W INTER -S PRING 2010 / VOL .7 / #1 / FREE 2 Accès Culture Production: Service Des Communications Et Des Relations Avec Les Citoyens 2009–2010 ACCÈS CULTURE PRIZE

Total Page:16

File Type:pdf, Size:1020Kb

W INTER -S PRING 2010 / VOL .7 / #1 / FREE 2 Accès Culture Production: Service Des Communications Et Des Relations Avec Les Citoyens 2009–2010 ACCÈS CULTURE PRIZE CULTURAL EVENTS OF THE BOROUGHS OF MONTRÉAL - W INTER -S PRING 2010 / VOL .7 / #1 / FREE 2 Accès culture Production: Service des communications et des relations avec les citoyens 2009–2010 ACCÈS CULTURE PRIZE e Chief Editor and Project Manager: Théâtre de la Pire Espèce is the winner of the Accès culture r Judith de Repentigny Prize for 2009–2010. This prize is awarded by Ville de u Montréal to an artist or company whose work is remarkable t Editorial Committee: l for its creative daring and technical innovation. The prize Josée Asselin, borough of Lachine includes a tour in the city’s cultural network between u Maryse Bouchard, borough of Outremont c November 2009 and May 2010. Anne-Marie Collins, borough of Plateau-Mont-Royal s Martin-Philippe Côté, borough of Sud-Ouest ROLAND (LA VÉRITÉ DU VAINQUEUR ) è Paul Langlois, Marie-Ève Bonneau and Julie Legault, Théâtre de la Pire Espèce presents an epic retelling of La c Service du développement culturel, de la qualité du milieu c Chanson de Roland by two medieval knights armed only with de vie et de la diversité ethnoculturelle A lamps and cardboard armour. A sure delight for children Original Grid: Subcommunication aged 10 and up. (See page 61 for more details) Logo: Jutras design THEÂTRE DE LA PIRE ESPÈCE Graphic Design: Centre de communications visuelles, A brotherhood of joyful craftsmen whose trade is the un - Ville de Montréal, 000273-1842 (12-2009) usual, whose art is the new. Inspired by the ancient arts of puppeteering, their theatre combines simple materials with a Translation (English version): Bottlegreen Media sophisticated imagination and a baroque profusion of ideas enacted with great technical skill. The company pushes stage conventions and narrative rules to the limit, all in the name of creating a special relationship with the audience. For more information on the Accès culture Prize: ville.montreal.qc.ca/accesculture Roland (La vérité du vainqueur) On the cover: Variations mécaniques (ages 5 and over) Produced by Festival Escapades (France), Maison des Arts de Créteil (France) and Le fils d'Adrien danse (Québec) See the event description on page 58 Photo: Jean-François Brière In the photo: Harold Rhéaume ISBN: 2-7647-0347-3 This project is made possible through the financial support of the Entente sur le développement culturel de Montréal 3 e r u ON THE MENU FOR 2010 : t a e A TRUE FEAST OF CULTURE! f We are pleased and excited to unveil this schedule of all the great events happening in the Accès culture network during the winter and spring of 2010. As always, there's enough on the menu to satisfy every taste in music, dance, theatre, poetry and visual arts. Some of these events deserve special mention. There's the tour of Les Entrées en scène Loto-Québec , which encourages a new generation of professional performers by giving them access to stages all around Québec, including many in the city's Accès culture network. This year the tour highlights the choreography of Alexandra "Spicey" Landé, creator of Rétrospek , plus the electro-pop confections of La Patère Rose, and the dramatic inventions of Théâtre À l’Envers, producers of a marvellous play for the young and the old, Woânda . The city's up-and-coming talent will also take centre-stage in April for the 14th d l a annual Printemps de la danse , a dance festival which this year is dedicated to the work of three young choreographers from n o D Montréal: Andrew Turner, Eryn Flynn and Yaëlle Azoulay. c a M k Families in Montréal will have a busy time marking their calendars; more than 100 youth events are on the way. During c i n the spring break, kids can enjoy the great series of musical shows presented for La Semaine de la musique , the result of a a Y : collaboration