Author(s) : Matthew Bengtson
Among the greatest fascinations of Karol Szymanowski’s Mazurkas, op. 50 and op. 62, are their rich and sophisticated harmonic vocabulary. Many stylistic elements are combined together in this musical language, including pedal points, bagpipe fifths, modal mixture, and bitonality. The interplay of all these phenomena tends to destabilize functional harmonic relationships, leading to many instances of harmonic clashes by semitone, dubbed “Szymanowski clashes.” Considering this harmonic language through the lens of the Szymanowski clash can offer an understanding of this music that points to underlying compositional design and structural logic, while acting in accord with the listener’s perceptions of the musical surface.
L’enseignement et l’action créative : de l’inférence comme indice de professionnalisation du futur enseignant de musique
Author(s) : Isabel Balmori
“How does society organize expertises?” Starting from that question asked by the American sociologist Abbott (1988), in the research framework conducted by the DAM team at the Geneva University, singing trainers and students’ practices have been observed — the former being experts in the institutional context. These practices have been analyzed through three basic professional processes — diagnostic, inference and treatment, theorized by Abbott, which have been compared to transmission practices from the 17th century to our days. The research has shed light on profound transformations in the teaching of “classical” singing, especially at the inference stage. This stage allows the experimented singing teacher to exploit their creativity, but constitutes also a real challenge for the student in the process of professionalization.
Author(s) : Chloé Huvet
Film music has been neglected for a long time in scholarly literature, especially in French-speaking countries. This shortcoming is addressed since a few decades by the blossoming of musicological and specialized analysis devoted to film music. By casting a retrospective glance over this young academic field called “film musicology”, we will first question the place of film music study within musicological research, so as to understand the disavowal it has been subjected to. Disparities still exist between North American and French approaches, but we will demonstrate that the progressive institutionalization of film music and its inclusion within musicology are set on an encouraging path. The issues specific to film music study will be examined in order to highlight what methodological challenges such a research object entails. We will also show how they relate to and reengage a number of reflections taking place within musicology itself.
Investigación artística en música. Problemas, métodos, experiencias y modelos Rubén López-Cano et Úrsula San Cristóbal Opazo. 2014. . Mexico et Barcelone : Fondo Nacional para la Cultura y las Artes et ESMuC. p. 259. ISBN : 978-84-697-1948-0
Author(s) : Ons Barnat
Ernest van Dyck et Jules Massenet : Un interprète au service d’un compositeur. Jean-Christophe Branger et Malou Haine. 2014. Paris : VRIN, 172 p. Coll. « MusicologieS ». ISBN : 978-2-7116-2547
Author(s) : Frédéric Lemmers
Four Last Songs: Aging and Creativity in Verdi, Strauss, Messiaen, and Britten. Linda and Michael Hutcheon. 2015. Chicago and London: University of Chicago Press. 151 pp. ISBN 978-0-226-25559-0 (cloth), ISBN 978-0-226-25562-0 (ebook)
Author(s) : Colette Simonot-Maiello
Pillorikput Inuit: Inuktitut Arias for All Seasons. . Compact disc. Deantha Edmunds, Karrie Obed, Innismara Vocal Ensemble. Booklet (26 pp) with photographs and song descriptions in English and in Inuktitut
Author(s) : Jeffrey van den Scott
Conversations with Post World War II Pioneers of Electronic Music. Norma Beecroft. 2015. Self-published with assistance from the Canadian Music Centre. E-book
Author(s) : Alexa Woloshyn