DOCSLIB.ORG

Requirernents for the Degree Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Requirernents for the Degree Of Acquisitions aml Acquisiîiins et nibiibgraphic Senrices senrices bibliographiques The author has granteci a non- L'auteur a accordé une Licence non exclusive licence allowing the exclusive permettant A la National Lbrary of Canada to Bibliothèque nationale du Canada de reprodua, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. AN EXAMMATION OF FOLK-MUSIC-[NSPIRED COMPOSITION IN CANADA THROUGH AN ANALYSIS OF SETiTMGS OF "DANS TOUS LES CANTONS" by Heidi J. Stepanek A thesis submitted to the Schwl of Graduate Studies in partial fulfilment of the requirernents for the degree of Master of Arts Department of Folklore Mernorial University of Newfoundland St. John's Newfoundland ABSTRACT This thesis examines the ways in which Canadian composers have utilized folk music. This practice can be traced back to the emergence of widespread interest among the elite classes in vemacular art and culture in Europe and figures most prominently in trends of romantic nationalism. Through a detailed analysis of seven settings of the French Canadian folksong "Dans tous les cantons," 1 seek to discover answers to three main questions: What reasons do composers give for the utilization of folk materials? What source musics have they used in this process? How have they musically manipdated these materials? The first chapter examines the European rwts of the techniques ofutilizing folk music in "art" music composition. The second chapter outlines the motivations and attitudes which led to the development of the use of folksong in art music composition in Canada. The third chapter deals with the specific Canadian utilizations of folksong in art music composition. The final two chapters of the thesis concentrate on the French- Canadian folksong "Dans tous les cantons" and the detailed analysis of seven settings of it. In chronological order, these are: Sir East MacMillan's "Dans tous les cantons=In al1 the Country Round (1928), Alfred Whitehead's "ln ail the Country Round" (1939), Maurice ûela's "Dans tous les cantons!" (1949), Violet Archer's "Music Everywhere=Dans tous les cantons" (1953), Richard Johnson's "Dans tous les cantons- (1964), Morris Surdin's "Dans tous les cantons" (1970), and Howard Cable's "Dans tous les cantons" (1979). h the fourth chapter, the social and cultural dimensions of the seven composers are examined. Contextual biographies are given for each, exploring their philosophies on the use of this musical practice. The fifih chapter examines the music itself and how the composers have manipulateci the original mg. Issues perîaining to the differences in these various instrumental and vocal settings are discussed in detail. ACKNOWLEDGMENTS First and foremost, 1 must emphasize that this thesis would not have been possible without the generous support of the Canadian Music Centre. The fantastic resources and networks that this institution offers have been aklutely invaluable in researching this work. 1 would especially like to thank the staff at the Toronto branch of the CMC, pariicularly David Parsons, for his tirne and enthusiasm, and for giving me the idea in the first place. The staffs patience, trust, and leniency in allowing me to cart huge stacks of scores on numerous trips between Toronto and Newfoundland, and in accessing and photocopying various CMC publications and program notes, has been exemplary. I have ihoroughly enjoyed my many hours there and thank all of the staff for their kindness. I would also like to acknowledge the assistance of the folklore department at Memorial University, and particularly that of rny supervisor, Dr. Neil Rosenberg. l thank him for his time and his patience. As well, 1 thank both my parents and grandparents for their continued love and support. The ideas and motivations for this thesis stem back to my undergraduate years at Queen's University, where 1 was inspired particularly by two exceptional scholars who both had great enthusiasm for their work. Firstly, I thank Dr. Rudolph Schnitzler for his continued encouragement and advice, which is always both uplifiing and insightful. As well, 1 acknowledge the inspiring cIasses of Df. Gordon Smith, whose firm and thorough teaching and advising methods led me to a greater appreciation of both Canadian music, and of music as a whole. 1 would like to dedicate this thesis to my husbanà, Dimitrios. For al1 of the hours of menial research tasks that I durnped upon him that he ran offto accomplish without cornplaint, as well as for ail of his support and encouragement throughout the length of this program, 1 thank him and love him with ail that 1 have. TABLE OF CONTENTS .. Abstract ......................................................... 