Vol. 31, No. 2 (2011)
Publication date: 2012-11-27
Number of articles: 12


Xenakis et le sérialisme : l'apport d'une analyse génétique de Metastasis - PDF through Erudit

Pages 3-21
Author(s): Anne-Sylvie Barthel-Calvet

In comparison with Xenakis' paper " Métastassis -Analyse" (2003), the huge amount of sketches material of Metastasis, held at the Music Department of the Bibliothèque Nationale de France makes possible to better understand the serialism that Xenakis developped in this work. Through its different aspects, this serialism appears as a real maieutics which allows Xenakis to realize he has to turn the way of another musical organization, fitting better to his aesthetical project.

Un cas de « production ratée » : « The Velvet Underground and Nico », mise en scène phonographique et analyse transphonographique - PDF through Erudit

Pages 23-42
Author(s): Benoît Delaune

This article attempts to extend the model of transphonography, developed by Serge Lacasse in reference to Gérard Genette's theory of transtexuality, by adding the concept of the 'restricted' or 'autarchic' phonograph to the intraphonogram and autophonogram categories. The notion of 'pre-texte', developed in literary study by genetic criticism, makes it possible to add 'pre-phonogramme' category to the transphonographic model, whether it is from a script, draft or variant perspective. After defining them, the article places these concepts into practice through a precise study of a phonogram, The Velvet Underground And Nico, as well as the analysis of different avant-phonograms on that album. Without delving into a formal study, the article attempts to study more precisely the aesthetic strategies used by the musicians who developed The Velvet Underground and Nico by establishing links between different phonograms. Lastly, the study of these different phonograms makes it possible to question the notion of the 'finiteness' of a piece through multiplication of formats, mono and stereo.

Performance Strategies in Three Recordings of Bach's Invention No. 1 in C Major: A Comparative Study - PDF through Erudit

Pages 43-64
Author(s): Alan Dodson

After a brief introduction to the field of empirical performance studies and its goals and methods, recordings of the titular work by pianists Harold Bauer, Glenn Gould, and Angela Hewitt are discussed. It is suggested that these recordings demonstrate three distinct performance strategies for the piece: Bauer highlights the boundaries of each phrase and projects a teleological design within each phrase and at the level of the entire piece; Gould conveys an arch-shaped design tied to harmonic tension; and Hewitt draws attention not only to the three structural cadences (mm. 7, 15, and 22) but also to a subsidiary V-I motion at m. 11, thereby hinting that it might have structural importance. Parallels between these performance strategies and analyses by Howard Cinnamon, Steve Larson, and Roy Travis are briefly considered. The emphasis on multiplicity in this study distinguishes it from most earlier scholarship on structure and performance.

Le Prisonnier de Luigi Dallapiccola : derrière le politique, le religieux - PDF through Erudit

Pages 65-78
Author(s): Charlotte Ginot-Slacik

Composed during the Second World War, Luigi Dallapiccola's Le Prisonnier ( The Prisoner ) symobolized a turning point for Italian music, as it was the first Italian opera written with the method of serialism that is both an aesthetic work and an anti-fascist statement, it is a model for politically involved composers such as Luigi Nono and Bruno Maderna. In addition to its political nature, Le Prisonnier is also an expression of a religious crisis and existential doubt. The Inquisition is a renowned religious institution, but it also tortures believers in the name of faith. The Grand Inquisitor of Christian thematic principles conducts a diabolical reversal that seeks to destroy the free will of others. The manipulation of the prisoner, a contemporary Christ, demonstrates vacuity and even the danger of hope, for which they renounced their free will. In the confrontation between the jailer and his prisoner, a somber definition of freedom finally emerges, as the jailer's words indicate that he is no freer than the man whom he holds captive. The lone mother, a unique, perceptive character in the opera, managed to retain her liberty, but at a price: she could not become part of the action. Luigi Dallapiccola also embodies the doubt that arises from Le Prisonnier , he is directly affected by the war and by race-related legislation, and he is a humanist composer. The goal of this text is to examine the way in which the musician develops religious themes in order to completely transform them. Le Prisonnier , a massive political work, also examines wandering and religious questioning.

Glenn Gould, Conductor: Critical Reception, Chronicle, and Commentary - PDF through Erudit

Pages 79-98
Author(s): Timothy Maloney

In 1982, about two months before he died, Glenn Gould conducted a Toronto chamber orchestra to record Richard Wagner's Siegfried Idyll. Reactions to the recording, eventually released in 1990, varied dramatically: while the Pulitzer Prize–winning critic and Gould scholar Tim Page considered it "a reading of melting and surpassing tenderness," the composer-conductor Gunther Schuller, also a Pulitzer Prize winner, declared it "the most inept, amateurish, wrong-headed rendition of a major classic ever put to vinyl." In light of that extreme divergence of opinion, this article examines the recording, Gould's conducting, and the critical reception to both.

Rendu écrit

3 Improvisations - PDF through Erudit

Pages 99-112
Author(s): Jérôme Blais

Book Reviews

John Haines. 2010. Medieval Song in Romance Languages. Cambridge: Cambridge University Press. 318 pp. ISBN 9780521765749 - PDF through Erudit

Pages 113-117
Author(s): Jennifer Bain

Sten Ingelf. Learn from the Masters: Classical Harmony. Hjärup, Sweden: Sting Musik, 2010. 222 pp. (paper), 193 pp. on DVD. ISBN 91-971133-5-2 - PDF through Erudit

Pages 117-121
Author(s): Lynn Cavanagh

Martin Clayton, Trevor Herbert, and Richard Middleton, eds. The Cultural Study of Music: A Critical Introduction, 2nd ed. New York: Routledge, 2012. 455 pp. ISBN 978-0-415-88191-3 - PDF through Erudit

Pages 121-124
Author(s): Chris Tonelli

Philippe Cathé, Sylvie Douche et Michel Duchesneau, dir. 2010. Charles Koechlin : Compositeur et humaniste. Édité par Marie-Hélène Benoit-Otis. Paris : Vrin, coll. « MusicologieS ». 609 p. ISBN 978-2-7116-2316-7 - PDF through Erudit

Pages 125-132
Author(s): Christopher Moore

Mihaela Corduban. 2011. Le premier livre du Clavier bien tempéré de Jean-Sébastien Bach : Rhétorique et sémiologie. Sampzon : Delatour France. 140 p. ISBN 9783752101150 - PDF through Erudit

Pages 133-139
Author(s): Guy Marchand

Monique Desroches et al., dir. 2011. Territoires musicaux mis en scène . Montréal : Les Presses de l'Université de Montréal. 424 p. ISBN 978-2-7606-2246-3 - PDF through Erudit

Pages 139-146
Author(s): Caroline Marcoux-Gendron
All Rights Reserved © Canadian University Music Society / Société de musique des universités canadiennes , 2012


MusCan Office

MusCan is led by a committed community of volunteers from across Canada. You can contact our secretariat by mail, phone, or email.

10 Morrow Avenue, Suite 202
Toronto, ON
M6R 2J1
office [AT] muscan.org