Annual Report 2018

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report 2018 Photo Credit: Auberge International de Québec TransCultural Exchange’s 2018 Annual Report The Artist Building at 300 Summer St. Unit 36 Boston, MA 02210 617.670-0370 www.transculturalexchange.org 1 2018 ANNUAL REPORT Executive Summary TransCultural Exchange turned 30th the year. We celebrated this momentous occasion by producing our first International Conference on Opportunities in the Arts to take place outside of our home base of Boston, making the Conference theme Exploring New Horizons as relevant for us as for our attendees. We brought this Conference to Québec City at the request of the artist Jeanne Landry who attended our 2009 and 2011 Conferences in Boston. As a result, she was invited to participate in a number of international exhibitions and residencies. These experiences so changed her life that she wanted the same for other Quebecois artists. So, she lobbied for us to bring the Conference here and, with the continual assistance of Suzanne Roy of the Québec City Business Destination. Along the way, we were joined in our efforts by the extraordinarily kind help of the Gouvernement du Québec, our gala co-sponsor swissnex Boston and the Conference’s lead academic host, l’École d’art de l’Université Laval. I would like to personally thank the Director of l’École d’art Georges Azzaria for his unflinching support and Professor Marie-Christiane Matthieu for her work in soliciting the participation of the local arts community – especially Mois Multi/Recto Verso’s Director Gaëtan Gosselin who so ably took the lead in arranging the Conference’s closing reception. For this event at the complex of artist-run centers Méduse, we also thank the Ville de Québec and the Gouvernement du Québec. In addition, we would like to thank our main Conference venues, the Morrin Centre, Auberge Internationale de Québec and the Maison de la littérature|L’Institut Canadien de Québec’s Scène littéraire, whose former Director – and now Managing Director of Robert Lepage's Le Diamant – Bernard Gilbert so graciously fulfilled my dream to have Robert Lepage’s artistic genius represented at the Conference. When TransCultural Exchange first began nearly three decades ago, we were producing traveling exhibitions and related programming for artists. But, with these Conferences, we have absorbed the truism of the ancient proverb: “Give a man a fish, and you feed him for a day. Teach a many to fish, and you feed him for a lifetime.” We are continuously delighted that by teaching our attendees “to fish,” our efforts have grown exponentially. And, for this we have our wonderful speakers to thank. From our surveys, we can see that our attendees’ careers have taken off, their works have blossomed and they have made more opportunities for themselves and others. Through both our speakers and attendees’ work, a mesh of global networks is growing – one that transcends borders, strife, local interests and prejudices, united by the power of art. This has been our dream since our inception, as we believe that the arts are civility’s calling card, which is why ruthless tyrants are so quick to quash them. The arts offer the engagement of the senses, the lure of excellence, the stimulation of curiosity and the fearless embrace of new horizons. As we know from nature, we need diversity to survive and art offers us this in spades. We, therefore, thank all of you for all you do and for joining us here to 2 support each other in this important work, and are pleased to announce that Vernon Press has approached us to publish the 2018 Conference papers in 2019 as a peer-reviewed book. – Mary Sherman Executive Director, TransCultural Exchange . with heartfelt thanks to all our sponsors, who enabled us to produce this Conference and to TransCultural Exchange's remarkable Board of Trustees, steadfast Advisory Board and all the speakers, moderators and volunteers who have come from near and far to be with us over these three days. Most of all, though, I would like to thank the hundreds of artists and organizations for whom TransCultural Exchange has worked with for over three decades. It is their work, inspiration and kindness that continue to guide us forward. TransCultural Exchange’s Board of Trustees Gordon L. Amgott Mira Bartók Thaddeus Beal Blake Brasher Susan Cohen Michèle Oshima TransCultural Exchange’s Advisory Board Ute Meta Bauer Marie Fol Jan Hanvik Lisa Hoffman Jean-Baptiste Joly Catherine Lee Margaret Shiu Caitlin Strokosch Mitsuhiro (Mitch) Yoshimoto FINANCIAL REPORT All financial decisions are made by TransCultural Exchange’s Board of Trustees. The mission of the Board of Trustees is to formulate policy for the organization, to monitor execution of that policy, and to support the staff in the fulfillment of the organization’s purposes through oversight of TransCultural Exchange’s finances, governance