Chiriac, Dragos | : In the usual philosophical jargon, a judgment qualified as “universal” is a concept valid at all times and in all contexts or periods, that apply to all individuals it intends to classify. In this article, I argue that any tentative “universal” definition of art is fraught with serious ontological problems (regarding its essence). I propose therefore that it would be more prudent to refrain from making such attempts, and to adopt instead a functional approach in describing, without defining, the creative processes, as well as the resulting musical works. I demonstrate this approach, which is built on a deliberate refusal to define art, by engaging in an open dialogue with the reader, analyzing (in terms of means and ends) how the pianist Glenn Gould related to technology. I conclude that it could be fruitful for the creator-searcher (the artist exploring the craft through theory) to choose a specific esthetics or to develop a universal theory of art through addressing the ontological problems with the help of linguistics (a suggestion with no guarantees). Indeed, apart from the functionalist approach, which may become unsatisfactory relativism, due to intellectual rigour, these avenues are the only promising ones that are not limited to historical or musical analyses of individual works (analyses that are the basis of the theoretical musical training in our universities).
Addressing Common Parental Concerns about Factors That Could Influence Piano Students’ Autonomous Motivation, Diligence, and Performance
Comeau, Gilles, Huta, Veronika | : We examined the effects of choices parents can make regarding their child’s piano lessons: age started, instruction method, taking exams, taking group lessons, sitting in on lessons, helping with home practice, giving rewards for practising. Parental choices were correlated with the following child variables regarding piano playing: autonomous motivation, interest in performance and creativity, interest in effortful practice, time spent practising, feeling of competence, and exam performance. We administered questionnaires to 173 piano students aged six to sixteen and their parents. The most beneficial predictors were: initiating lessons before age seven, sitting in on lessons, and helping with home practice.
Côté, Gérald | : This article presents a contextual analysis of the work of four musicians, who have been asked to remix Quebec songs recorded before the 1960s. Through an examination drawing on ethnographic methods, the author tries to understand what makes musicians tick, by attempting to identify what motivates their creativity and what leads them to choose certain aesthetic styles over others. In a social environment qualified by sociologists as postmodern or ultramodern, the motivations appear diverse, fragmented, fluctuating, and highly contrasted from one musician to another, reflecting our anthropologically contemporary and urban times, generations, and realities. The author conceives music as a multifactorial phenomenon in which music and society are interrelated, and in constant movement and transformation.
Bergonzi, Louis, Yerichuk, Deanna, Galway, Kiera, Gould, Elizabeth | : This study provides a snapshot of tenure at Canadian post-secondary music institutions, with a particular focus on gender and race/ethnicity. The data show tenure has been granted at high rates over a five-year period, and that women are no more or less likely to achieve tenure than men. However, more men than women hold both tenured and tenure-track positions, at a ratio of 2:1. The sample size of non-white faculty was not large enough to conduct statistical analyses about tenure rates in relation to race/ethnicity, although the extremely low rates of non-white tenure-track faculty suggest that diversity remains a concern in post-secondary music programs.
Roberge, Marc-André | : The research, writing, and publication of the first biography of the English composer, pianist, and critic Kaikhosru Shapurji Sorabji (1892–1988), published in 2013 on the Sorabji Resource Website, managed by its author, is a major project that took place over many years. This article consists of a guided visit to the biographer’s workshop, in order to shed light on the challenges, research techniques, difficulties encountered, and the solutions that were entailed in this project conceived to provide the reader with the ideal basis for future research.
Ethics and Musical Language: A Gramscian Reading of Dallapiccola’s Liriche greche and Their Influence
Samuel, Jamuna | : Luigi Dallapiccola (1904–75)—a pioneering figure as serialist, composer of protest music, and trailblazer for the avant-garde—wrote his Greek Lyrics song cycle (1942–5) as an escape from wartime anxiety. I locate the Lyrics within a nexus of technique, text setting, and ethical engagement. That complex resonated with the younger composers Berio, Nono, and Maderna, each responding in the postwar period with settings from the same collection, Quasimodo’s 1940 free translation of classic Greek lyrics. I examine Quasimodo’s ethics, placing his poetry and Dallapiccola’s settings within Gramsci’s notions of language and politics, which were highly influential on postwar Italian composers.
Mireille Barrière (dir.). 2012. Les 100 ans du prix d’Europe : Le soutien de l’État à la musique de Lomer Gouin à la Révolution tranquille. Québec, Presses de l’Université Laval, coll. « Chaire Fernand-Dumont sur la culture », 165 p. ISBN 978-2-7637-1560-5
Michela Niccolai. 2011. La dramaturgie de Gustave Charpentier. Brepols, xxxiii, 540 p. ISBN : 978-2-503-54340-6
Bartoli, Jean-Pierre et Jeanne Roudet. 2013. « L’Essor du romantisme : la fantaisie pour clavier : de Carl Philipp Emanuel Bach à Franz Liszt ». MusicologieS. Paris : Vrin, 387 p. ISBN 978-2-7116-2473-7
Brian Christopher Thompson. 2015. Anthems and Minstrel Shows: The Life and Times of Calixa Lavallée, 1842–1891. Montreal and Kingston: McGill-Queen’s University Press. xxviii, 522 pp. ISBN 978-0-7735-4555-7
Michela Niccolai. 2012. Giacomo Puccini et Albert Carré: ‘Madama Butterfly’ à Paris. Turnhout: Brepols. 332 pp. ISBN: 978-2-503-54761-9
James Harley. 2015. Iannis Xenakis: Kraanerg. Landmarks in Music since 1950 Series. Burlington, VT: Ashgate. 153 pp. ISBN: 978-1-4094-2331-7
Gordon Mumma. 2015. Cybersonic Arts: Adventures in American New Music. Edited with commentary by Michelle Fillion. Urbana: University of Illinois Press. 376 pp. ISBN 978-0-252-03943-0
Michelle Phillipov. 2012. Death Metal and Music Criticism : Analysis at the Limits. Plymouth (Royaume-Uni) : Lexington Books, 158 p., bibliogr., discogr., index. 978-07391-6461-7