between the city and the Jeunesses Musicales du Canada. And for tweens and teens who love theatre, there's o t o an ingenious new play, entitled Roland (La vérité du vainqueur ), by Théâtre de la Pire Espèce, the winner of the Accès culture h P Prize for 2009–2010 . We invite you to keep your free copy of this latest issue of Accès culture magazine. You’ll find everything you need to get a rich serving of culture all through the winter and spring! This magazine contains an abridged list (by field and by date) of upcoming events in the various boroughs of Montréal. To consult the complete arts calendar, visit our Web site: ville.montreal.qc.c a/culture 4 03 39 1 ADMISSION FEE FEATURE POETRY & LITERATURE n PASS REQUIRED o 2 Ticket policies vary from one borough to i t another. Contact the venue to learn when free passes become available for a a 05 MUSI C 42 particular event. m EXHIBITIONS r 06 . pop, folk, country o 09 . rock, hip-hop f FREE ADMISSION 10 . world, traditional 3 n i 13 . jazz, blues 6 THESE EVENTS ARE 16 . classical & contemporary PRESENTED IN d 49 COLLABORATION n YOUTH EVENTS WITH THE CONSEIL a 49 . for children DES ARTS DE MONTRÉAL x 23 60 . for teenagers EN TOURNÉE e FILM d THESE EVENTS ARE SUPPORTED BY n 4 i THE MONTRÉAL CULTURAL DEVELOP- MENT AGREEMENT BETWEEN THE VILLE 29 62 DE MONTRÉAL AND THE MINISTÈRE DE THEATRE , DANCE , COMEDY & PERFORMANCE CULTURAL VENUES LA CULTURE, DES COMMUNICATIONS ET 30 . theatre DE LA CONDITION FÉMININE DU QUÉBEC. 34 . dance 38 . comedy & performance 9 IN ENGLISH 8 BUS 7 METRO Each event listing includes the name of the location and a borough code. Use the borough code to consult the list of venues, page 62 and 63. Ex: [CN] Borough of Côte-des-Neiges–Notre- Dame-de-Grâce For more information or for the complete list of cultural events: ville.montreal.qc.c a/culture music 5 c i s u m CHLOÉ SAINTE-MARIE NITSHISSENITEN E TSHISSENITAMIN “I KNOW THAT YOU KNOW” 4 e SATURDAY, JANUARY 23 g a p [8:00 pm] n 2 o The singer performs songs by Philippe McKenzie, the man who s m a started the modern Inuit folk movement in the nineteen-seventies. r g o [MHM] Maison de la culture Mercier t c i p e h t o t y e k y r u D e r r e i P : o t o h P 6 JAN. | SAT. 30 FEB. | THU. 11 [8:00 pm] 2 [8:00 pm] 2 CATHERINE SÉNART. L'AMOUR SELON VENNE CÉLINE FAUCHER An artist who steps delicately through the joys and GENS D'ICI, GENS D'HIER ET D'AUJOURD'HUI sufferings of love, as expressed in the songs of Stéphane The singer presents wonderful highlights from the Venne. With Marc-André Cuierrier on piano. Stage Québécois songbook. Tunes by Gilles Vigneault, y direction: Marie-Ève Gagnon. Félix Leclerc, Claude Léveillée, Raymond Lévesque r y [MN] Maison culturelle et communautaire de Montréal-Nord and Clémence Desrochers help us relive the days of t a l b La Corriveau, Bozo les culottes, Jack Monoloy, n m e Alexis le Trotteur, Frédéric, Jenny and a host of others. r u T FEB. | MON. e l 01 [SO] Maison de la culture Marie-Uguay l o e b c a [7:30 pm] s 1 I , : [8:00 pm] o GAÉTAN LECLERC CHANTE FÉLIX 1 t k o Since 1998, the nephew of the legendary Félix Leclerc has PIERRE LAPOINTE. SENTIMENTS HUMAINS h l P performed his uncle’s songs in friendly, candid shows that [LS] Salle Jean-Grimaldi, Cégep André-Laurendeau o f include fascinating anecdotes about their family. , [PR] Centre culturel de Pierrefonds JAN. | WED. | p 20 FEB. FRI. 12 o [8:00 pm] 2 | [8:00 pm] 2 p FEB. FRI. ÈVE COURNOYER 05 CATHERINE SÉNART. L'AMOUR SELON VENNE Passionately devoted to the power of words, this [7:30 pm] 1 See the event description for January 30 singer-songwriter invents witty and romantic lyrics ANDREA LINDSAY [RPT] Église Saint-Joseph that cross lightly through the shadows and the light. Despite her roots in Ontario, and the Brit-pop style of [PM] Maison de la culture du Plateau-Mont-Royal her tunes, this young singer-songwriter is a devoted [8:00 pm] 1 4 Francophile and often sings her refreshing and inspired e MICHEL RIVARD g lyrics in French. a p [LA] Complexe culturel Guy-Descary – Salle de spectacle [PR] Centre culturel de Pierrefonds n l'Entrepôt o