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Document generated on 09/27/2021 7:30 p.m. Circuit Musiques contemporaines Catalogue des oeuvres commandées par la smcq Solenn Hellégouarch Souvenirs du futur : pour les 50 ans de la smcq Volume 27, Number 2, 2017 URI: https://id.erudit.org/iderudit/1040877ar DOI: https://doi.org/10.7202/1040877ar See table of contents Publisher(s) Circuit, musiques contemporaines ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this document Hellégouarch, S. (2017). Catalogue des oeuvres commandées par la smcq. Circuit, 27(2), 53–66. https://doi.org/10.7202/1040877ar Tous droits réservés © Circuit, musiques contemporaines, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Catalogue des œuvres commandées par la smcq Solenn Hellégouarch Ce catalogue présente les œuvres commandées (ou co-commandées) par la Société de musique contemporaine du Québec (smcq) entre 1968 et 2017. Les œuvres sont classées par année de création, puis par date de création1. La 1. Dès lors, seules les œuvres créées présence d’un astérisque indique que la commande a reçu l’aide du Conseil ont été retenues dans le présent catalogue. des arts du Canada (cac). 1968 § *Gilles Tremblay, Souffles (Champs II) (1968), 2 flûtes (et piccolo), hautbois, clari- nette, cor, 2 trompettes en si bémol (et trompettes en do), 2 trombones, piano, 2 per- cussions et contrebasse. -
1Er Février 2015 — 15 H Salle De Concert Bourgie Prixopus.Qc.Ca
e 18 GALA1er février 2015 — 15 h Salle de concert Bourgie prixOpus.qc.ca LE CONSEIL QUÉBÉCOIS DE LA MUSIQUE VOUS SOUHAITE LA BIENVENUE À LA DIX-HUITIÈME ÉDITION DU GALA DES PRIX OPUS 14 h : accueil 15 h : remise des prix 17 h 30 : réception à la Galerie des bronzes, pavillon Michal et Renata Hornstein du Musée des beaux-arts de Montréal Écoutez l’émission spéciale consacrée au dix-huitième gala des prix Opus, animée par Katerine Verebely le lundi 2 février 2015 à 20 h sur les ondes d’ICI Musique (100,7 FM à Montréal) dans le cadre des Soirées classiques. Réalisation : Michèle Patry La Fondation Arte Musica offre ses félicitations à tous les finalistes et aux lauréats des prix Opus de l’an 18. La Fondation est fière de contribuer à l’excellence du milieu musical québécois par la production et la diffusion de concerts et d’activités éducatives, à la croisée des arts. Au nom de toute l’équipe du Musée des beaux-arts de Montréal et de la Fondation Arte Musica, je vous souhaite un excellent gala ! Isolde Lagacé Directrice générale et artistique sallebourgie.ca 514-285-2000 # 4 Soyez les bienvenus à cette 18e édition du gala des prix Opus. Votre fête de la musique. Un événement devenu incontournable au fil des ans ! Le gala des prix Opus est l’occasion annuelle de célébrer l’excellence du travail des interprètes, compositeurs, créateurs, auteurs et diffuseurs. Tout au long de la saison 2013-2014, ces artistes ont mis leur talent, leur créativité et leur ténacité au service de la musique de concert. -
Alliance for Canadian New Music Projects Presents
Alliance for Canadian New Music Projects presents Festival: November 23 - 25, 2018 Rooms 1-29, 2-28 & Studio 27, University of Alberta, Fine Arts Building Saturday, November 24, 2018 25th Anniversary Commission Classes, 6 - 8 pm Young Composers Program Final Concert, 8 pm Studio 27, University of Alberta, Fine Arts Building Gala Concert: Friday, November 30, 7:00 pm Muttart Hall, Alberta College, 10050 MacDonald Drive 3 4 ALLIANCE FOR CANADIAN Dear Contemporary Showcase Edmonton, NEW MUSIC PROJECTS Congratulations on your 25th Anniversary! This is a major milestone and you are celebrating it in a creative and memorable way. Edmonton has always been a vital Showcase centre, proudly and effectively promoting the teaching, performance and composition of Canadian Music. Throughout the years, we have marvelled at your expansion of musical activities including the establishment of your Young Composers Program and commissioning