11 Acknowledgments ................................................ iv List of Abbreviations .............................................. vii Introduction ..................................................... 1 Chapter I - The Begimings of Folk-Music-Inspired Composition ............-........ Chapter II - Amtudes and Ideas: The Evolution of the Popularity of Folksong in Canada ... Chapter III - Folk-Music-Inspired Composition in Canada ............................ Chapter IV - "Dans tous les cantons" Composers - Backgrounds and Motivations ......... Chapter V - "Dans tous les cantons" - A Musical Analysis of Seven Settings ............ Conclusion ...................................................... Bibliography ..................................................... LIST OF ABBREVIATIONS CAPAC - Composers, Authors and Publishem Association of Canada Limited CBC - Canadian Broadcasting Corporation CBS - Columbian Broadcasting System CMC - Canadian Music Centre CNE - Canadian National Exhibition CPR - Canadian Pacific Railway EMC - Encyclopedia of Music in Canada JAF - Journal of American Folklore JAMS - Journal of the American Musicological Society NFB - National Film Board NHDM - New Harvard Dictionary of Music RCCO - Royal Canadian College of Organists TSO - Toronto Symphony Orchestra vii INTRODUCTION The uses offiik music are no4 found in the ariijicial furthering of a phenornenon-rather, in the taking ahiantage of a prime, generaiive, cultuml source. Ii is aiive in every corner of our society, in mery part of our individual beings. When we corne to ierm wilh il we will discover the defnition... and then we will not need it (Richard Johnsion, 1974: 96). This thesis is a study of the uses of folksong in Canadian art music composition. Tracing the roots of this practice to earlier European antecedents, the thesis shows, by lwking both generally and specifically at Canadian art music compositions, how and why composers have utilized folksongs in their work. A detailed analysis of seven settings of the French-Canadian folksong "Dans tous les cantons" allows for a more close examination of the possible range of pariicular compositional techniques employed in the adaptation of one song. Through this combined analysis of motivations and techniques, the thesis addresses three main questions: What reasons do composers give for the utilization of folk materials? What source musics have they used in this process? How have they musically manipulated these materials? With this study it is my intention as weli to address a gap in the literature by offering a concise discussion of the practices of using folk music in art music composition in Canada. Coquenily, each chapter has been designed as both a suwey of sources and examples capable of standing on its own, as well as king an intepl part of the work as a whole, intended to provide background for the discussion of motivations for and techniques used in the adaption of the seven settings of "hstous tes cantons." The layout of the chapters has been designed to move from the general to the specific, beginning by looking at the European antecedents of use of the practice of folksong in art music composition, and ending by examining the seven setîing of "Dans tous les cantons." 1 began my preliminary research with Edith Fowke and Ruth Pincoe's "A Reference List on Canadian Folk Music" (1973). Their second section, ''Compositions based on Folk Songs," includes Pincoe's "necessarily limited" (Fowke and Pincoe I ) index of songs in this category. Drawing upon this index, and upon my research done at the Canadian Music Centre (CMC) in Toronto, Ontario, 1 have compiled a similar, though more extensive list of Canadian compositions which have used a direct folksong' quotation as their foundation. 1 have excluded those songs which, though basd on folksong styles, do not draw on any specific mg, or those which are based on other "folk" materials such as puetry, visual art, or narratives. My methodology in preparîng this list was to consult several sources, including databases and composer files at the CMC, as well as numerous articles throughout the Encvclouedia of Music in Cana& other reference works, books, joumals, recordings, web sites, cûmposers and scholars of Canadian music. I chose the data to be analysai
Load more

Recommended publications
  • Dzovig Markarian