JAN. | SAT. s 23 m a r [8:00 pm] [8:00 pm] 1 g 2 o t CHLOÉ SAINTE-MARIE ALEXANDRE DÉSILETS c i p NITSHISSENITEN E TSHISSENITAMIN, His mind-blowing voice, sensitive lyrics and cutting-edge e h sounds take you to a singular and very personal musical t “I KNOW THAT YOU KNOW” o t The singer performs songs by Philippe McKenzie, the space where electronic, pop and post-rock intertwine. y e man who started the modern Inuit folk movement in [VE] Centre communautaire Elgar k the nineteen-seventies. [MHM] Maison de la culture Mercier [8:00 pm] 2 r e LA PATÈRE ROSE. LES ENTRÉES EN SCÈNE LOTO-QUÉBEC h c i See the event description for April 20 R | s JAN. FRI. e l 29 [RPT] Maison de la culture Pointe-aux-Trembles r a h [8:00 pm] C 1 : o MARC ANGERS. L'ENFANT ROI t FEB. | SAT. o 06 h After an exciting and enriching experience inside Star P Académie , this promising singer-songwriter brings his [8:00 pm] 1 dynamic fiddling style and passionate vocals back to CLAIRE PELLETIER [8:00 pm] the stage.
Recommended publications
  • Cover Next Page > Cover Next Page >
    cover next page > title: Indian Music and the West : Gerry Farrell author: Farrell, Gerry. publisher: Oxford University Press isbn10 | asin: 0198167172 print isbn13: 9780198167174 ebook isbn13: 9780585163727 language: English subject Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. publication date: 1999 lcc: ML338.F37 1999eb ddc: 780.954 subject: Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. cover next page > < previous page page_i next page > Page i Indian Music and the West < previous page page_i next page > < previous page page_ii next page > Page ii To Jane < previous page page_ii next page > < previous page page_iii next page > Page iii Indian Music and the West Gerry Farrell OXFORD UNIVERSITY PRESS < previous page page_iii next page > < previous page page_iv next page > Page iv OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Gerry Farrell 1997 First published 1997 New as paperback edition 1999 The moral rights of the author have been asserted Database right Oxford University Press (maker) All rights reserved.
    [Show full text]
  • Sophie Stévance* Université Laval, Québec Faculty of Music
    Article received on 25th May 2011 Article accepted on 12th April 2012 UDC: 78(714.1) 78.07 Мекрир П. Sophie Stévance* Université Laval, Québec Faculty of Music CONTEMPORARY MUSIC AT THE FRINGE: THE EXAMPLE OF “MUSIQUE ACTUELLE” IN CANADA Abstract: The International Week of Today’s Music (SIMA), organised in 1961 by Pierre Mercure within the framework of the Montreal Festivals, is a master event: beside the works of Serge Garant, Karlheinz Stockhausen or Iannis Xenakis, this event permitted to the experimental music of today to be heard as provocative and heterogeneous as it may be, in particular with Cage Atlas Eclipticalis’ creation or Richard Maxfield’s Piano Concert for David Tudor. Mercure challenged an American experimental aesthetic’s different from Europeans experimentations. The hypothesis of this paper is that what has been called “musique actuelle” since 1979 in Quebec, refers to Mercure’s artistic perspectives. How affiliated is musique actuelle to the SIMA? This paper seeks to answer this question by looking at the different uses of the expression of musique actuelle so as to bring to light the historical reasons, roots and fundaments of the expression since its first uses. The ac- tualist movement has in common with Mercure’s project more than a name: it carries and maybe focuses for the Mercure’s aesthetic and social policy by refusing certain zone sys- tem within cultural poles with creation methods such as free and collective improvisation. But beyond this project, it’s definitely of Mercure event’s tradition that actualists arose and built their identity field. * Author contact information: [email protected] 51 New Sound 38, II/2011 Keywords: Musique actuelle, actualism, Pierre Mercure, Productions SuperMusique, mu- sical identity, The International Week of Today’s Music Апстракт: Међународна недеља савремене музике (SIMA), коју је, у оквиру Монт- реалских фестивала, 1961.