and all activities and programs. Actual execution of programs, however, continues to remain the responsibility of the Director and staff. We are deeply indebted to the tireless efforts of our staff – Siyi Wang for her stunning graphics, Rudi Punzo for his round-the-clock updates our website in a moment’s notice and Carol van Zandt’s for 3 her added marketing efforts. Special thanks also to Rudi and Carol for their remarkable efforts throughout the Conference. They stepped in whenever needed, ensuring that the Conference went off without a hitch. Our board also deserves kudos for that as well, as each board member took on a great deal of the logistical tasks required of running the Conference at three, unique spaces. As usual, our advisory board lent the Conference their expertise both through their Conference presentations and during our advisory board meeting. Their global perspective and insight remains invaluable to us. 4 Still, none of TransCultural Exchange’s activities would be possible without the generous support of our sponsors. TransCultural Exchange is pleased to have Université Laval’s l'École d'art de la Faculté d'aménagement, d'architecture, d'art et de design as the lead academic sponsor of the 2018 International Conference on Opportunities in the Arts: Exploring New Horizons. We also are very grateful to the Gouvernement du Québec, who so graciously lent crucial funding, expert advice and remarkable goodwill to make this first venture from our home base possible. Other individuals who TransCultural Exchange would like to single out to thank include the generous and steadfast support of our wonderful anonymous donors and Mrs. Ralph Ghormley whose funds carry us through our Conference planning years. We are also would like to thank all the volunteers and speakers who have so graciously given so much to be with us for this event. We thank all of these people and all the countless artists and organizations we have worked with over the years and to which TransCultural Exchange owes its success. The production of these Conferences is, of course, a huge financial undertaking. It would not be possible without the aid of many people and institutions. Diamond - $10,000+ Anonymous Donor Mrs. Ralph Ghormley Gouvernement du Québec Université Laval, l'École d'art de la Faculté d'aménagement, d'architecture, d'art et de design Platinum - $7500+ swissnex boston Gold - $5000+ Auberge Internationale de Québec Silver - $2500+ Délices Érable & Cie DutchCulture, Centre for International Cooperation Goethe-Institut Montreal Richard Lappin and Julia Rabkin Locke Lord, LLP Mois Multi, an international festival produced by Recto-Verso Musée de la civilisation, Québec Royal Jordanian airlines Québec City Business Destination Romanian Cultural Institute, New York Society for Arts and Technology [SAT] Individual Sponsors Austrian Cultural Forum Austrian Embassy Ottawa Boston Cultural Council Blake Brasher 5 Susan Cohen Consulat Général d'Israël à Montréal | Consulate General of Israel in Montreal Duncan of Jordanstone College of Art and Design (DJCAD) Research Committee at University of Dundee Florian Grond Gabriele Koch Ivanna Muse LIA - Lab Inter Arts, Salzburg Nordic Summer University Séminaire de Québec Urban Ramstedt Rhonda Smith Society of St. John the Evangelist Emmanuel Zazopoulos ZHdK – Zurich University of the Arts TransCultural Exchange would also like to thank the Ville de Québec and Gouvernement du Québec for their contribution to the closing event, hosted by Mois Multi/Recto Verso. In addition, TransCultural Exchange would like to acknowledge the Bilingual Tourism Program at Cégep Limoiloi for providing us with volunteers for the Conference, and Suzanne Roy of the Québec City Business Destination and Jeanne Landry for their continued help in planning the Conference; Glenn Pudelka, Allison O'Neil and Douglas Sweeney of Locke Lord, LLP for their legal expertise; the MS in Leadership for Creative Enterprises, School of Communication at Northwestern University for their in-kind support and the National Endowment for the Arts for funding to make our Conference web pages fully accessible to visitors with disabilities. This program is supported in part by a grant from the Boston Cultural Council, a local agency that is funded by the Massachusetts Cultural, administered by the Mayor's Office of Arts and Culture. A summary of the year’s expenses and income follows. Copies of TransCultural Exchange’s 2018 tax forms are publically available on GuideStar, Common Giving and with the Massachusetts State House’s Office of Public Charities. 6 2018 Conference Expenses 2018 Expenses Personnel Actual Volunteer Total TOTAL PERSONNEL $37,396 $47,820 $85,216 NON-PERSONNEL EXPENSES
Recommended publications
  • François St-Cyr St-Cyr in North America 1624-2016
