Vol. 32, No. 1-2
Publication Date: 2013-09-09
Number of articles: 15

Éditorial

Rock, modernité, ontologie et pédagogie : la diversité France-Québec 

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By / par Sophie Stévance

Articles

The Loosening Role of Polyphony: Texture and Formal Functions in Mozart’s “Haydn” Quartets 

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By / par Olga Bakulina

Abstract

This essay demonstrates that texture can act as a form-defining factor by focusing on one specific textural type: imitative polyphony. Mozart’s six quartets dedicated to Haydn illustrate this claim. Building on William Caplin’s form-functional theory and his distinction between tight-knit and loose organization, imitative texture is shown to serve two purposes: as a loosening device, and as a means of textural and phrase-structural contrast. To deepen our understanding of polyphony’s formal and expressive roles, two new concepts are proposed: contrast pair and imitative presentation. The contrast-pair principle is then explored in select Viennese quartets by Mozart’s contemporaries.

Les chroniques musicales de Léo-Pol Morin — vecteur d’influence pour une réception québécoise de la modernité musicale française 

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By / par Paul Bazin

Abstract

A major figure of Quebec’s musical life at the beginning of the 20th century, Léo-PolMorin (1892-1941) contributed remarkably to the inclusion of the modern repertoires in the FrenchCanadian concert progammation. Thanks to his strong musical training, in Quebec and France, and tohis agile writing style, Morin became a landmark of Montreal’s musical life. As well as anexperienced musical performer, his ideas and convictions on contemporary music find their way innewspapers such as La Patrie, La Presse, and Le Canada, during atwenty-year period. This essay offers an overview of Léo-Pol Morin’s first years of involvement inconcert life, and an analysis of his writings addressing the modern French school, and specificallyGabriel Fauré, Claude Debussy and Maurice Ravel.

Relire Ingarden : l’ontologie des oeuvres musicales, entre fictions et montagnes 

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By / par Esteban Buch

Abstract

What is a musical work? This ontological question raised by Roman Ingarden in his work critical of Husserl’s phenomenology presents numerous common aspects with the issue of “musical Platonism” which was developed in the 1980s by analytic philosophers such as Jerrold Levinson and Peter Kivy. In 1992, Lydia Goehr put forward a radical historicization of the concept of musical work, without nonetheless discarding an ontological project, recently stressed in Roger Pouivet’s considerations on the “rock musical work.” This essay sums up these philosophical debates and underlines the sociological crisis of the concept of work in the context of the digital revolution and the fragmentation of the classical repertoire required by the cultural industry. Considering Ingarden’s definition of the “purely intentional object” from the point of view of the common sense’s destabilization, this study compares the ontological status of the musical work to that of fictional beings, such as a novel character, as well as to that of entities, such as the mountains echoed by Barry White’s “granular theory of reality,” emerging from the projection of language usages onto the audible world.

Le médium mythologique du Rock’n roll et la musique contemporaine 

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By / par Pierre Castanet

Abstract

For half a century, rock music has now been an ideological factor of our everyday mythology, and it has attracted several contemporary composers (John Adams, Luciano Berio, Steve Martland, Theo Loevendie, etc.). This essay examines the history of the contexts and the interactions of the “popular” and the “learned.” By focusing on rockers’ symbolic instrumentarium (electric organ, electric guitar, bass, drums), this essay studies an array of cases from Pierre Henry’s to Philippe Manoury’s music, as well as music from Cathy Berberan, György Ligeti and Tristan Murail.

Examining a Canadian Jazz Icon: Pitch-Class Hierarchy in Some Representative Examples of Kenny Wheeler 

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By / par Scott Cook

Abstract

The article examines some representative tunes by the notable Canadian jazz trumpeter and composer Kenny Wheeler. Though rooted in traditional jazz practices, Wheeler’s own compositions often deviate from tradition. For instance, his chord successions are sometimes highly chromatic and often non-diatonic. Further, he often excludes Mm7 chords, which diminishes the sense of traditional functionality. Yet his melodies tend to promote longer-reaching relationships that prioritize certain pitch-class collections over others. In contrast to the more traditional chord-scale approach commonly used to analyze jazz tunes, the prime goal of the article will be to show how continuity across less-conventional chord successions is conceivable when taking a top-down analytical approach—that is, when prioritizing the melody.