    [Show full text]
  • Folk Songs CLASS-II
    Folk Songs CLASS-II 6 Notes FOLK SONGS A folk song is a song that is traditionally sung by the common people of a region and forms part of their culture. Indian folk music is diverse because of India's vast cultural diversity. It has many forms. The term folk music was originated in the 19th century, but is often applied to music older than that. The glimpse of rural world can be seen in the folk music of the villages. They are not only the medium of entertainment among the rural masses but also a reflection of the rural society. In this lesson we shall learn about the characteristics of folk songs and music and also about the various folk songs of India. OBJECTIVES After studying this lesson, you will be able to: • define folk songs; • list the characteristics of folk songs and folk music; • list some famous forms of folk song of our country; and • describe the importance of folk song in our culture. OBE-Bharatiya Jnana Parampara 65 Folk Songs CLASS-II 6.1 MEANING OF FOLK SONGS AND MUSIC Music has always been an important aspect in the lives of Indian Notes people. India's rich cultural diversity has greatly contributed to various forms of folk music. Almost every region in India has its own folk music, which reflects local cultures and way of life. Folk songs are important to music because they give a short history of the people involved in the music. Folk songs often pass important information from generation to generation as well.
    [Show full text]
  • Slch Prog 2019-20 Ang F Nc Low.Pdf
    T TABOUT US T Founded in 1904, the Schulich School of Music of McGill University is home to a diverse community of performers, composers, music theorists, educators, scientists, and researchers, and offers more than 45 undergraduate, graduate, and professional programs. In 2018, 513 undergraduate and 375 graduate students were enrolled at Schulich, with a third of that total coming from outside of Canada. This season, Schulich will present over 600 public events at a variety of venues within the School, throughout the City of Montreal, and elsewhere. S SSS S SCHULICH STUDENT POPULATION 63% 37% PERFORMANCE RESEARCH 34% 33% 33% FROM QUEBEC REST OF CANADA INTERNATIONAL S SSS S @schulichmusic INFORMATION S BOX OFFICE 514-398-4547 · mcgill.ca/music T TABLE OF CONTENTS T About Us ..........................................4 Musical Chairs Welcome Message ..........................5 Chamber Music Festival ...........25 McGill Symphony Orchestra........ 6-7 Schulich in Concert .................. 26-28 Opera McGill ................................ 8-9 Schulich in Your Neighbourhood ......28 Baroque Orchestra ........................10 McGill Noon-Hour Organ ..............29 Contemporary Music Ensemble .......11 Intermezzo .....................................29 McGill Choral Ensembles ........ 12-14 Musical 5 à 7 ..................................30 McGill Wind Orchestra ...................15 Schulich@COC ...............................31 McGill Jazz Ensembles ............ 16-17 Schulich@McCord .........................31 2019-2020 Competitions
    [Show full text]
  • June 17 - 23, 2019 Vol
    June 17 - 23, 2019 Vol. 27 No. 24 $2 $1.10 goes to vendor profits J U N E S H I R T S O F T H E M O N T H Calendar GIVEASHIRT.NET 4 Chicago has something for everyone, find out what's happening! SportsWise 6 The world of golf. 7 The Playground Cover Story: Millennium Park 8 Chicago is known for the number of free events it hosts each summer, many of which happen downtown in Millennium Park, where there are so many residents and tourists. As with our Festival Guide, these summer events expose visitors to culture, new points of view and diverse people. Inside StreetWise 15 A Q&A (and some epic photos) with vendor Hozie Williams. Dave Hamilton, Creative Director/Publisher [email protected] Suzanne Hanney, Editor-In-Chief StreetWiseChicago [email protected] Julie Youngquist, Executive Director [email protected] @StreetWise_CHI Amanda Jones, Director of programs [email protected] LEARN MORE AT streetwise.org Ph: 773-334-6600 Office: 4554 N. Broadway, Suite 350, Chicago, IL, 60640 To make a donation to StreetWise, visit our website at www.streetwise.org/donate/ or cut out this form and mail it with your donation to StreetWise, Inc., 4554 