Intersections Vol. 29, No. 2
Saturday, 10 July 2010 18:15
Adam Becker
Éditorial / Editorial
Célébrons la musicologie francophone, par Sophie Stévance
Celebrating francophone musicology, by Sophie Stévance (translated by Brian Locke)
Articles
De l’ubiquité poïétique dans l’œuvre de Iannis Xenakis — Espace, Temps, Musique, Architecture, par Anne-Sylvie Barthel-Calvet
Aspects de l’ethos musical dans l’antiquité grecque, par Fabien Delouvé
Euler et les réseaux harmoniques, par Franck Jedrzejewski
Chroniques / Chronicles
Enseignement à distance de la musique ou l’e-learning musical, par Sylvaine Martin de Guise
Samba : entre musique, danse et carnaval, par Grégoire Niehaus
Essai critique / Review essay
Linda Cummins. 2006. Debussy and the Fragment, par François de Médicis
Book Reviews / Recensions
Ralph P. Locke. 2009. Musical Exoticism: Images and Reflections (Louis Epstein)
Barbara Kelly, éd. 2008. French Music, Culture, and National Identity, 1870-1939 (Marie-Noëlle Lavoie)
Last Updated ( Wednesday, 21 July 2010 18:47 )
Intersections Vol. 29, No. 1
Friday, 08 January 2010 13:57
Adam Becker
Vol. 29, No. 1 (2009)
Publication date: 2010-02-03
Number of articles: 16 EditorialPages 3-5 Authors(s): Murray Dineen ArticlesTom Johnson : le simple du village - PDF through EruditPages 6-16 Authors(s): Nicolas Darbon Tom Johnson is a Chicago-born composer now living in France, where he enjoys a certain celebrity, thanks in part to the success of his operas. His case is interesting, however, as an anachronistic manifestation of simplicity in music—in the meaning intended by the complexity or chaos theories. A pupil of Morton Feldman as well as an admirer of Satie and Cage, he participated actively in the life of the New York school through his reviews in the well-known magazine The Village Voice, pushing the logic of minimalism to its ultimate entrenchments. Indeed, his post-Duchamp conception of the found object applies in particular to the mathematic formulae he puts into music in the strictest way, without any addition of feeling, without interpretation, yet with a dimension that could be called playful. A practising Protestant, Tom Johnson refuses the halo effect of being labelled a composer and prefers the humble status of “finder.” The unrelenting determinism of his sonic finds, their disembodied, clock-like mechanism go against many a listening reflex and many aesthetic tendencies. Thus can the “voice of the Village” be said to sound strangely “simple” in the grandiloquent jumble of the European intellect. Pour une histoire sociale de la musique de George Crumb dans les années 1970 - PDF through EruditPages 17-31 Authors(s): Pierre Castanet “Towards a Social History of George Crumb’s Music in the 1970s” wishes to show that the art of this American composer (b. 1929) reflects in a kaleidoscopic manner the changing nature of society. By readily applying various facets of the notion of “metaphor,” Crumb’s visionary output relates as much to the mysteries of spirituality as to the throes of death. Thus, the symbolic approach to musical composition follows the analysis of socio-cultural realities as well as the socio-political circumstances of the time. Pages 32-48 Authors(s): Alan Gillmor An exploration of George Rochberg’s much-publicized rejection of musical modernism—in particular serialism—in the early 1960s. The paper will explore Rochberg’s conception of musical time and space, duration in music and its relationship to the roles of memory, identity, intuition, and perception in the shaping of human experience. It will explain his notion of the “metaphysical gap between human consciousness and cosmos,” which he derived in part from Wittgenstein’s proposition that ethical and aesthetic judgments lie outside the property of language. In Rochberg’s view, serialism fails to provide an organic three-dimensional model of duration as experienced through the human perception of time: past (memory) and future (anticipation) become conflated into a continuous present, and the crucial balance between information and redundancy has malfunctioned. Madness in Linda Bouchard’s Black Burned Wood - PDF through EruditPages 49-69 Authors(s): Kirsten Yri With its images of paranoia, anger, resignation, and infantilism, Linda Bouchard’s Black Burned Wood may easily be aligned with musical representations of madwomen. The text, a cycle of eleven poems collected under the title “Sara Songs” takes the form of a rambling monologue in which Sara struggles to come to grips with her role in an unspecified but horrible act. Although the syntactic structure and verbal content of the poems place Sara in a state of derangement, it is the musical setting that is responsible for the instantaneous and overwhelmingly raw portrayal of Sara’s madness. This paper explores the use of fragmentation, non-linearity, musical fixation, and dissonance to musically represent Sara’s madness. Review EssayMusic, History, Autonomy, and Presentness: When Composers and Philosophers Cross SwordsMartin Kaltenecker and François Nicolas, eds. 2006. Penser l’oeuvre musicale au XXe siècle: avec, sans ou contre l’histoire? Paris: Centre de documentation de la musique contemporaine. 