    François St-Cyr St-Cyr in North America The descendants of Pierre Deshaies St-Cyr and Marguerite Guillet and Mathieu Rouillard St-Cyr and Jeanne Guillet 1624-2016 Éditions Mots en toile Bibliothèque et Archives nationales du Québec and Library and Archives Canada cataloguing in publication St-Cyr, François, 1960- [Héritage. English] St-Cyr in North America, 1624-2016 Translation of : Héritage : la descendance de Pierre Deshaies St-Cyr & Marguerite Guillet et de Mathieu Rouillard St-Cyr & Jeanne Guillet , 1624- 2011. ISBN 978-2-923445-85-4 1. Saint-Cyr family. 2. Deshaies, Pierre, 1648-1732 - Family. 3. Rouillard, Mathieu, approximately 1638-1702 - Family. 4. Québec (Province) - Genealogy. I. Title. II. Héritage. English. CS90.S233613 2016 929.20971 C2016-941249-0 Legal Deposit Bibliothèque et Archives nationales du Québec – 2016 Library and Archives Canada – 2016 ISBN: 978-2-923445-85-4 All rights of translation, reproduction and adaptation reserved © 2016 François St-Cyr and Editions Mots en toile Table of content Coat of Arms .......................................................................................................................................37 Authentic Signatures .......................................................................................................................... 38 Historical .......................................................................................................................................... 39 First part The descent of Pierre Deshaies St-Cyr and Marguerite Guillet First
    [Show full text]
  • Mary Bevan Soprano Joseph Middleton Piano
    10 September 2021, 1:00pm | Holy Trinity Church, Haddington Mary Bevan soprano Joseph Middleton piano Henri Duparc L'invitation au voyage Lili Boulanger Le retour Amy Beach Je demande à l’oiseau Déodat de Séverac Les Hiboux Pierre de Bréville Harmonie du soir Marguerite Canal Les Roses de Saadi Jeanne Landry Mort quand tu me viendras prendre Gabriel Fauré Chant d'automne Henri Duparc La vie antérieure Nadia Boulanger Soleils couchants Claude Debussy Le jet d'eau Pauline Viardot Lamento – la chanson du pêcheur Henri Duparc Romance de Mignon Mel Bonis Songe Maurice Rollinat Harmonie du soir Cécile Chaminade L'Absente Lammermuir Festival 2021 Welcome to the 12th Lammermuir Festival — we’re so glad to be back! Two years ago, when we celebrated the landmark of our 10th festival we (perhaps fortunately!) had no inkling of what would unfold only a few months later. Then last year we mounted a small online festival and were grateful for the enthusiastic support, not only of our regular audience, but of many new Lammermuir followers around the world. This year feels like both a celebration and a rebirth — not quite ‘business as usual’, but very much a festival that we have yearned, through many bleak months, to bring back to this beautiful part of Scotland and to share with you. We have made a virtue of the new reality of international travel restrictions by inviting many old friends among our distinguished artists, but there are new faces too — headed by our Artist in Residence, the American pianist Jeremy Denk, and by vocal ensemble The Gesualdo Six.
    [Show full text]
  • Chapter 1: Introduction
    La Marque du maître: Messiaen’s Influence on Québécois Composers Serge Garant, Clermont Pépin and André Prévost Heather White Luckow Schulich School of Music McGill University Montreal, Quebec, Canada June 2010 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of PhD in Music Theory Heather White Luckow 2010 All rights reserved i To David and my parents ii ACKNOWLEDGEMENTS I have heartfelt thanks for a large number of people from whom I have drawn support and encouragement each and every day of my studies. First and foremost, I would like to thank my advisor, Christoph Neidhöfer, whose guidance in every area of my scholarly development has been exemplary: he was certainly the best mentor I could have ever hoped to have. Sincere thanks are also extended to William E. Lake at Bowling Green State University who oversaw my earliest research and attentively edited my earliest writings on André Prévost. It was Kjellrun Hestekin, my undergraduate horn and theory professor at Memorial University of Newfoundland, who first inspired me to study music theory and has remained a mentoring figure in my academic development from day one. Thank you for your belief in me. Two institutions, in particular, offered invaluable financial support for my dissertation research: the Bibliothèque et Archives nationales du Québec (BAnQ); and the Société Québécoise de Recherche en Musique. The continued enthusiasm that these two Québécois bodies have shown in my work is especially appreciated. The staff of the BAnQ, Library and Archives Canada, the Service de la gestion de documents et des archives de l’Université de Montréal and the Centre de musique canadienne (CMC) have all been exemplary in their assistance in obtaining scores, recordings and press clippings.