of works by Albertan composers. Performers from your centre have received many National Awards for their inspired performances which serves as a testament to the lasting impact of your presence. Thanks to the dedicated committee members, through this quarter century, contemporary Canadian music is thriving in Edmonton. We look forward to celebrating many more milestones with you in the years to come! Jill Kelman President ACNMP October 5, 2018 To: Edmonton Contemporary Showcase Congratulations on the 25th Anniversary of Edmonton Contemporary Showcase, a remarkable achievement in presenting this important mechanism for -
Weinzweig Long
John Weinzweig (1913-2006) Born in 1913 to Polish-Jewish immigrants, John Weinzweig became a noted Canadian composer, educator and advocate. He began music study at the age of 14, learning mandolin at the Workmen’s Circle Peretz School, a Jewish community school in North Toronto. During his high school years at Harbord Collegiate, Weinzweig joined the orchestra playing the violin parts on the mandolin but eventually learned the tuba, tenor saxophone, and bass. Weinzweig’s early musical training led to an interest in composition and he spent between 1934-37 studying at the University of Toronto with Healy Willan, Leo Smith, and Sir Ernest McMillan. During his time at the University of Toronto Weinzweig founded and conducted the University of Toronto Symphony Orchestra. Following the completion of his education in Toronto, Weinzweig moved to Rochester, NY to study with Howard Hanson at the Eastman School of Music. There he was first introduced to serial compositional techniques. Upon his return to Toronto, Weinzweig experimented with serialism in his Piano Suite no. 1 (1939) and in incidental music for docudrama radio programming at the growing CBC. For the remainder of his career, Weinzweig continued to use serialism as the governing structure behind his compositions even when he experimented with other musical ideas. Following a decade long tenure at the CBC (1941-51), Weinzweig’s compositional interests returned to concert music. He began composition of his Divertimenti, with Divertimento no. 1 winning an award for chamber music at the 1948 Olympics. Works such as String Quartet no. 1 and Suite for Piano no. -
Nadia Boulanger's Lasting Imprint on Canadian Music
Document généré le 27 sept. 2021 06:24 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 Résumé de l'article Morey Cet article retrace le riche héritage canadien de la grande personnalité de la Volume 33, numéro 2, 2013 musique française du XXe siècle qu’était Nadia Boulanger (1887–1979). À travers son enseignement auprès d’une soixantaine d’élèves canadiens, tant URI : https://id.erudit.org/iderudit/1032696ar francophones qu’anglophones, la célèbre pédagogue française a joué un rôle DOI : https://doi.org/10.7202/1032696ar important dans le développement de la musique de concert au Canada à partir des années 1920, en particulier à Montréal et à Toronto. Ses nombreux étudiants canadiens ont continué de se démarquer en tant que compositeurs, Aller au sommaire du numéro enseignants, artistes, musicologues, théoriciens, administrateurs, et producteurs de radio. En se basant sur une longue recherche dans les archives et les sources de première main, l’auteur démontre l’impact décisif qu’a eu Éditeur(s) Nadia Boulanger sur le développement de styles musicaux et de pratiques compositionnelles au Canada au cours du siècle dernier. Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (imprimé) 1918-512X (numérique) Découvrir la revue Citer cet 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 Ce document est protégé par la loi sur le droit d’auteur. -