134 pp. ISBN: 2-9516440-9-4 (paper) - PDF through EruditPages 70-85 Authors(s): Danick Trottier Notes from the DisciplineSurvey of University-Based Music Programs in Canada - PDF through EruditPages 86-104 Authors(s): Don McLean; Dean Jobin-Bevans This study provides a compact overview of university-based music programs in Canada based on information gleaned from surveys of institutional members of the Canadian University Music Society (CUMS)—universities, colleges, and conservatories. The surveys took place between 2005 and 2009. The current report focuses on the metrics of enrolment and staffing, and goes on to provide basic data on graduate and undergraduate programs. It is a first step in sharing information that can facilitate informed advocacy in support of music in higher education both within and beyond individual institutions. The Gregorian Institute of Canada: Traditions in Western Plainchant - PDF through EruditPages 105-106 Authors(s): William Renwick Book ReviewsHervé Lacombe. 2007. Géographie de l’opéra au XXe siècle. Paris : Fayard. 318 p. ISBN 978–2-213–62749–6 (couverture souple) - PDF through EruditPages 107-112 Authors(s): Éric Champagne Eric Salzman et Thomas Desi. 2008. The New Music Theater; Seeing the Voice, Hearing the Body. New York : Oxford University Press. viii, 408 p. ISBN 978-0-19-509936-2 (couverture rigide) - PDF through EruditPages 112-119 Authors(s): Martine Rhéaume Nicolas Dufetel et Malou Haine, éd. 2007. Liszt : un saltimbanque en province. Lyon : Symétrie, xii, 424 p. ISBN 978-2-914373-27-2 (couverture rigide) - PDF through EruditPages 119-123 Authors(s): Damien Ehrhardt Laurent Feneyrou, Giordano Ferrari et Geneviève Mathon, éd. 2007. À Bruno Maderna, volume 1. Paris : Basalte. 558 p. ISBN 978-2-9526717-1-2 (couverture souple) - PDF through EruditPages 123-129 Authors(s): Yves Balmer Anna Hoefnagels and Gordon E. Smith, eds. 2007. Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present. Newcastle, UK: Cambridge Scholars Publishing. 274 pp. (b/w photos, model diagrams). ISBN 978-1-84718-366-8 - PDF through EruditPages 129-130 Authors(s): Marcia Ostashewski Hyun-Ah Kim. 2008. Humanism and the Reform of Sacred Music in Early Modern England: John Merbecke the Orator and The Booke of Common Praier Noted (1550). Aldershot: Ashgate. xviii + 239 pp. ISBN 978-0-7546-6268-6 (hardcover) - PDF through EruditPages 131-135 Authors(s): Barbara Swanson Lloyd Whitesell. 2008. The Music of Joni Mitchell. New York: Oxford University Press. 276 pp. ISBN 978-0-10-530799-3 - PDF through EruditPages 135-138 Authors(s): Olivia Carter Mather Pages 139-142 Authors(s): All rights reserved © Canadian University Music Society / Société de musique des universités canadiennes, 2010
Last Updated ( Saturday, 10 July 2010 18:35 )
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Wednesday, 03 June 2009 11:30
CUMS-SMUC
Vol. 28, No. 2 (2008)
Publication date: 2009-05-15
Number of articles: 15 EditorialPages 3-5 Auteur(s): Murray Dineen ArticlesPages 6-30 Auteur(s): Nathan Martin A little-noticed passage from Moritz Hauptmann’s 1853 treatise Die Natur der Harmonik und der Metrik very nearly describes the opening progression of Wagner’s Tristan. The present paper surveys the various analyses of the Tristan chord presented in the theoretical literature and defends an analysis derived from Hauptmann as a viable alternative. Pierre Boulez et le Théâtre de la Cruauté d’Antonin Artaud : De Pelléas à Rituel, in memoriam Bruno Maderna - PDF through EruditPages 31-50 Auteur(s): Brice Tissier In a 1948 text, Pierre Boulez expresses his desire to infuse his music with a ritualistic undertone comparable to that of Antonin Artaud’s poetic. This remark raises questions about Artaud’s influence, concerning both Boulez’s conducting activities and the conception of his works. The first part of this article deals with Boulez’s public writings on Pelléas et Mélisande and on the links he establishes between Debussy and Artaud in his private writings. The second part concentrates on the connections that relate