    [Show full text]
  • Répertoire Des Œuvres Des Compositrices Du Québec Au Xxe Siècle, N° 40 De La Collection «Documents De Travail Du CRCCF»
    Centre de recherche en civilisation canadienne-française Documents de travail 40 Répertoire des œuvres des compositrices du Québec au XXe siècle Répertoire des œuvres des compositrices du Québec au XXe siècle par Nicole Labelle Documents de travail du Centre de recherche en civilisation canadienne- française Ottawa Centre de recherche en civilisation canadienne-française Université d'Ottawa 1997 La collection «Documents de travail du Centre de recherche en civilisation canadienne-française» vise à assurer une diffusion limitée d'instruments de recherche portant sur le Canada français. Elle accueille plus particulièrement les travaux appartenant à la catégorie des guides, listes, catalogues, répertoires, inventaires ou index. Les documents faisant l'objet d'étude peuvent être manuscrits ou imprimés, sonores, visuels ou autres. Les manuscrits destinés à cette collection sont soumis à l'évaluation d'un comité. Collection dirigée par André LaRose Lucie Pagé David Welch Révision linguistique et mise en pages : France Beauregard Maquette de la couverture : WAWA Design, Ottawa ® CRCCF, Ottawa, 1997 Tous droits réservés. La reproduction d'un extrait quelconque de ce livre, par quelque procédé que ce soit, tant électronique que mécanique, en particulier par photocopie et par microfilm, est interdite sans l'autorisation écrite du CRCCF. ISBN 0-88927-187-9 Dépôt légal — premier trimestre 1997 Bibliothèque nationale du Canada Dans la môme collection : 1. Inventaire des chercheurs sur le Canada français à l'Université d'Ottawa (épuisé) 2. Répertoire des chercheurs sur la vie française en Ontario 3. Livres conservés au Centre de recherche en civilisation canadienne-française (épuisé) 4. Inventaire des documents de l'Association canadienne-française d'Ontario, volume I (épuisé) 5.
    [Show full text]
  • La Marque Du Maître: Messiaen's Influence on Québécois Composers
    La Marque du maître: Messiaen’s Influence on Québécois Composers Serge Garant, Clermont Pépin and André Prévost Heather White Luckow Schulich School of Music McGill University Montreal, Quebec, Canada June 2010 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of PhD in Music Theory Heather White Luckow 2010 All rights reserved i To David and my parents ii ACKNOWLEDGEMENTS I have heartfelt thanks for a large number of people from whom I have drawn support and encouragement each and every day of my studies. First and foremost, I would like to thank my advisor, Christoph Neidhöfer, whose guidance in every area of my scholarly development has been exemplary: he was certainly the best mentor I could have ever hoped to have. Sincere thanks are also extended to William E. Lake at Bowling Green State University who oversaw my earliest research and attentively edited my earliest writings on André Prévost. It was Kjellrun Hestekin, my undergraduate horn and theory professor at Memorial University of Newfoundland, who first inspired me to study music theory and has remained a mentoring figure in my academic development from day one. Thank you for your belief in me. Two institutions, in particular, offered invaluable financial support for my dissertation research: the Bibliothèque et Archives nationales du Québec (BAnQ); and the Société Québécoise de Recherche en Musique. The continued enthusiasm that these two Québécois bodies have shown in my work is especially appreciated. The staff of the BAnQ, Library and Archives Canada, the Service de la gestion de documents et des archives de l’Université de Montréal and the Centre de musique canadienne (CMC) have all been exemplary in their assistance in obtaining scores, recordings and press clippings.