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I UCM NEW MUSIC f~ST VAL 2011: 0 D ANl;)NEW - / I . \ 1 ~011 SOCIETY OF COMPOS5RS, 11\lc. REGION VI CONFERENCE ,-A I I , , I ' , I ' ~ ~ ~ ~' ' I NIVERSllTY OF CENTRAt MISSOURI /,) I I DEPARTMENT O~MlJSl6 APRIL 8-10, 20 1 ' J UCM New Music Festival 2011: OLD AND NEW 2011 Society of Composers, Inc. Region VI Conference Festival Featured Guest Artists: ATHENS SAXOPHONE QUARTET KCCONTINUUM April 8-10, 2011 University of Central Missouri College of Arts, Humanities, and Social Sciences Department of Music An All-Steinway School Festival at a Glance Alf concerts will be held in Hart Recital Half Friday, April 8 Saturday, April 9 Sunday, April 11, 2010 8AM: Papers I (Utt 008) 8AM: Papers Ill (Utt 100) 8AM: Papers V (Utt 100) 10AM: Concert I 10AM: Concert IV 10AM: Concert VII 1PM: Papers II (Utt 107) 1 PM: Papers IV (Utt 100) 1 PM: Papers VI (Utt 100) 3PM: Concert II 3PM: Concert V 3PM: Concert VII 8PM: Concert Ill KCContinuum 8PM: Concert IX 8PM: Concert VI Athens Saxophone Quartet UNNERSI1Y OF CENTRAL MISSOURJ - - DEPARTMENTOF - MUS!C _5CI - Est. 1871- AN A LL-STEINWAY SCHOOL ;ociety of Composers, Inc. UCM New Music Festival 2011: OLD AND NEW April 8-10, 2011 U niversity of Central Missouri College of Arts, Humanities, and Social Sciences Department of Music TABLE OF CONTENTS Welcome from the Chair ... ....... .. ..... ...... .. .. ...... ...... ................. ........... .......... ........ ....... ................. ... ......... 1 UCM Department of Music Faculty . ...... ....... ........ .. .... ...... ...................... ....... -
Filumena and the Canadian Identity a Research Into the Essence of Canadian Opera
Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final thesis for the Bmus-program Icelandic Academy of the Arts Music department May 2020 Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final Thesis for the Bmus-program Supervisor: Atli Ingólfsson Music Department May 2020 This thesis is a 6 ECTS final thesis for the B.Mus program. You may not copy this thesis in any way without consent from the author. Abstract In this thesis I sought to identify the essence of Canadian opera and to explore how the opera Filumena exemplifies that essence. My goal was to first establish what is unique about Canadian opera. To do this, I started by looking into the history of opera composition and performance in Canada. By tracing these two interlocking histories, I was able to gather a sense of the major bodies of work within the Canadian opera repertoire. I was, as well, able to deeper understand the evolution, and at some points, stagnation of Canadian opera by examining major contributing factors within this history. My next steps were to identify trends that arose within the history of opera composition in Canada. A closer look at many of the major works allowed me to see the similarities in terms of things such as subject matter. An important trend that I intend to explain further is the use of Canadian subject matter as the basis of the operas’ narratives. This telling of Canadian stories is one aspect unique to Canadian opera. -
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. -
Spring 2020 Edition the Newsletter of the School of Music at the University of British Columbia UBC High Notes
Spring 2020 Edition The Newsletter of the School of Music at the University of British Columbia UBC High Notes The Queen in Me Soprano Teiya Kasahara (BMus’07) on carving their own path in opera as a queer, multidisciplinary Japanese-Canadian performer www.music.ubc.ca SPOTLIGHT LIBERATING THE QUEEN IN ME Photo: Takumi Hayashi/UBC In their new play The Queen in Me, soprano Teiya Kasahara (BMus’07) liberates one of opera’s most iconic villains — and challenges the industry’s centuries-old prejudices Photo: Tallulah By Tze Liew In The Queen in Me, the Queen of the Night at age 15, after seeing Ingmar Bergman’s film begins to sing her most iconic aria, “Der Hölle version of The Magic Flute. “I saw her perform For more than two centuries, the iconic Queen Rache,” like she would in any Magic Flute show. and was like, Oh God, I want to do that,” they of the Night from Mozart’s Die Zauberflöte