Proposition d’un cadre conceptuel pour aider le professeur d’instrument à intégrer l’improvisation musicale à son acte pédagogique 

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By / par Francis Dubé

Abstract

This essay aims at offering a conceptual framework to help instrument teachers to include improvisation in their pedagogical practice. In order to do so, we have reviewed and analyzed the literature addressing musical improvisation, with a special focus on theoretical models and pedagogical applications. The analysis allowed us to develop a functional definition of musical improvisation, to identify its positive contribution to the learning process and to other aspects, to identify factors and cognitive processes involved in production of musical improvisation, and to inventory pedagogical recommendations found in this literature. Based on the analyzed literature, we finally developed a graphic conceptual framework, which puts together the necessary knowledge to operationalize the process of teaching musical improvisation.

The Theory and Practice of Integrating Invertible Counterpoint into Classical Theme-Types 

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By / par Peter Franck

Abstract

This essay investigates the use of invertible counterpoint within conventional theme-types encountered within Classical-style works. Whereas recent research has focused on how this contrapuntal technique provides a means of creating continuity, this article expands the purview by elucidating how it works in concert with theme-types, forms regulated by cadences (devices that arguably suppress continuity). A basic model provides the theoretical framework with which to analyze excerpts from a selection of works by Beethoven, Haydn, and Mozart. The analyses reveal that some theme-types are more successful than others at integrating invertible counterpoint into their formal design. Moreover, the analyses uncover the purpose of using invertible counterpoint within theme-types.

Constructing the Monk: Francis Poulenc and the Post-War Context 

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By / par Christopher Moore

Abstract

Following the Second World War Francis Poulenc took a keen interest in the music of the French avant-garde and was compelled to react in both his music and his writings to the aesthetic and technical experiments of the younger generation. Although the music of composers like Olivier Messiaen and Pierre Boulez did not elicit a profound change on the substance of Poulenc’s compositional language, he did grow to the realization that the style he had embraced during the interwar period—one generally described as light-hearted and ironic—had become largely out of sync with new critical trends and concerns. Poulenc’s self-conscious aim to assert a personal form of “seriousness” in his works—one constructed with recourse to religiosity, stylistic homogeneity and the ostensibly concomitant values of sincerity and authenticity—formed the backbone of a new tone and persona that emerged following the war and which inflected his entire body of work up to his death in 1963. Poulenc’s desire to reinvent himself during this period forces us to re-examine his works, writings, and elements of his biography for the way in which they were constructed as a means of facilitating the discursive emergence of this new, more “serious,” persona.

Book Reviews

Heather MacLachlan. 2011. Burma’s Pop Music Industry: Creators, Distributors, Censors. Rochester: University of Rochester Press. 272 pp. ISBN 978–1580463867 

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By / par Tom Artiss

Delphine Grivel. 2011. Maurice Denis et la musique. Lyon : Symétrie. Coll. « Perpetuum Mobile », 328 p. ISBN 978-2-914373-53-1 (couverture souple) 

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By / par Sylvain Caron

Suzannah Clark. 2011. Analyzing Schubert. Cambridge: Cambridge University Press. 290 pp. ISBN 978–0-521–84867–1 

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By / par Murray Dineen

Anne-Sylvie Barthel-Calvet (éd.). 2011. Propositions pour une historiographie critique de la création musicale après 1945. Metz : Centre de recherche universitaire lorrain d’histoire. 239 p. ISSN 0768-5009 (couverture souple) 

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By / par Jonathan Goldman

Charles Ford, Mozart. 2012. Sexuality and the Enlightenment in Mozart’s Figaro, Don Giovanni and Così fan tutte. Burlington, VT: Ashgate. 336 pp. ISBN 978–0754668893 

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By / par Keith Johnston

Catherine Rudent. 2011. L’album de chansons. Entre processus social et oeuvre musicale. Juliette Gréco, Mademoiselle K, Bruno Joubrel. Paris : Honoré-Champion, collection « Musique-Musicologie ». 274 p. ISBN 978-2-7453-2279-1 (couverture souple) 

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By / par Danick Trottier

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