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"Three Moments of Love is a series of reflections on the work of Leonard Cohen and Bruce Cockburn. These two artists, so different in style and temperament, are brought together in one work in order to compare and examine the way in which they approach the question of love and desire: in their art and in their life."
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Through ethnographic fieldwork undertaken from 2003 to 2010, discussion with local musicians, and analysis of concert programs, recordings, live performances, rehearsals, press reviews, musicians’ websites and textual sources, the author examines the means by which the Chinese diasporic community in Montreal negotiates its cultural identity and exerts its agency through musical performance. The author also explores how the tangled relationships of regionally- diverse Chinese immigrants to their birthplaces and their chosen homeland are unravelled, reflecting simultaneous positions as “insiders” and “outsiders.”
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This paper is a study of prestige and boundaries in Quebec French-language popular music. Based on interviews with artists, producers and critics conducted in the early 1990s, I argue that popular music in Quebec at that time remained divided along a symbolic boundary established in the 1960s between a highly prestigious group of songwriters/rock artists, who wrote and sang their own material, and a less prestigious group of interpreters/artistes populaires, who sang light pop songs or songs written by others. As predicted by Bourdieu, I show that artists in the most prestigious category were associated with privileged social groups and gained material and symbolic advantages from their prestige. They are more likely to receive honorific awards, to be invited to perform at special cultural events, to see their work recognised as 'important', and to persist over time. In opposition to Bourdieu, however, I argue that in the context of emerging nationalism, their songs were also perceived as providing collective benefits over and beyond class and gender divisions.
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In this article, I examine the tense relationship between belonging and recognition that occurs as two young composers try to situate their musical identities between the urge to contest the hegemony of Western art music and the desire to be part of and recognized within this musical tradition. I draw on their participation as finalists in an international composition competition to examine how issues of identity, postcoloniality, and belonging, on the one hand, and of musical authorship, subjectivity, and agency, on the other hand, are woven into the highly ritualized processes of evaluation and recognition in contemporary Western art music.
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We examine the uses of and attitudes towards language of members of the Montreal Hip-Hop community in relation to Quebec language-in-education policies. These policies, implemented in the 1970s, have ensured that French has become the common public language of an ethnically diverse young adult population in Montreal. We argue, using Blommaert's (2005) model of orders of indexicality, that the dominant language hierarchy orders established by government policy have been both flattened and reordered by members of the Montreal Hip-Hop community, whose multilingual lyrics insist: (1) that while French is the lingua franca, it is a much more inclusive category which includes ‘Bad French,’ regional and class dialects, and European French; and (2) that all languages spoken by community members are valuable as linguistic resources for creativity and communication with multiple audiences. We draw from a database which includes interviews with and lyrics from rappers of Haitian, Latin-American, African-American and Québécois origin.
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Montreal is the metropolitan hub of the province of Quebec, a French-speaking island in officially bilingual, but de facto majority English-speaking, Canada. The current youth generation represents a variety of ethnolinguistic backgrounds—French and English Canadian, but also many different immigrant-origin groups, including large Haitian and Hispanophone populations. Young adults and adolescents share French as a common language through schooling. In Quebec, hip-hop, a privileged literary–artistic and political medium for this generation, not only reflects its multilingual, multiethnic base, but also constitutes an active and dynamic site for the development of an oppositional community that encourages the formation of new, hybrid identities for youth. The authors draw on interviews with rappers of Haitian, Dominican, and African origin, and analysis of lyrics by these MCs, to highlight ways in which the discourses of “conscious” Quebec hip-hop promotes particular ideologies and identities in a context of migration/resettlement and globalization of youth culture.