    It is curious to notice that most of Mr. Dellalian’s writings for piano use aleatoric notation, next to extended techniques, to present an idea which is intended to be repeated a number of times before transitioning to the next. The 2005 compilation called “Sounds of Devotion,” where the composer’s family generously present articles, photos and other significant testimony on the composer’s creative life, remembers the two major influences in his music to be modernism and the Armenian Genocide. GUEST ARTIST SERIES ABOUT DZOVIG MARKARIAN Dzovig Markarian is a contemporary classical pianist, whose performances have been described in the press as “brilliant” (M. Swed, LA Times), and “deeply moving, technically accomplished, spiritually uplifting” (B. Adams, Dilijan Blog). An active soloist as well as a collaborative artist, Dzovig is a frequent guest with various ensembles and organizations such as the Dilijan Chamber Music Series, Jacaranda Music at the Edge, International Clarinet Conference, Festival of Microtonal Music, CalArts Chamber Orchestra, inauthentica ensemble, ensemble Green, Xtet New Music Group, USC Contemporary Music Ensemble, REDCAT Festivals of Contemporary Music, as well as with members of the LA PHIL, LACO, DZOVIG MARKARIAN Southwest Chamber Music, and others. Most recently, Dzovig has worked with and premiered works by various composers such as Sofia Gubaidulina, Chinary Ung, Iannis Xenakis, James Gardner, Victoria Bond, Tigran Mansurian, Artur Avanesov, Jeffrey Holmes, Alan Shockley, Adrian Pertout, Laura Kramer and Juan Pablo Contreras. PIANO Ms. Markarian is the founding pianist of Trio Terroir, a Los Angeles based contemporary piano trio devoted to new and complex music from around the world.
    [Show full text]
  • Helmut Kallmann (1922-2012): a Memoir
    HELMUT KALLMANN (1922-2012): A MEMOIR BY MARIA CALDERISI Anyone can read the brief biographical notes on Helmut Kallmann in the Encyclopedia of Music in Canada and in other published sources, and be amazed by the length and breadth of his writings as listed in Musical Canada: Words and Music Honouring Helmut Kallmann, the festschrift edited by John Beckwith and Frederick A. Hall and published by the University of Toronto Press in 1988. But I like to think that it is in the hearts and memories of those who came to know this gentle, modest man by working with him and sharing with him his interest and passion for keeping the record, for collecting and preserving Canada’s musical heritage, that Helmut Kallmann’s spirit lives on. Elsewhere in this issue you have an overview of his activities and achievements, along with several testimonials and personal stories. So I shall limit myself to my own experiences shared with him or directly resulting from his encouragement and support. First of all, I would not have become a music librarian had it not been for Dr. Kallmann, as he was most respectfully called by most of his directors and co-workers at the National Library of Canada. Near the end of my belated music studies at McGill in1972, my favourite professor—after whom McGill’s Marvin Duchow Music Library is now named—had dropped the idea of librarianship in my ear. Various enquiries led me to Ottawa to ask Helmut what he thought about the future of music librarianship in Canada. Based on his prognosis I enrolled in a specialized Master’s programme at the University of Michigan, and, by the time I graduated in 1973, Helmut had convinced the National Library that he needed a reference librarian to attend to the increasing demands upon the Music Division, then only three years old.
    [Show full text]
  • IRCA FOREIGN LOG 10Th Edition +Hrd Again W/Light Inst Mx at 0456 on 1/4
    IRCA FOREIGN LOG 10th Edition +Hrd again w/light Inst mx at 0456 on 1/4. Poorer than before. (PM-OR) DX World Wide – West +NRK 0244 12/29 country music occasionally coming thru clearly in domestic TRANS-ATLANTIC DX ROUNDUP slop (I've logged & QSLed this one with this early Mon morning country-music show before). First time I've had audio from this one all season. [Stewart-MO] 162 FRANCE , Allouis, 0230 3/7. Male DJ hosting a program of mainly EE pop +2/15 0503 Poor to fair signals in NN talk and oldies mx. Only TA on the MW songs. Fair signal, but much weaker than Iceland. (NP-AB) band. (VAL-DX) +0406 4/18, pop song in FF. (NP-AB*) 1467 FRANCE , Romoules TRW, 12/27 2309 Fair signals peaking w/good Choraol 189 ICELAND , Guguskalar Rikisutvarpid, 2/15 0032. Fair signals with Icelandic mx and rel mx. Het on this one was huge! New station and new Country on talk and a mix of mx some in EE. Only LW station to produce audio. MW. (SA-MB) (VAL-DX) 1512 SAUDI ARABIA , Jeddah BSKSA, 12/27 2248 poor signals w/AA mx and talk. +0227 3/7. Very good signal w/EE lang R&B pop/rock songs hosted by man in New station. (SA-MB) what I presumed was Icelandic. Ranks up there as the best signal I've hrd +12/29 seemed to sign on right at 0300 with no announcements, int signal, from them. (NP-AB) anthem, or anything, just Koranic chanting.