    [Show full text]
  • Canadian Music Council
    CANADIAN MUSIC COUNCIL CONSEIL CANADIEN DE LA MUSIQUE MUS 153 Prepared by : John L. Tung Date : April 20, 1990 TABLE OF CONTENTS PAGE Box Index ...................................................... ii List of abbreviations used .......................................... v Restricted documents.............................................ix CONSTITUTION AND HISTORY 1.1 Constitution ............................................... 2 1.2 History................................................... 2 BOARD OFFICE 2.1 Board office and special meetings .............................. 6 2.2 Board of directors .......................................... 9 2.3 Board office correspondence ................................. 10 MEETINGS OF THE CANADIAN MUSIC COUNCIL 3.1 Annual meetings .......................................... 13 3.2 President's annual meetings ................................. 16 3.3 Correspondence re annual meeting ............................ 16 CONFERENCE OF THE CANADIAN MUSIC COUNCIL 4.1 Conference organization .................................... 18 4.2 Conference documents..................................... 22 4.3 Conference papers ........................................ 26 4.4 Panels .................................................. 32 4.5 Conference's financial statements ........................ 34 4.6 General correspondence .................................... 39 4.7 Publication of annual conference .............................. 46 4.8 Miscellaneous ............................................ 48 MEMBERSHIP 5.1 Board members..........................................
    [Show full text]
  • Je Me Souviens
    Je Me Souviens A Publication of the American-French Genealogical Society Vol VII No 2 Winter 1984 Ameaican-Faench GeneaCogicaL P.O. Box 2113 Pawtucket, R. I. LUCILLE ROCK, Pkuident (401) 769-8079 463 South Main St., Woonsocket, RI 02895 REV. DENNIS M. BOUDREAU, Vice-Pke&dident/E&h 1253 Newport Ave., Pawtucket, RI 02861 (401) 722-1100 LEA BERARD, SechkYkty (401) 725-1977 7 Willow Way, Lincoln, RI 02865 THERESE POL1 UIN, Tamwreh (617) 336-9648 88 Woodwar************8 Avenue, Seekonk, MA. 02771 CUihectohs (-~YLc~cL~~above 066icm) LEON ASSELIN VIVIAN GREER ROGER BEAUDRY ROBERT QUINTIN JANICE BURKHART GILLES ROCK PAUL DELISLE HENRY LEBLOND RACHEL GAUDET JEANNE THEBERGE MUlbUL&kiy3: Paul Delisle Rueahch: Therese Poliquin, Cecile Martens GbhatLicln: Janice Burkhart Vol. VII, No.2 - Winter- 1984 (c) 1984 &*&*66&&66**&**6********* gabQe4 Contents THE GREAT FIRE OF 1721 IN MONTREAL by Lucille Fournier Rock THE FINE ART OF "BALLOONING" by Irene A. Peloquin RECIPE - TETE DE FROMAGE CLOUTIER GENEALOGY by Paul P. Delisle HUGUENOT RESEARCH INFORMATION CAPTIVES FROM HAVERHILL by Armand Letourneau NATURALIZATION PAPERS - THE FRENCH REGIME by Lucille Fournier Rock FRANCO-AMERICAN ACHIEVEMENTS - GOVERNOR ARAM J. POTHIER A DESCENDING GENEALOGY OF THE POTHIER FAMILY LIBRARIAN'S REPORT MEMBERSHIP REPORT CONTRIBUTIONS QUESTIONS AND ANSWERS CHARTS A.F.G.S. PUBLICATIONS & SUPPLIES Thes ident's dessaqe Another year has come to an end and it is time once again to assess what we have accomplished during the year and to make plans for the coming year. We finished the year with an Open House. It was an occasion for a ribbon cutting ceremony to formerly open our new library facilities, but more importantly, it was an occasion to honor Mr.
