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Women have been active as performers of instrumental music since the Medieval period, and yet their contributions are often overlooked. This dissertation examines the history of women’s orchestras outside the United States, and explores their development, as well as reasons for existing. Several factors regarding their development are taken into consideration, including time period, country, and culture in which the ensemble is present. The birth of the women’s orchestra is traced from the ospedali of the 18th century Venice to today. All-female ensembles from England, Canada, Cuba, and Afghanistan are profiled, as well as the Women’s Orchestra in Auschwitz. Two modern-day women’s orchestras – the Allegra Chamber Orchestra in Vancouver, British Columbia, and my recital orchestra at the University of Maryland – were surveyed in an attempt to learn more about the culture of women’s orchestras. This paper seeks to answer the questions “What is the culture of women's orchestras today, and should they continue to exist?”
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This dissertation maps the interaction between jazz, identity, modernity and nation during the so-called "golden age" of jazz in Montreal (1925-1955). Drawing on the fields of musicology, women's studies (black feminist theory and feminist research methods in particular), critical dance studies, and cultural studies, this project provides a critical re-writing of the history of Montreal jazz, one which acknowledges various roles that racialized and ethnicized women played in the shaping of modern identities, pleasures and sounds in Quebec. Montreal's particular status as a "showtown" makes it a rich laboratory to study the collaborative creative relationships between jazz music and dance on the black variety stage in the first half of the twentieth century. I also map the specific parameters that articulate the discursive relationship between jazz and vice, in particular as these relate to the gendered and racialized embodiment of morality in interwar Quebec. Finally, this dissertation produces the first extensive biographical accounts and critical listening of several prominent Montreal-based female jazz artists, including pianists Vera Guilaroff and Ilene Bourne, all-girl groups such as The Spencer Sisters and the Montreal Melody Girls Orchestra, black women performers such as Tina Baines Brereton, Bernice Jordan Whims, Marie-Claire Germain, Mary Brown, Natalie Ramirez, as well as piano teacher Daisy Peterson Sweeney and dance teachers Ethel Bruneau and Olga Spencer Foderingham.
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Pauline Julien et Gérald Godin ont entretenu une correspondance amoureuse s’étendant sur plus de trente ans, soit de 1962 à 1993. Quelques-unes de leurs lettres ont fait l’objet d’une publication, La Renarde et le mal peigné (Leméac Éditeur, 2009), grâce à Pascale Galipeau, fille du comédien Jacques Galipeau et de Pauline Julien. Mais c’est avant tout le corpus inédit de plus de 400 lettres non reprises, découvertes dans les fonds d’archives à BAnQ, qui feront l’objet de nos recherches. Outre sa « fonction documentaire » (Jaubert, 2010a : 74), cette correspondance permet de voir la mise en scène par laquelle s’élabore la construction du moi de Julien et de Godin. Au fil de leur échange épistolaire, chacun joue sur l’impression qu’il tente de produire sur l’autre, de manipuler la mise en scène du moi qui régule leur interaction amoureuse. Dans l’ensemble des lettres, cette présentation de soi relève d’une complexion plus vaste que celle qui se dégage des choix éditoriaux effectués dans La Renarde et le mal peigné, restreinte à la relation amoureuse. Permettant d’éclairer la relation personnelle entre Julien et Godin, ainsi que leurs trajectoires artistiques respectives, cette correspondance constitue le lieu d’une négociation entre leurs postures publiques (poète journaliste puis ministre et chanteuse engagée) et intimes (homme de lettres au foyer et femme de profession). De fait, même si leurs échanges restent intimes, il y a là une présentation de soi qui se confronte à la nécessité de négocier avec la médiatisation de leur figure publique, celle-ci influençant leur part de contrôle sur la figure intime qu’ils tentent de dessiner dans leur correspondance. Des textes de Ruth Amossy (La présentation de soi. Ethos et identité verbale et Images de soi dans le discours : la construction de l’ethos), d’Anna Jaubert (« L’éthos de l’épistolier au miroir de l’autre ») et d’Arlette Farge (Le goût de l’archive), constitueront les bases théoriques de notre étude.
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Carefully preserved in the archives of the Ursuline and Hôtel-Dieu Monasteries of Quebec are several manuscripts containing Canada’s first sacred works for female voices. The manuscripts contain dozens of intricate motets composed in the French Baroque style, a repository of music which has not been sung for hundreds of years. These motets form a neglected part of Canada’s musical heritage which is waiting to be unearthed and explored. Ursuline and Augustinian nuns arrived to the French territories of the New World to educate and evangelize young women. Singing formed a core element of their teaching and worship. For over one hundred years (1639-1760), church music provided a backbone to Canada’s vibrant musical culture. When the French territories were lost to Britain and Spain, musical culture shifted radically and the sacred French music simply faded into obscurity. An overview of the sweeping events of the French Baroque era includes discussion of France’s social conditions, the political and religious climate, the flowering of the arts and the exploration of the New World. In France, the seventeenth and eighteenth centuries were a time of great strife which heralded the massive social changes to come in the nineteenth century. France’s struggles directly impacted the colony of New France, including that of its religious institutions and music. This study traces the musical activities in the Ursuline community of New France as the nuns lived their mission on the frontier, teaching Aboriginal and colonial girls. The evolution of female emancipation stemming from religious evangelism is considered. Examination of a trove of 160 motets located in the female monasteries of Québec City reveals the high caliber of music practiced by the nuns. No interpretive editions for performance purposes exist. Newly transcribed works have been generated from the manuscripts, with period performance guidance for appropriate ornamentation and ensemble requirements. An in-depth discussion of New France Baroque vocal and choral musical styles is provided, with reference to historical records of how it was taught, as described in contemporaneous music treatises and many original documents specific to these religious female communities.
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Ce mémoire explore la notion d’intermédialité autochtone au sein de l’oeuvre de Natasha Kanapé Fontaine. Les imbrications entre les médias seront notre point d’appui pour penser les questions de l’esthétique dans l’art autochtone actuel. Par le biais de la représentation d’un média dans un autre, nous aborderons ainsi la réactualisation des traditions orales telles que le conte, le mythe, le chant et le tambour au sein des productions de cette artiste. Notre parcours observera les structures intermédiales qui mettent en exergue la mémoire ainsi que les connaissances ancestrales. Les croisements entre l’identité et le territoire seront également discutés dans l’optique des représentations intermédiales. Ainsi, les phénomènes d’affirmation et de réactualisation des savoirs se déploient par l’utilisation de divers médias. De ce fait, la résistance environnementale et culturelle ainsi que la néo-oralité sous-tendent l’oeuvre de l’artiste et s’expriment à travers les territoires imaginaires et médiatiques.