interlocking perspectives: the recursive relationship between technological affordances and theories of mediation; the mobilisation of digital technologies in the delineation of cultural, professional and generational territories; the political contestation of digital literacies and pedagogies; the articulation of the digital's opposition with analogue in the construction of instruments and recording formats; and the effects of the digital on the dynamics of genre and genre hierarchies. The concluding chapter offers a critique of the notion that digital mediation has shifted the balance between the normative and the generative dimensions of genrefication in the scenes in question, and closes by suggesting how a better understanding of this shift at an empirical level can inform an ongoing rethinking of the interaction between technology and aesthetics among scholars, policy makers, and musicians.