But midway through, she halts. “Stopp! Stopp remember. has been thrilling audiences with her vengeful die Musik!” she screams. Breaking the fourth spirit, bloodthirsty drive, and volatile high Fs. wall, she laments the stifling act everyone’s With this as their dream role, Kasahara dove Qualities that make her the ultimate villain, come to see; one she’s been trapped in for headfirst into voice training, made it into fated to eternal doom while the hero and over two centuries. the UBC Opera program, and honed their heroine, demure as lambs, skip off to enjoy craft for four years under the tutelage of their happy ending. -
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. -
October 8, 1982 Concert Program
NEW MUSIC CONCERTS 1982-83 CONTEMPORARY ENCOUNTERS. CANADIAN MUSIC. GOOD MUSIC. On Sale now from the Canadian Music Centre are: CMC 1 Canadian Electronic Ensemble. Music composed and performed by Grimes, Jaeger, Lake and Montgomery. CMC 0281 Spectra - The Elmer Iseler Singers. Choral music by Ford, Morawetz and Somers. CMC 0382 Sonics - Antonin Kubalek. Piano solo music by Anhalt, Buczynski and Dolin. CMC 0682 Washington Square - The London Symphony Orchestra. Ballet music by Michael Conway Baker. CMC 0582 ‘Private Collection - Philip Candelaria, Mary Lou Fallis, Monica Gaylord. The music of John Weinzweig. CMC 0482 Folia - Available October 1, 1982. Wind quintet music by Cherney, Hambraeus, Sherman and Aitken, performed by the York Winds. In production: Orders accepted now: CMC 0782 2x4- The Purcell String Quartet. Music by Pentland and Somers. CMC 0883 Viola Nouveau - Rivka Golani-Erdesz. Music by Barnes, Joachim, Prévost, Jaeger and Cherney. Write or phone to place orders, or for further information contact: The Canadian Music Centre 1263 Bay Street Toronto, Ontario MSR 2C!1 (416) 961-6601 NEW MUSIC CONCERTS Robert Aitken Artistic Director presents COMPOSERS: HARRY FREEDMAN LUKAS FOSS ALEXINA LOUIE BARBARA PENTLAND GUEST SOLOISTS: ERICA GOODMAN BEVERLEY JOHNSTON MARY MORRISON JOSEPH MACEROLLO October 8, 1982 8:30 P.M. Walter Hall, Edward Johnson Building, University of Toronto EER IONG..R AM REFUGE (1981) ALEXINA LOUIE JOSEPH MACEROLLO, accordion ERICA GOODMAN, harp BEVERLEY JOHNSTON, vibraphone COMMENTA (1981) BARBARA PENTLAND ERICA -
ANNOUNCEMENTS 1. the Vacancy at the University of Calgary Which
ANNOUNCEMENTS 1. The vacancy at the University of Calgary which was announced in v.10, no.2 has been filled by Rita Vine. She will be starting her job on May 1. A former student at the University of Western Ontario, she graduated last spring from the com- bined musicology and M.L.S. program at SUNY Buffalo. CNIB Library is pleased to announce the appointment of Margaret Matheson to the new position of Music Librarian. Miss Matheson has an Honours Bachelor of Music Degree and a Master of Library Science Degree from the University of Toronto. She has worked for the CBC as a cataloguer in Program Archives, and in a variety of summer positions re- lated to music, such as accompanist for string master classes and program coordinator for concerts at the Banff Centre for Continuing Education. Miss Matheson has won numerous awards and scholarships in the fields of library science and music. Her personal interests include singing in the Tallis Choir, and performing on piano and harpsi- chord in chamber music recitals. At CNIB, Miss Matheson will be responsible for organizing the braille music collections in Toronto and Montreal, and in developing transcription and other special services to blind musicians across Canada. Margaret is 26 years old, and plans to marry David Macmillan in June. 3. A workshop entitled "Music Cataloguing for the Non-Musician" will be included in the CLA conference on June 14 in Saskatoon. The speakers will be CAML members Chris Bull, Acadia University Library; Joan Colquhuon, National Library; Jim Whittle, University of Alberta; and Tony Woodward, National Library.