    [Show full text]
  • Caml Review Revue De L'acbm Vol. 40, No. 1 April / Avril 2012
    CAML REVIEW REVUE DE L’ACBM VOL. 40, NO. 1 APRIL / AVRIL 2012 ARTICLES AND REPORTS / ARTICLES ET RAPPORTS : PAGE President’s Report / Message de la présidente 3 Janneka Guise In Memoriam: Helmut Kallmann (1922-2012) 5 Maria Calderisi International Association of Music Libraries 6 Conference Report, Dublin, Ireland, 24-29 July 2011 Janneka Guise and Cheryl Martin Winner of the CAML Student Paper Award 2012: 9 The Plexure of Copyright Infringement Richard McKibbon REVIEWS / COMPTES RENDUS : Centre and Periphery, Roots and Exile: Interpreting the 18 Music of István Anhalt, György Kurtág, and Sándor Veress (Book) / Edward Jurkowski We Are the Champions: The Politics of Sports and Popular 21 Music (Book) / Sam Popowich Writing Gordon Lightfoot: The Man, the Music, and the 23 World in 1972 (Book) / Jennifer Higgs CAML Review, published three times a year, is the official organ of the Canadian Association of Music Libraries, Archives and Documentation Centres. La Revue de l’ACBM, publiée trois fois l’an, est l’organe officiel de l’Association canadienne des bibliothèques, archives et centres de documentation musicaux. Editor / Éditrice : Cathy Martin, Marvin Duchow Music Library, McGill University, Montreal, Quebec, H3A 1E3. Tel: 514-398-5874; e-mail: [email protected]. Associate Editor / Éditrice adjointe : Cheryl Martin, Library Information Resources Management, Western Libraries, The University of Western Ontario, London, Ontario, N6A 3K7. Tel: 519-661-2111 x80957; e-mail: [email protected]. Review Editor / Éditeur des comptes-rendus : Desmond Maley, J.N. Desmarais Library, Laurentian University, 935 Ramsey Lake Rd., Sudbury, Ontario, P3E 2C6. Tel: 705-675-1151 x3323; e-mail: [email protected].
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components.
    [Show full text]
  • Musique, Théâtre, Causeries Analysis of Radio Programming Broadcast in Québec Between 1922 and 1939 : Music, Theatre and Talks Marie-Thérèse Lefebvre
    Document généré le 27 sept. 2021 22:18 Les Cahiers des dix Analyse de la programmation radiophonique sur les ondes québécoises entre 1922 et 1939 : musique, théâtre, causeries Analysis of Radio Programming broadcast in Québec between 1922 and 1939 : music, theatre and talks Marie-Thérèse Lefebvre Numéro 65, 2011 Résumé de l'article Élément essentiel de la modernisation du Québec, la radio a-t-elle été URI : https://id.erudit.org/iderudit/1007776ar également un véhicule des idées nouvelles qui se développent dans les années DOI : https://doi.org/10.7202/1007776ar 1930 ? L’analyse de la programmation de la musique, du théâtre et des causeries démontre que les choix d’émissions ont obéi davantage à la logique Aller au sommaire du numéro marchande qu’à la volonté de participer aux changements qui ont marqué ces années. Éditeur(s) Les Éditions La Liberté ISSN 0575-089X (imprimé) 1920-437X (numérique) Découvrir la revue Citer cet article Lefebvre, M.-T. (2011). Analyse de la programmation radiophonique sur les ondes québécoises entre 1922 et 1939 : musique, théâtre, causeries. Les Cahiers des dix, (65), 179–225. https://doi.org/10.7202/1007776ar Tous droits réservés © Les Éditions La Liberté, 2011 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal.