    [Show full text]
  • Providing the Taste of Learning: Nadia Boulanger's Lasting Imprint on Canadian Music
    PROVIDING THE TASTE OF LEARNING: NADIA BOULANGER’S LASTING IMPRINT ON CANADIAN MUSIC Jean Boivin According to music critic and musicologist Gilles Potvin, Nadia Boulanger’s gift to Canadian music is exceptional. From 1920 to her death in 1979, she taught more Canadians than any other foreign teacher. Potvin supports his claim by naming more than forty musicians, belonging to three different gen- erations and well known in various circles (Potvin 1993a, 1276–77). My own research has led me to identify some seventy former students of Boulanger, either born or having extensively worked in Canada (see appendix for a list of more than sixty of them). Canadians were present in Boulanger’s life from the early 1920s—that is, at the same time as her first American students1—until the very end of her teach- ing career in the late 1970s. It is all the more surprising that no serious study on this interesting subject has been published. In the Boulanger literature, the presence of Canadians among her pupils is barely suggested and many er- rors are to be found.2 Boulanger’s career is too long to be fully covered here. In view of both her reputation among Canadian musicians and her direct influence on the style of some prominent Canadian composers, the decades 1925–55 stand out as par- ticularly interesting. In fact, dividing the pedagogue’s teaching activities into a pre-war and a postwar period is actually relevant in this case, as I intend to point out. And although Nadia Boulanger’s musical and pedagogical ideas have spread throughout Canada, I propose to emphasize her impact among 1 The first American composer to study composition with Boulanger, according to Aaron Cop- land (1900–1990) and other sources, was Melville Smith (1898–1962), who became her student in the fall of 1920.
    [Show full text]
  • Providing the Taste of Learning: Nadia Boulanger's Lasting Imprint On
    Document generated on 09/24/2021 11:01 a.m. Intersections Canadian Journal of Music Revue canadienne de musique Providing the Taste of Learning: Nadia Boulanger’s Lasting Imprint on Canadian Music Jean Boivin Musical Perspectives, People, and Places: Essays in Honour of Carl Article abstract Morey This article traces the rich Canadian legacy of the twentieth-century French Volume 33, Number 2, 2013 musical legend Nadia Boulanger (1887–1979). Through teaching her more than seventy Canadian students, both French- and English-speaking, the renowned URI: https://id.erudit.org/iderudit/1032696ar French pedagogue played a crucial role in the development of concert art DOI: https://doi.org/10.7202/1032696ar music in this country from the 1920s, notably in Montreal and Toronto. Her numerous Canadian students went on to distinguish themselves as composers, teachers, performers, musicologists, theorists, administrators, and radio See table of contents producers. Drawing on extensive archival and primary research, this study demonstrates the decisive impact Boulanger had on the development of musical styles and compositional practices in Canada in the last century. Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (print) 1918-512X (digital) Explore this journal Cite this article Boivin, J. (2013). Providing the Taste of Learning: Nadia Boulanger’s Lasting Imprint on Canadian Music. Intersections, 33(2), 71–100. https://doi.org/10.7202/1032696ar Copyright © Canadian University Music Society / Société de musique des This document is protected by copyright law. Use of the services of Érudit universités canadiennes, 2013 (including reproduction) is subject to its terms and conditions, which can be viewed online.
    [Show full text]
  • Généalogie Et Histoire Des Ancêtres De Tancrède Labbé (1887-1956), Ministre Des Mines (1944- 1956) Dans Le Gouvernement Du Québec
    LIVRE PREMIER Généalogie et histoire des ancêtres de Tancrède Labbé (1887-1956), ministre des Mines (1944- 1956) dans le gouvernement du Québec Genealogy and History of the Ancestors of Tancrede Labbe Auteur: Michael Laughrea, Ph. D., Montréal, petit-fils de Tancrède Labbé. Email: [email protected] (dernière mise à jour: 23 janv. 2018) 1 TABLE DES MATIÈRES Remerciements Introduction Chapitre Un Faits saillants. • Arbre généalogique pour lecteurs pressés. p. 5 • Descendants de Tancrède Labbé et Annie Lachance p. 5 • Premiers ancêtres Labbé et Beaudoin au Canada. p. 7 • 71% des ancêtres de Tancrède proviennent de Normandie ou d’un rayon de 110 km de La Rochelle. • La proportion génétique ancestrale originaire de Normandie est plus élevée que suggérée • Précis de géographie française. p. 8 • Précis d'histoire de la Nouvelle-France. • Cinq ancêtres protestants de Tancrède Labbé • 38 pionniers de Nouvelle-France et 7 pionniers d’Acadie parmi les ancêtres de Tancrède, dont Louis Hébert et Abraham Martin. p. 9 • Plusieurs premières reviennent à Louis Hébert et Marie Rollet. • Premiers lieux de colonisation en Nouvelle-France: Québec, Charlesbourg et la rive nord du fleuve dans 62% des cas. p. 10 • Six pionniers de la Beauce parmi les ancêtres de Tancrède. • Trois pionniers du canton de Broughton parmi les ancêtres de Tancrède. p. 10 • Longévité des ancêtres de Tancrède: 63, 67 et 71 ans aux 17e, 18e et 19e siècles. • La mairie de Thetford Mines, une affaire familiale. p. 11 • Histoire de la carrière commerciale de Tancrède Labbé. • La ligne mâle des ancêtres de Tancrède Labbé est probablement d’origine irlandaise.
