Session 8.2 Records and Recordings: History, Interpretation, Analysis

Friday 7 June 2019. 10:30am-12, Room 113.
   Chair: François De Médicis, Université de Montréal

The Grand Prix du Disque Candide: Canons, Categories, and Restructured Listening in 1930s France
   Christopher Moore, University of Ottawa

In 1931, prominent French music critic Dominique Sordet helped create the “Grand prix du disque Candide,” an initiative intended to celebrate excellence in the French recording industry. This presentation will provide a history of the early years of the “Grand prix,” and examine how it contributed to redefining 1930s French musical culture. Drawing on writings in the general and specialized press, my discussion will focus on three issues: 1) how the prize conferred cultural legitimacy and distinction to recordings, and, by extension, to emerging critical discourses about them; 2) how the prize, by establishing a category for popular music, contributed to its critical visibility and recognition; 3) how the prize, by proposing a canonisation of recordings, simultaneously contributed to the canonisation of specific repertories. To conclude I will show how nationalism, nostalgia, and conservative aesthetic values accompany these developments and inform critical discourse on recordings in France throughout the 1930s.

What Are We Listening For? Musical Parameters in Performance
   Jade Roth, Western University

Performers and analysts carry out similar interpretative tasks, often using the score as a shared starting point; the musical features on which they focus, however, are very different. Many analyses neglect features such as timbre, articulation, and dynamics in favour of pitch and key relationships, and texture. Through the analysis of recordings, the details of timbre, articulation, and dynamics and how performers use them becomes evident. In my analysis, I compare recordings of Eugène Ysaÿe’s Sonata No. 2, Op. 27, “Obsession,” which contains quotations of Dies irae and J.S. Bach’s E major Prelude. This study explores the use of intertextual quotations, its influence on musical meaning, and its relation to the aforementioned musical features in performance. This paper aims to analyse the aspects of music that analysts frequently overlook in order to reconcile the frequently disconnected fields of musical performance and analysis.

L’authenticité mise à mal: L’hybridation entre classique et bluegrass dans «Attaboy» (2011)
   Aurélie Thériault Brillon, Université Laval

La fusion de genres musicaux devient de plus en plus à la mode chez les artistes (Goldschmitt 2014). La pièce « Attaboy » de l’album Goat Rodeo Sessions (2011) est un bel exemple où l’on constate une hybridation entre traits stylistiques du classique et du bluegrass. En effet, les médias présentent l’album comme la manifestation d'une combinaison du classique et du bluegrass. Mais dans quelle mesure exactement, et en se basant sur quelles observations? Puisque quatre musiciens provenant de traditions musicales complètement différentes collaborent sur cet album, différents styles influencent les pièces de l’album. Plus encore, on peut se demander quel impact cette hybridation peut avoir sur notre compréhension des genres musicaux, et plus particulièrement sur leurs rapports avec la notion d'authenticité (Peterson 1997). C’est ce que cette recherche propose d’étudier grâce à une analyse combinée des critiques de la presse et de la musique.

8.3 Film Series IV (Room 339) →

← 8.1 Empirical Perspectives on Music (Roy Barnett Hall)


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