EN :

The unfolding of a compact algebraic group into a larger structure which exhibits an isomorphic relationship with the smaller group is the essence of "self-similarity." Through the use of transformational networks which take advantage of the group properties of the forty-eight canonical operators and through the examination of the hexachordally combinatorial properties of Babbitt's row forms, this paper examines the manner in which Babbitt selects and combines rows to produce maximal diversity on the surface while optimizing internal coherence at the deeper structural levels. This study focuses on three works that cover straightforward serial structures, simple array structures and superarray structures respectively — Babbitt's three main compositional strategies.

FR :

Un recueil donné à la Bibliothèque nationale du Québec (Montréal) en 1993 porte les signatures de François Vachon de Belmont, supérieur des Sulpiciens de Montréal de 1701 à 1732, et de Jean Girard, à qui appartenait le Livre d’orgue de Montréal. Les quatre volumes renferment les Motets (1687) de M. Noël (pseudonyme de Lebègue), les Airs spirituels de « différents autheurs » (1697), édition « pirate » d’œuvres de Baccilly, et les Airs à quatre parties (1663) de Du Mont. Très rares, voire uniques, ces œuvres complètent la bibliothèque musicale de Jean Girard et ajoutent à notre connaissance du répertoire musical interprété à Ville-Marie au XVIII^e siècle.

EN :

Born in Indiana and trained as a singer, violinist, and conductor in Chicago and New York, Beatrice van Loon travelled to Edmonton, Alberta, in the fall of 1920 as the leader of an all-female ensemble. She married a local dentist and as Mrs. J.B. Carmichael played in the Edmonton Symphony Orchestra and conducted an orchestra at the University of Alberta until 1934. She founded the Edmonton Civic Opera Society in 1935 and worked as its artistic director until her death in 1964. For more than four decades she gave unstintingly of herself to audiences and music students in her adopted city.

FR :

L’auteur, après avoir tenté d’établir à quel moment Richard Strauss commence son travail sur Salome, fait un inventaire des sources manuscrites de l’opéra. Puis il se concentre sur un exemplaire de la première édition de la traduction allemande de la pièce d’Oscar Wilde ayant appartenu au compositeur et qui contient de nombreuses annotations musicales. Une classification et une description de celles-ci sont suivies de l’analyse détaillée du premier stade de conception de deux passages clés de Salome.

EN :

The Piano Sonata no. 6 by S.C. Eckhardt-Gramatté evolved as a composite work spanning two distinct phases of the composer's career. The first movement (1928), for left hand alone, is representative of the neo-romanticism of her early works, while the atonal second movement (1952), for right hand, typifies the composer's later style. As a synthesis of the first two movements, the finale re-interprets these conflicting tonal and stylistic paradigms, contextually transforming the preceding movements and imbuing each with new meaning. This process is closely analogous to a concept Harold Bloom describes in poetic terms as tessera, or "completion and antithesis."