    [Show full text]
  • Final Document 12-12-13 with Edited Appendices.Pdf
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN OVERVIEW OF THE PIANO CONCERTO IN CANADA SINCE 1900 WITH STYLISTIC ANALYSES OF WORKS SINCE 1967 BY ECKHARDT-GRAMATTÉ, DOLIN, LOUIE, KUZMENKO, AND SCHMIDT A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By MICHELLE RUTHANNE PRICE Norman, Oklahoma 2013 AN OVERVIEW OF THE PIANO CONCERTO IN CANADA SINCE 1900 WITH STYLISTIC ANALYSES OF WORKS SINCE 1967 BY ECKHARDT-GRAMATTÉ, DOLIN, LOUIE, KUZMENKO, AND SCHMIDT A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Marvin Lamb, Chair ______________________________ Dr. Edward Gates, Co-Chair ______________________________ Dr. Jane Magrath ______________________________ Dr. Sanna Pederson ______________________________ Dr. Teresa DeBacker © Copyright by MICHELLE RUTHANNE PRICE 2013 All Rights Reserved. Acknowledgments I would like to thank my committee members for their tremendous support, advice, and valuable service to the betterment of my education. Special thanks go to my chair, Dr. Marvin Lamb, for his willingness to serve as coordinator and advisor for the final semester of my document research. To Dr. Jane Magrath, I express my sincere appreciation for her editing advice and guidance as my former chair for four years. I would like to especially thank my co-chair, Dr. Ed Gates, whose editing probed into the recesses of my mind and aided my growth as a researcher, scholar, critical thinker, and confident writer. Thank you to Dr. Sanna Pederson, for her input while in both Norman and abroad in Germany. Finally, thank you to Dr. Teresa DeBacker, for her supportive service and valuable feedback.
    [Show full text]
  • De Pierre Mercure 1961 Round Table on Pierre Mercure’S Incandescence Mario Gauthier
    Document generated on 09/27/2021 5:03 a.m. Circuit Musiques contemporaines Table ronde de 1961 autour d’Incandescence de Pierre Mercure 1961 Round Table on Pierre Mercure’s Incandescence Mario Gauthier Musique automatiste ? Pierre Mercure et le Refus global Article abstract Volume 21, Number 3, 2011 Conceived and implemented by the composer Pierre Mercure (1927-1966) from August 3 to 8, 1961, the Semaine internationale de musique actuelle de URI: https://id.erudit.org/iderudit/1006362ar Montréal (SIMA) (International Week of Today’s Music) caused a stir among DOI: https://doi.org/10.7202/1006362ar audiences and critics alike. In a context and time when avant garde music was receiving scant recognition, this festival presented visual and aural works See table of contents whose impact and influence continues to this day. Maryvonne Kendergi, then a “freelance commentator” at Radio-Canada, came up with the idea of a round table featuring Jean Beaudet, Eric McLean, Jean Vallerand and Pierre Mercure, whose ballet Incandescence was performed on August 6, 1961. This article is a Publisher(s) transcription of this 35-minute interview (virtually complete) which was Les Presses de l’Université de Montréal preserved by Madame Kendergi. To our knowledge, this interview has never before been published or heard in its entirety. ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this document Gauthier, M. (2011). Table ronde de 1961 autour d’Incandescence de Pierre Mercure. Circuit, 21(3), 87–98. https://doi.org/10.7202/1006362ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law.
    [Show full text]