    [Show full text]
  • Updated on 6-19-09 FILK
    Updated on 6-19-09 (all information is subject to change at any time up to, during and even after the convention…) FILK - all Filk events are in the Dolores Room FILK – COURTING OUR MUSES. Filkers talk about the ideas behind their songs -- how and where the ideas occurred, why the ideas inspired them to create filk songs, and how they used the ideas in their creation. Fri 4p-5p. Bill Laubenheimer, Jennifer Aronson, Lynn Gold FILK – FILK AS A PRESSURE VALVE. Songs that unleash frustrations: literary, sexual, emotional, intellectual, and social. Sat 4p-5p. Chris Paige, Tom Tuerff, Lynn Gold, Jennifer Aronson FILK – FILK SPAWN or One Filk Leads to Another. Like all the variations on “Dawson’s Christian”, i.e. Nancy Freeman’s “Dawson’s Mizvah”, or the filk war between Rennie Levine and Kanefvsky, or the lovely “Swing on a Star” variations. Fri 2p-3p. Tom Tuerff, Bill Laubenheimer, Darren Reale FILK – FILL IN THE BLANK FILK. Remember doing mad-libs as a kid? Where you take a story or whatever, take out some of the words, and replace them with words suggested by people who don't know what they're replacing. Well, as Tom Smith proved, you can do them for filk songs, too. Come join our panelists, who have brought ready-to- madlib songs, or bring your own to throw into the fray. Sun 1p-2p. Melissa Trible, Gary Swaty, Jennifer Aronson FILK/DEMO - HISTORY OF BARDIC MUSIC & STORYTELLING. - Reale Medieval Music. An overview of Bardic arts and storytelling. Demonstrations and Q&A session if time allows.
    [Show full text]
  • Full Program Book
    Concert Times Friday 7:30pm Vanessa Cardui 8:30pm Toastmaster: Allegra Sloman Saturday 11:00am Starlight 2:30pm Interfilk Guest: Daniela Festi 7:30pm Cade Tinney 9:00pm Guest of Honor: Cheshire Moon Sunday 11:30am Creede Lambard 4:30pm Alyssa Yeager ALL CONCERTS ARE IN NORTHWEST 1 Where Is Everything? Our con space is in the Northwest Ballroom area on the ground floor of the main building of the hotel (containing the tower). Elevators to the Con Suite and tower rooms are just down a short hallway. The hotel map is on the back of this program book. Registration is in the Northwest Foyer. Concerts and the Interfilk auction are in Northwest 1. The Dealers Room is in Northwest 2. Unscheduled time in Northwest 3 and Olympic 2 is available for rehearsal, filking, socializing, or just to get away from the main con. The Northwest Cloakroom is for scheduled rehearsals first, unscheduled rehearsals second, and anything else third. The Con Suite is in Room 1370. The ticketed Conflikt lunch is Sunday at 12:30pm in Cascade 9 and 10, on the second floor of the tower. Information about other things near the hotel is on the hotel page of the con website and on the info table near registration. Table of Contents Cover art by Shawna Jacques...Cover Programming Grid...........................12 Concerts, Locations. Inside front cover Friday Schedule...............................14 Con Suite, Dealers............................1 Singalong Lyrics..............................15 Conflikt Rules and Policies................2 Saturday Schedule..........................17 A Note From the Chair.......................3 Sunday Schedule............................21 Concert and Circle Etiquette..............5 Signups Info.....................................24 Guest of Honor: Cheshire Moon........7 Unscheduled program room use.....24 Toastmaster: Allegra Sloman............9 Acknowledgements.
    [Show full text]
  • The Piano Music of Jean Coulthard: an Historical Perspective
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction Is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wiU indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 The Piano Music of Jean Couithard By Glenn David Colton B.Mus., Memorial University of Newfoundland, 1990 M.A. (Music Criticism), McMaster University, 1992 A dissertation submitted in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Musicology) in the Department of Music We accept this dissertation as conforming to the required standard fl$r.