N. Broadway, Suite 350, Chicago, IL, 60640. DONATE We appreciate your support! My donation is for the amount of $________________________________Billing Information: Check #_________________Credit Card Type:______________________Name:_________________________________________________________________________________ AVA I L A B L E I N U N I S E X A N D W O M E N ’ S C U T We accept :Visa, Mastercard, Discover or American Express Address:_______________________________________________________________________________ Account#:_____________________________________________________City:___________________________________State:_________________Zip:_______________________ H A N D S C R E E N P R I N T E D T S H I R T S D E S I G N E D B Y L O C A L A R T I S T S I N C H I C A G O , I L .
    [Show full text]
  • Vividh Bharati's Role in 'Unifying' the Indian Nation
    Vividh Bharati’s 5932/011116 vIvIdh BhaRatI's Role IN 'UNIfyINg' the INdIaN NatIoN Jawhar Sircar RKMIC, 29th January 2014 I. FREEDOM AT MIDNIGHT: 1. When we look back at the last six or seven decades, we see with amazement how India has emerged from a country that was tormented by internal convulsions and external threats to be now ranked among the top countries of the world. The entire picture has changed so dramatically, especially in the last two decades since we opened up our economy that India is now growing rapidly enough to be noticed. Though it has finally been afflicted by the world-wide economic contagion and is passing through a rather low, the world takes note: which it did not, earlier. The 21st century belongs to Asia and it is beyond doubt that China and India would be playing a major role, notwithstanding temporary hiccups along the way. 2. The question is how did this India, that is now proud of her high seat in the assembly of nations of the world, emerge as a cohesive nation that is finally solidly bonded. Let us take ourselves back to the stroke of the midnight hour, on the night of 14th/15th August 1947, when this nation was born: a memorable period that happens but once in a nation’s life-time. It was the most challenging of times, as not only was it a bleeding baby that had been severed from its sibling, but it was in the midst of violence, confusion and rioting. One was reminded of Churchill’s scathing remarks that "in a few years, no trace will remain" for "anarchy will lead to internecine warfare".
    [Show full text]
  • 51 Article Sound Archives and Musical Representations
    ARTICLE SOUND ARCHIVES AND MUSICAL REPRESENTATIONS OF MODERN INDIA: THE CASE OF THE FELIX VAN LAMSWEERDE COLLECTION (1963-2005) Rasika Ajotikar, British Academy Postdoctoral Fellow, SOAS University London Abstract This essay presents a critical social history of the context in which the Felix van Lamsweerde Collection came together. Felix van Lamsweerde (b. 1934), a Dutch col- lector, cultural anthropologist and impresario, extensively recorded Indian expressive cultures in the Netherlands and India between 1963 and 2005. This collection was digit- ised and catalogued between 2017 and 2020 at Georg-August-Universität Göttingen and the Berliner Phonogramm-Archiv in Germany as part of a German Research Foundation (DFG) project. It includes a wide range of first-hand and commercial audio/video re- cordings of music, dance and theatre genres from across India along with accompany- ing notes, photographs, and a vast collection of books, magazines and journals. Van Lamsweerde’s journey into studying musics of India and the collection itself points to how India’s cultural politics evolved in the immediate decades following its independ- ence from the British in 1947. Whilst historicising the colonial, oriental and nationalist legacies of music collection in India, this essay examines the Van Lamsweerde Collection and archival projects at large through a source critical approach. It attempts to demon- strate the ways in which caste, class, gender and racialisation processes and the sound archive shaped one another in the formation of transnational cultural representations of India. Drawing on discussions in ethnomusicology, social theory and archival studies, this essay offers an interpretation of how musical knowledge and a homogenous con- struct of Indian culture has taken shape in Western European and American academe.
