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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.
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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.
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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.
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Taking over the airwaves in a small neighbourhood in Montréal was the first step in the creation of the Temporary Autonomous Radio, a pirate station open to women and serving its community when needed. From Montréal, founder Marian van der Zon moved TAR to the West Coast, temporarily on the airways in Victoria, Nanaimo, and rural Vancouver Island. Pirate radio under five watts is usually overlooked in Canada. Beyond music festivals, TAR serves to provide information about issues not often covered in mainstream media. Most importantly, it allows women to be themselves and explore their identities through a non-gendered medium