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Entretien avec François Bayle

Olivier Julien
Director of the GRM (Groupe de Recherches Musicales) from 1966 to 1997, the composer François Bayle is a privileged witness of the last fifty years of technological mutations. In this interview, he shares reminiscences of his meeting with Pierre Schaeffer and the beginning of electro-acoustical music. While recalling the techniques and principles which are the foundation of this music since 1958, he also answers the question which today occupies many musicologists: is it possible to establish a parallel between the practice of electro-acoustical musicians and that of popular musicians from the end of the twentieth century?

Classical Music Criticism at the Globe and Mail: 1936-2000

Colin Eatock
This article is a study of developments in classical music criticism at the Toronto-based Globe and Mail newspaper from its inception in 1936 to the year 2000. Three distinct time-periods are identified, according to content, style and ideology: 1936-1952, a period of boosterism, when critics often saw it as their role to support Toronto's musicians and musical institutions; 1952-1987, when (during the lengthy tenure of critic John Kraglund) the newspaper took a more detached, non-partisan stance towards musicians and musical activities in the city; and 1987-2000, when critics began to address social, political, and economic issues governing classical music, and to question inherited cultural assumptions about the art form.

Karol Szymanowski and Richard Strauss: Of Diverging Epiphanies

Paul Cadrin
According to the philosopher Charles Taylor, since the beginning of the nineteenth century, with the advent of Romanticism, the work of art is defined by its epiphanic character. It is a manifestation of something of the highest moral or spiritual significance; this manifestation is not merely subjective, in which case it would be inaccessible to scholarly inquiry, but it has an objective character. The Third Symphony, op. 27, by Karol Szymanowski is analyzed in the light of Taylor's concept. The Deutsche Motette, op. 62, by Richard Strauss, which is based on a text similar to the one used by Szymanowski, serves as a foil to buttress the findings.

La Frauenseele dans tous ses états : les Altenberg lieder, opus 4, nos II et III de Berg comme réponse à la Frauenfrage viennoise

Julie Pedneault Deslauriers
This article is an hermeneutical analysis of Alban Berg's Altenberg Lieder opus 4 nos. 2 and 3. These lieder are analysed from the perspective of the feminine persona esthetic known as "Frauenkult", put forward by the controversial poet (and Berg's friend) Peter Altenberg. The author shows how the motivic treatment, the voice-leading strategies and their relation with the poems selected by Berg demonstrate two of the main concepts of the Frauenkult: the valorization of a more autonomous female sexuality and the transcendence of the female soul.

Family Values: The Trapp Family Singers in North America, 1938-1956

Michael Saffle
Overlooked or ignored for decades by music historians and specialists in performance practices, the real-life Trapp Family Singers achieved enormous success especially in Canada and the United States during the late 1930s, 1940s, and early 1950s through their appeal to—and consequent reception in terms of—"family values." These values included, but were not altogether limited to, the Trapp's Christian faith, patriotic activities, and contributions to charitable causes, as well as the wholesome image associated with the family's private lives, their Vermont "Sing Weeks," and their more than 1,800 estimated concert appearances.

Elisabeth Gallat-Morin et Jean-Pierre Pinson. La vie musicale en Nouvelle-France. Coll. « Musique », Cahiers des Amériques, n° 1. Sillery : Éditions du Septentrion, 2003. 570 p. ISBN 2-89448-350-3 (couverture souple)

Jean-Pierre Noiseux

Kristina Marie Guiguet. The Ideal World of Mrs. Widder's Soirée Musicale: Social Identity and Musical Life in Nineteenth-Century Ontario. Mercury Series, Cultural Studies Paper 77. Gatineau, QC: Canadian Museum of Civilization, 2004. xvi, 154 pp. ISBN 0-660-19344-2 (paperback)

Robin Elliott

David Yearsley, Bach and the Meanings of Counterpoint. New Perspectives in Music History and Criticism, ed. Jeffrey Kallberg, Anthony Newcomb and Ruth Solie. Cambridge: Cambridge University Press, 2002. xvi. 257 pp. Plates, musical examples, notes, bibliography, and index. ISBN 0-521-80346-2 (hardcover)

Janette Tilley

Deborah Mawer, ed. The Cambridge Companion to Ravel. Cambridge: Cambridge University Press, 2000. xv, 294 pp. ISBN 0 521 64026 1 (hardcover)

Remi Chiu

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