Artaud’s works to those of Boulez, particularly in Rituel, in memoriam Bruno Maderna. Interpreting Gesture as Motive: A Transformational Perspective on Replication in R. Murray Schafer’s Seventh String Quartet1 - PDF through EruditPages 51-71 Auteur(s): Stephanie Lind While the text, instrumentation, and performance details of Schafer’s Seventh String Quartet (which include an obligato soprano, colour and costume motifs, and texts based on the writings of a schizophrenic woman) seem to distract from the work’s pitch structure, seemingly disparate motives can instead be considered closely related because they repeat a particular transpositional gesture. This article uses transformational network analysis, a recently developed theoretical approach incorporating elements of mathematical and musical set theory, to illustrate similarities between these pitch motives. A brief introduction to transformational network analysis is included for those not familiar with its terminology. Wearing Two Hats: Anne Eggleston as Composer and Pedagogue - PDF through EruditPages 72-95 Auteur(s): Roxane Prevost Canadian composer Anne Eggleston had an active career as both composer and piano pedagogue. In many of her works, such as Sketches of Ottawa, she sought to bridge the gap between these two interests. By examining the Anne Eggleston Fonds (MUS 282), acquired by Library and Archives Canada in 1997, we can begin to understand the personality of this remarkable composer and her commitment to piano pedagogy. Her teaching materials and her devotion to private students, as well as her affiliation with music organizations, paint a full picture of this important Canadian composer and pedagogue. Book ReviewsMusiques. Une Encyclopédie pour le XXIe siècle. 2007. « 5. L’Unité de la musique », sous la direction de Jean-Jacques Nattiez. Arles-Paris : Actes Sud/Cité de la musique, 1253 p., ISBN 978-2-7427-6974-2 (couverture rigide) - PDF through EruditPages 96-104 Auteur(s): Jessica Roda Didier van Moere. 2008. Karol Szymanowski. Paris : Fayard. 695 p. ISBN 978-2-213-63774-7 (couverture cartonnée) - PDF through EruditPages 104-109 Auteur(s): Justine Comtois Adrian Thomas. 2005. Polish Music since Szymanowski. Cambridge, UK: Cambridge University Press. 384 pp. ISBN-13: 978-052-105472-0 (paper) - PDF through EruditPages 109-113 Auteur(s): Brian Locke Tanya Kevorkian. 2007. Baroque Piety: Religion, Society, and Music in Leipzig, 1650–1750. Aldershot: Ashgate. xiii, 251 pp. ISBN 978-0-7546-5490-2 (paper) - PDF through EruditPages 113-116 Auteur(s): Barbara Reul Jean-Jacques Rousseau. 2008. Dictionnaire de musique : fac-similé de l’édition de 1768 augmenté des planches sur la lutherie tirées de l’encyclopédie de Diderot, édition préparée et présentée par Claude Dauphin. Arles (Bouches-du-Rhône) : Actes Sud. LCVIII + (xiv + 683 p.), ISBN : 978-2-7427-6956-8 (couverture souple) - PDF through EruditPages 116-122 Auteur(s): Cécile Champonnois Sheenagh Pietrobruno. 2006. Salsa and Its Transnational Moves. Lanham : Lexington Books. x, 243 p. ISBN 0-7391-1468-9 (couverture souple) - PDF through EruditPages 122-127 Auteur(s): Catherine Gauthier Mercier Karen Ahlquist, ed. 2006. Chorus and Community. Illinois: University of Illinois Press. 336 pp. ISBN-13: 978-0-252-03037-6 (cloth and compact disc) - PDF through EruditPages 127-128 Auteur(s): Stephanie Conn Beate Perrey, ed. 2007. The Cambridge Companion to Schumann. Cambridge: Cambridge University Press. xx, 302 pp. ISBN 978-0-521-78341-5 (cloth) and ISBN 978-0-521-78950-9 (paper) - PDF through EruditPages 128-137 Auteur(s): Glen Carruthers Pages 138-139 Auteur(s): John Beckwith Pages 140-142 Tous droits réservés © Canadian University Music Society / Société de musique des universités canadiennes, 2009
Last Updated ( Thursday, 04 June 2009 15:54 )
Tuesday, 25 November 2008 18:23
Adam Becker
Vol. 28, No. 1 (2007)
Publication Date: 2008-11-05
Number of articles: 14 EditorialAuthor(s)/Auteur(s): Murray Dineen IntroductionAuthor(s)/Auteur(s): François de Médicis; Murray Dineen ArticlesSomething to Sing About: A Preliminary List of Canadian Staged Dramatic Music Since 1867 - PDF through EruditAuthor(s)/Auteur(s): Mary Ingraham L’impact des politiques institutionnelles sur la création d’opéra au Canada entre 1980 et 2003 : Les cas de Montréal et Toronto - PDF through EruditAuthor(s)/Auteur(s): Sophie Bisson Analysis of the various programmes offered by the Canada Council for the Arts reveals that government financial aid is not sufficient to allow for the consistent creation of operatic works. This is further borne out by studies of the operations of various