    [Show full text]
  • Pierre Hébert Film Director and Multidisciplinary Artist
    Pierre Hébert Film director and multidisciplinary artist Pierre Hébert was born in Montreal in 1944. In 1965, he abandoned his studies in anthropology and joined the National Film Board of Canada as film director. In 1996, he became producer and director of the animation/youth studio of the French program until 1999 when he left the NFB. He is now an independent filmmaker and multidisciplinary artist. From 1965 to 1971, he directed experimental animation films that explore perception phenomena. Later, although remaining faithful to an experimental outlook, his works focused more on social and political concerns. By 1983, his films started to develop from multidisciplinary projects with musicians, choreographers and writers. From 1991 to 1996, he worked on a feature film, La Plante humaine, which was released in Montreal and Paris, and which won the AQCC/SODEC award for the best Quebec feature of the year. By 1986, he invented an unusual kind of performance (live scratched animation) which takes him to performances in many countries in Europe and North America with musicians such as Fred Frith, Robert Marcel Lepage, Jean Derome, René Lussier, and Bob Ostertag whom he met in 1989. Since then Ostertag and Hébert have collaborated on many projects, the most recent being Between Science and Garbage in which computers are used to process live animated images. He writes regularly in a number of art and film magazines, and in 1999 published an book L’Ange et l’automate (Les 400 coups, Montreal). He was awarded several important prizes, including The Norman McLaren Award (1988), a Bessy award (New York Dance and Performance Award) (1987), Melkweg Cinema Award for Reality Research, Amsterdam (1985), and the Prix Aqec-Olivieri (1993), for the best theoretical article on cinema.
    [Show full text]
  • 2011 School of Music College of Fine Arts Illinois State University
    March 14 -17, 2011 School of Music College of Fine Arts Illinois State University Festival Director Carl Schimmel Featuring Peiying Yuan, composer Due East, flute and percussion duo David Feurzeig, piano RED NOTE New Music Festival EVENT CALENDAR Monday, March 14th, 8:00 p.m. “Funny Music” – Featuring ISU faculty and students performing humorous works by Luciano Berio, Derek Bermel, William Bolcom, and others. In addition, this concert will feature the winning composition in the RED NOTE New Music Festival Composition Competition, Peiying Yuan’s magical work Garapan. Tuesday, March 15th, 2:00 - 4:00 p.m. Percussion masterclass with Greg Beyer of Due East. At 3:00 p.m. Dr. Beyer will also give an ethnomusicological lecture-demonstration on the unique Brazilian instrument the berimbau. (Held in the Percussion Room, Cook Hall 103) Tuesday, March 15th, 8:00 p.m. “Simultaneous Worlds I” – Featuring Due East, a flute/ percussion duo based in Dekalb, IL, and New York, NY, performing new music for their ensemble, including that of Illinois State faculty composer Carl Schimmel. Wednesday, March 16th, 2:00 - 4:00 p.m. Flute masterclass with Erin Lesser of Due East. Wednesday, March 16th, 8:00 p.m. “Visual Music” – Groundbreaking electroacoustic music and video by an international group of composers and artists, including Jaroslaw Kapuscinski, Bret Battey, and Illinois State University faculty member Matthew Smith. Thursday, March 17th, 8:00 p.m. “Simultaneous Worlds II” – Former faculty member and virtuoso performer David Feurzeig returns to campus to present a concert of genre- blending piano music. All events are free and open to the public and will be held in Centennial East’s Kemp Recital Hall on the campus of Illinois State University unless otherwise indicated.