    [Show full text]
  • The Canadian Music Teacher Le Professeur De Musique Canadien a Trusted and Comprehensive Source of Information for the Music Teacher Across Canada
    The Canadian Music Teacher Le Professeur De Musique Canadien A trusted and comprehensive source of information for the music teacher across Canada Official Journal of The Canadian Federation of Music Teachers’ Associations • Vol. 60, No. 1 • Circulation 3500 • Founded 1935 PUBLICATION INFORMATION CFMTA.ORG UPCOMING EDITIONS OF The Canadian Music Teacher Winter Edition 2010 Visit the CFMTA website •Publication: Jan. 2010 www.cfmta.org •Submission Deadline: Dec. 1, 2009 75th Commemorative Spring Edition 2010 •Publication: May 2010 Young Artist Series • Submission Deadline: April 1, 2010 Canada Music Week® Edition 2010 National Piano Competition •Publication: Sept. 2010 Canada Music Week •Submission Deadline: Aug. 15, 2010 SEND ALL MaTERIALS FOR ALL EDITIONS TO: Membership information Alicia Romero Awards 130 Arbour Ridge Park NW, Calgary, AB T3G 4C5 Phone (403) 208-1739, [email protected] Links to Provincial Associations ADVERTISING Send all advertising inquiries and orders to: Alicia Romero Information at your fingertips 130 Arbour Ridge Park NW, Calgary, AB T3G 4C5 Phone (403) 208-1739, [email protected] www.cfmta.org The official journal of the Canadian Music Teachers’ Association is published three times a year by the CFMTA. Its purpose is to inform music teachers about the Association’s activities, provide a forum for discussion and supply information of topical interest. ADVERTISERS’ INDEX Inclusion of items in this journal does not imply endorsement or approval by the CFMTA. Alberta Keys 42 New Wave Travel 35 Alfred Publishing 27 Pianotekneek 26 Andrew’s Studio of the Arts 30 Piano Workbook 31 Augustana Campus, U of A 9 Prairie Sky Pub. 35 Brandon University 42 Red Leaf Pianoworks 45 SUBSCRIPTIONS Canadian Music Centre 46 RCM Examinations 28 Conservatory Canada 32 Royal Sequence 35 Non-members may receive a subscription Fairchild Radio 13 Ultimate Music Theory 35 by submitting an annual fee to: Frederick Harris outside back The Well-Balanced Pianist 42 Bernadette Bullock, Secretary/Treasurer 302 – 550 Berkshire Dr.
    [Show full text]
  • The 30-Year History of the Alliance Des Chorales Du Quevec and Its Impact on Choral Singing in the Province
    The 30-year History of the Alliance des Chorales du Quevec and Its Impact on Choral Singing in the Province Patricia Abbott Association of Canadian Choral Conductors, Quebec, Canada English Montreal School Board, Quebec, Canada McGill University, Quebec, Canada The year 2004 marked the 30th anniversary of Quebec's choral federation, the Alliance des chorales du Quebec (ACQ). Over the years it has grown from a membership of some 50 choirs to more than 200 (204 at the end of the 2004-2005 season). Its member choirs represent a wide range of repertoire, skill levels and age groups. Although there are other choral organizations in Quebec,l it is the only one officially recognized by the provincial government as the voice for the collective interests of choirs. This paper explores the federation's 30-year history, the growth and evolution of its mandate and programs and its impact on choral music in Quebec. The organization's publications and annual reports served as a major source of information. The Choral Landscape in French Canada Before 1974 Choral music has long been an integral part of French Canadian cultural activity. References to choral music written and arranged in Canada date back to the French colony at Port-Royal in 1606. The seventeenth and eighteenth centuries saw the performance of choral music imported from Europe, as well as a growing body of Canadian compositions, primarily for liturgical use. By the late nineteenth century and early twentieth century, singing in a choral society was a very popular activity in Canada, and Quebec was no exception.
    [Show full text]