professional organisations that benefit from these programmes (including professional and university workshops), as well as all the mechanisms that surround the premiere of a new opera (from its commissioning to its first staging). In sum, most of the funds are used to meet operating costs of the country’s various operatic organisations. In order for Canadian opera to thrive, composers must turn to lyrical companies and not opera houses. Author(s)/Auteur(s): Robin Elliott The opera Barnardo Boys, with music by Clifford Crawley and libretto by David Helwig, was premiered in Kingston, Ontario in May 1982. Inspired by the example of Benjamin Britten, the creators of the opera regarded community involvement and cooperation between amateurs and professionals as essential to the production of the work. There was only one imported professional singer in the cast—Jan Rubes, who was hired to play the lead role of Albert Ashby. Both the libretto and the music of the opera make use of a combination of pre-existing and newly created source materials. This approach is seen to be typical of a Canadian preference for the genre of documentary opera, which parallels an engagement with historical fiction on the part of Canadian novelists. Author(s)/Auteur(s): Kate Galloway In R. Murray Schafer’s Patria cycle (1966–), movement, both choreographed and improvisational—to the performance, between spaces within the performance, and within the fabrication of the performance—allows the audience to actively participate. These in-between spaces of movement are as much performance space as is the final site of the production, extending the performance beyond the confines of the theatre. Drawing on examples from The Princess of the Stars, The Enchanted Forest, and The Greatest Show, this article examines two states of in-betweenness: first, the pilgrimage to the performance, and second, the pathways that link performance experiences. Opera as Trans-Atlantic Culture in Pre-Confederation British North America: Mozart’s “Crudel! perchè finora” on an 1844 Toronto Concert Programme - PDF through EruditAuthor(s)/Auteur(s): Kristina Guiguet Why was Mozart’s duet, “Crudel! perchè finora” (Le Nozze di Figaro, III (i)) among the operatic excerpts sung by amateur and professional musicians at Mrs. Widder’s private Toronto soirée musicale? Typically Victorian, the formal programme for this musical party mixed opera with glees, popular ballads, and instrumental music, but the Mozart duet is rarely found on such programmes. The British hostess may have relied on her socially prominent audience in colonial Canada to recognize that her concert echoed the programming practices of London (England), as she positioned the concert to support her husband’s politically-sensitive land development plans. This example of trans-Atlantic culture suggests that Victorian amateur concert programmes are useful sources for audience reception history. Report/Compte renduReport—Centre and periphery, roots and exile: Interpreting the music of István Anhalt and György Kurtág. Centre et périphérie, racines et exil : L’interprétation de la musique d’István Anhalt et de György Kurtág. Rozsa Centre, University of Calgary January 22–25 janvier, 2008 - PDF through EruditAuthor(s)/Auteur(s): Friedemann Sallis Book Reviews/RecensionsJean-Louis Leleu et Pascal Decroupet, éd. 2006. Pierre Boulez : Techniques d’écriture et enjeux esthétiques. Genève : Éditions Contrechamps. 326 p. ISBN 978-2-940068-23-2 (couverture souple). - PDF through EruditAuthor(s)/Auteur(s): Brice Tissier George et Ira Gershwin. 2000. Pardon My English: Vocal Score. Édité par Steven D. Bowen. Paroles et musique de George et Ira Gershwin. Livret de Herbert Fields et Morrie Ryskind. Miami, Floride : Warner Bros Music Corp. xxiii, 357 p. ISBN 0-7692-9201-1, ISBN 978-0-7692-9201-4 (couverture rigide). - PDF through EruditAuthor(s)/Auteur(s): Luc Bellemare Elaine Keillor. 2006. Music in Canada: Capturing Landscape and Diversity. Montreal: McGill-Queen’s University Press. xii, 499 p. ISBN-10 : 0-7735-3177-7 et ISBN-13 : 978-0-7735-3177-2 (couverture rigide et disque compact). - PDF through EruditAuthor(s)/Auteur(s): Claudine Caron Carl Wilson. 2007. Let’s Talk About Love: A Journey to the End of Taste. New York: Continuum. 164 pp. ISBN 13: 978-0-8264-2788-5 (paperback). - PDF through EruditAuthor(s)/Auteur(s): Christopher Cwynar Author(s)/Auteur(s): David Huron Tous droits réservés © Canadian University Music Society / Société de musique des universités canadiennes, 2007
Last Updated ( Wednesday, 03 June 2009 11:56 )
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