Session|séance 7.2. All About the Notes.
Room: 11-463. Chair: Raymond Baril
Friday|vendredi 25 May|mai 2018. 9:00 - 11:00AM
7.2.1. Culture’s Blue Bin: Recycling Cultural Material in an Interactive Lecture-recital
Mikaël Francoeur, Université Laval
The current arts ecology is one of dissemination, mass production, and mass rejection, and as such leads to an ever-increasing number of art works that lie dormant on library shelves and hard drives. As the refuse of a society that thrives on consumption of new products, these works have been called “rubbish,” “trash,” or “garbage.” These de-valued objects are often well-preserved by cultural institutions, and can regain value through processes of “cultural recycling.” (Dionne, Mariniello, and Moser 1996) One such form of recycling is discussed. We developed an interactive lecture-recital aimed at facilitating the audience’s meaning-making process using the little-known case of Québec composer Léo Roy (1887-1974) who, despite a substantial creative output, has been refuse-d, as Scanlan would put it, by modern Canadian arts culture. In this lecture-recital, the audience is in charge of navigating, via a web interface, a hypertext containing pieces of information and archival material — music, texts, pictures — on Léo Roy. After an introduction to Léo Roy, and during a set period of time devoted to hypertextual exploration, the audience votes on hypertextual links that lead to other documents, while the artist embodies the text/music by reading aloud or playing the piano. The audience interaction means that the cultural material that is presented is never the same, and asks the audience to make their own meaning of the various documents that are presented. This meaning-making enacted by the audience shows how various pieces of devalued cultural material can be recycled into modern cultural objects.
Kyle Hutchinson and Matthew Poon, University of Toronto
One of Caplin’s (1998) aims in reviving the Formenlehre tradition is to emphasize the role of harmony in form-functional analysis, especially in creating cadences. Despite forming a crucial part of Caplin's theory, certain cadential situations remain contentious. Although Caplin distinguishes between cadential content and function—both products of harmony—one is often hard-pressed to find intrinsic musical cues differentiating the two, and Caplin's explanations in these cases occasionally result in circular logic. For example, Caplin defines presentations as initiating functions that preclude cadences, but when cadential content exists in presentations Caplin engages this definition to justify eschewing cadential function, an issue Burstein (2014) problematizes.
We propose approaching such problematic situations by examining musical parameters ignored in form-functional cadential analysis, namely structural melodic configurations. We suggest that melodic lines play a more salient role in cadential articulation than Caplin's harmony-centric approach allows. Using principles borrowed from Schenkerian theory, and melodic tropes discussed by Gjerdingen (2007) and Meyer (1973), we argue that cadential articulation often results from a combination of cadential harmonic content and a complementary upper-line descent that reinforces the "return to rest” (Marx, 1997 ) that forms the rhetorical purpose of cadences. Although various authors (Caplin, 2004; Richards, 2010) have invoked the melodic parameter in minor ways, its role in form-functional articulation has yet to be accorded in-depth scholarly exploration. Ultimately this paper reinforces Caplin's broader claims by situating them in intrinsic musical cues, encouraging a more symbiotic approach to the roles of harmony and melody in creating cadential function.
Jeremi Gendron, Université Laval
Les écrits sur Chopin abondent, tant sur sa vie, son style, son enseignement (Eigeldinger 2006), que sur la question de musique pure ou à programme (Bellman 2010, Tarasti 1984). Samson (1989), qui s’intéresse au traitement du genre musical par Chopin, le définit comme un « contrepoint de genres », c’est-à-dire un mélange de genres « populaires » (valse, polonaises, barcarolle) et « savants » (la sonate, le rondo, le concerto). Il semble que cette technique compositionnelle en particulier aurait permis à Chopin d’amorcer une refonte générique en codifiant les anciens et nouveaux genres en usage à son époque. Une division de l’œuvre de Chopin en trois périodes créatrices pourrait permettre de mieux comprendre, d’une part, le contrepoint de genre en tant que tel et, d’autre part, l’incidence de cette technique sur la notion de genre au XIXe siècle. Ainsi, dans quelle mesure une analyse de l’œuvre de Chopin en trois périodes créatrices nous permet de comprendre l’incidence d’une technique de contrepoint de genres sur la refonte générique ? Pour répondre à cette question, nous procèderons à une analyse de style de trois opus qui couvrent ces trois périodes créatrices, c’est-à-dire, les opus 16, 23 et 61. Nous y soulèverons les caractéristiques stylistiques qui nous apparaissent comme étant propres aux périodes. Ceci devrait nous permettre de comprendre la portée qu’a pu avoir la codification de ces éléments stylistiques, et conséquemment de cette technique de contrepoint de genres sur une réforme de la notion même du genre au XIXe siècle.
Cintia Cristiá, Instituto Superior de Musica, Universidad Nacional del Litoral (Argentina)
This paper considers the spatial aspects implied in art music in the twenty-first century in two ways. Firstly, it examines the migration of spatial ideas and effects from painting to music. Recalling Adorno’s description (2000: 43) of a “pictorial manner” in certain musical works that spatialize time as if it were a visual surface, we analyze two pieces by Argentinean composers. Based on paintings by Klee and Turner respectively, the spatial connotations in Luis Mucillo’s Piano Concerto (2001) and Jorge Horst’s Bruma (2003) are examined using the composers’ testimonies as well as a typology designed in a previous work (Cristiá 2012).
Secondly, this paper considers the phenomenon by which art galleries and museums are ceasing to be silent spaces by incorporating more and more music and/or sound into their collections and special exhibitions. We argue that, stemming from the collaboration between visual artists and musicians, this cultural tendency points to the increasingly cross-artistic sensibility (spatial, in musicians and sonic, in visual artists), culminating with the figure of the sound artist (in which both converge). This argument is based on the consideration of works and statements by contemporary Argentinean artists Jorge Macchi and Edgardo Rudnitzky.
By examining the inner and outer spatiality of art music, specially in connection to the visual arts, we wish to illuminate the complexities of the relationship among the arts, a topic that has been the focus of our research in various publications and projects at Universidad Nacional del Litoral (Argentina).