    [Show full text]
  • Obituary: David Mcallester Attracting Attention As the First Female World Dance Alliance-Americas
    SEM Newsletter Published by the Society for Ethnomusicology Volume 40 Number 4 September 2006 Becoming Ethnomusi- Barbara Smith_ Hon- 2006 Charles Seeger cologists ored by UH Manoa Lecturer: Adrienne L. By Philip V. Bohlman, SEM President Music Department Kaeppler, Smithso- In this column (p.4-5), I turn from Saturday, April 29, 2006. Friends, nian Institution colleagues and supporters of the arts my concern with the issues forming the _ By Ricardo D. Trimillos, University of gathered at the UH Manoa Music De- _ context of ethnomusicology to its meth- Hawai‘i at Manoa ods. At first glance, that turn might partment as the Amphitheatre and Eth- seem like a shift from external to inter- nomusicology Wing of the complex is nal issues. We do, in fact, become dedicated in the name of Emeritus Pro- ethnomusicologists by studying it as a fessor Barbara B. Smith. discipline. Interdisciplinarity, however, Smith’s tenure as a faculty member is not so much a concept of internal and researcher has spanned virtually workings as it is of the bigger picture. It the entire life of the department—from poses questions about how we join her arrival in Hawai‘i in 1949, through together and how we recognize our her official “retirement” in 1982, and to differences before transcending them. the present day in which she remains an Interdisciplinarity, moreover, is a con- active contributor to the university and cept that ethnomusicologists hold as department as a mentor and through very precious. Many, if not most, of us fieldwork and advocacy research. feel it distinguishes our field from oth- “This is a wonderful opportunity to ers, which, so we believe, are narrower recognize the life’s work of an outstand- ing teacher, researcher and performer,” in scope and more limited in their claim _ on knowledge.
    [Show full text]
  • BORN, Western Music
    Western Music and Its Others Western Music and Its Others Difference, Representation, and Appropriation in Music EDITED BY Georgina Born and David Hesmondhalgh UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London All musical examples in this book are transcriptions by the authors of the individual chapters, unless otherwise stated in the chapters. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Western music and its others : difference, representation, and appropriation in music / edited by Georgina Born and David Hesmondhalgh. p. cm. Includes bibliographical references and index. isbn 0-520-22083-8 (cloth : alk. paper)—isbn 0-520--22084-6 (pbk. : alk. paper) 1. Music—20th century—Social aspects. I. Born, Georgina. II. Hesmondhalgh, David. ml3795.w45 2000 781.6—dc21 00-029871 Manufactured in the United States of America 09 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R 1997) (Permanence of Paper). 8 For Clara and Theo (GB) and Rosa and Joe (DH) And in loving memory of George Mully (1925–1999) CONTENTS acknowledgments /ix Introduction: On Difference, Representation, and Appropriation in Music /1 I. Postcolonial Analysis and Music Studies David Hesmondhalgh and Georgina Born / 3 II. Musical Modernism, Postmodernism, and Others Georgina Born / 12 III. Othering, Hybridity, and Fusion in Transnational Popular Musics David Hesmondhalgh and Georgina Born / 21 IV. Music and the Representation/Articulation of Sociocultural Identities Georgina Born / 31 V.
    [Show full text]
  • Music, the Media, and Communal Relations in North India, Past and Present
    City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 1996 Music, the Media, and Communal Relations in North India, Past and Present Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/87 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 5 Music, the Media, and Communal Relations in North India, Past and Present PETER MANUEL MUCH OF THE DISCUSSION of communalism has attempted to ascertain the depth of the evident communal sentiment reflected in recent distur­ bances and the rise of Hindu militancy. Amrita Basu's essay above echoes a similar question about cultural history: do current developments reflect profound, long-standing, grass-roots animosity, or, alternately, are they merely the products of contemporary elite manipulation, ultimately con­ ditioned by factorsother than religious ones? While sociopolitical history is a natural focusfor such inquiries, the study of expressive culture may re­ veal much about social practices and attitudes, both elite and grass-roots, past and present. This chapter focuses on musical culture in north India, outlining relevant aspects of the social history of classical music, and pre­ senting some observations on twentieth-century folkand popular musics. My discussion of the contemporary scene will also refer to related forms of expressive culture, notably Hindi cinema and the sociopolitical uses of cassettes. Given the extraordinary diversity of South Asian musical genres and practices, any attempt to generalize about music's relation to communal­ ism is destined to a degree of superficiality.
    [Show full text]