In and Around Canadian Music

2000 ◽  
Vol 35 (3) ◽  
pp. 173-183 ◽  
Author(s):  
Will Straw
Keyword(s):  
Canadian Music

The Divas Get Real: Training Singers for Success in the Canadian Cultural Domains

2021 ◽  
Vol 78 (2) ◽  
pp. 179-192
Author(s):  
Colleen Renihan ◽  
Julia Brook ◽  
Ben Schnitzer
Keyword(s):  
Significant Role ◽  
Professional Identities ◽  
Technological Fluency ◽  
Canadian Music

To the accepted three cornerstones for innovation of undergraduate music major curricula—creativity, diversity, and integration—must be added fourth, professionalization, that is, the establishment of viable professional identities. This article focuses on a subset of Canadian music undergraduate singers, reporting on research into the structure and reality of the eight cultural domains in Canada, and investigating three important themes that emerge from statistics for the training of singers in postsecondary training: the range of work available to music graduates, the portfolio nature of working musicians’ careers, and the increasing significant role of technological fluency in musicians’ careers today.

scholarly journals CanCon and the Canon

2013 ◽  
Vol 23 (1-2) ◽  
pp. 201-213
Author(s):  
Robin Elliott
Keyword(s):  
United States ◽  
Music History ◽  
The United States ◽  
Introductory Courses ◽  
Canadian Music ◽  
University Level ◽  
History Survey ◽  
Canadian Content

Canadian music is almost completely absent from university-level textbooks used in this country, most of which are published in the United States. Canadian content typically is added to a music history survey course, if at all, at the end of the chronological account. This article argues for a different approach, one in which Canadian content is integrated into the survey course from the medieval era to the present day. Introductory courses in ethnomusicology could also include Canadian music materials at many different points.

scholarly journals Violet Archer's Formative Years: A Bibliographical Catalogue of Her Compositions, 1932–43

2013 ◽  
Vol 16 (1) ◽  
pp. 145-195
Author(s):  
James Whittle
Keyword(s):  
Supporting Evidence ◽  
University Of Alberta ◽  
University Of Calgary ◽  
Canadian Music ◽  
Music Centre ◽  
The University ◽  
Formative Years

This chronological catalogue of Violet Archer's earliest completed compositions, including works written from 1932 to 1943, is based on manuscripts in her possession and on deposit at the University of Calgary Library, as well as published scores and reproductions of manuscripts in the University of Alberta Library and the libraries of the Canadian Music Centre. It provides the date of composition for each work and summarizes the supporting evidence, including dates found on manuscripts, the types of paper used, entries on lists of works compiled by the composer, and dates of first and early performances. Also included are the medium of performance of each work, a list of movements, the source of any text, and the location of scores and recordings.

scholarly journals The CBC and the Juno Awards

2005 ◽  
Vol 30 (3) ◽  
Author(s):  
David Young
Keyword(s):  
Music Industry ◽  
Time Frame ◽  
The Public ◽  
Arts And Sciences ◽  
Canadian Broadcasting Corporation ◽  
Recording Arts ◽  
Canadian Music ◽  
Public Broadcaster

Abstract: Through a case study of the Juno Awards, this article attempts to enhance what is known about the crisis facing the Canadian Broadcasting Corporation (CBC). The CBC worked with the Canadian Academy of Recording Arts and Sciences (CARAS) on the annual ceremony for the Canadian music industry from the mid-1970s to 2001. An analysis of this time frame gives rise to three arguments about the CBC and the Juno Awards. First, as applied to the Junos, the concept of a promotional state for popular music provides insights into the CBC’s crisis. Second, the role of CARAS points to the possibility that outside control has exacerbated the crisis in the CBC. Third, the CBC’s response to CARAS’ control suggests that the public broadcaster may have contributed to its own crisis. Résumé : Au moyen d’une étude de cas sur les prix Juno, cet article tente d’augmenter ce qu’on sait sur la crise à laquelle le CBC fait face actuellement. Le CBC a collaboré avec l’Académie canadienne des arts et des sciences de l’enregistrement (CARAS) pour diffuser la cérémonie annuelle de remise des prix Juno du milieu des années 70 à 2001. Une analyse de cette période mène à trois observations sur le CBC et les prix Juno. Premièrement, en ce qui a trait aux Juno, l’idée d’un état promotionnel pour la musique populaire aide à comprendre la crise du CBC. Deuxièmement, le rôle joué par CARAS semble indiquer que des contrôles externes ont aggravé la crise au CBC. Troisièmement, la manière dont le CBC a réagi aux contrôles de CARAS suggère que le radiodiffuseur public a peut-être contribué lui-même à aggraver sa crise.

scholarly journals Canadian Music: A Personal Perspective

2015 ◽  
Vol 33 (2) ◽  
pp. 7-17
Author(s):  
Carl Morey
Keyword(s):  
Faculty Member ◽  
Historical Documents ◽  
Personal Perspective ◽  
Growing Up ◽  
Musical Life ◽  
University Of Toronto ◽  
Canadian Music ◽  
Music Centre ◽  
The University ◽  
League Of Composers

In this article the author reflects on musical life in Canada, drawing on experiential perspectives while growing up in Toronto and his career for three decades as a faculty member in musicology at the Faculty of Music at the University of Toronto. References to pivotal musical institutions (Canadian League of Composers, CBC, Canadian Music Centre, among others) and historical documents such as Ernest MacMillan’sMusic in Canada,Marshall McLuhan’sGutenberg Galaxy,and George Grant’sLament for a Nationprovide contextual frameworks for these perspectives.

scholarly journals Inside Out: The Internationalization of the Canadian Independent Recording Sector

2015 ◽  
Vol 40 (2) ◽  
Author(s):  
Richard Sutherland
Keyword(s):  
Music Industry ◽  
Domestic Market ◽  
The Other ◽  
Sound Recording ◽  
Music Business ◽  
The Past ◽  
Canadian Music ◽  
Independent Sector ◽  
Inside Out

This article examines the growing internationalization of English Canada’s independent sound recording sector, largely defined by Canadian ownership. Although Canada’s music industry has had considerable links with the global music business for decades, the independent sector remained focused on the production of recordings by Canadian artists for sale in the domestic market. Recently, the links between Canadian music and Canadian-owned record companies have weakened, such that each is less reliant on the other. The article discusses the ways in which this dissociation has occurred within the context of the transformation of the global music industry over the past 15 years and considers the implications for future Canadian music industry policy.Cet article examine l’internationalisation croissante du secteur d’enregistrement sonore indépendant au Canada anglais (secteur caractérisé par le fait d’avoir des propriétaires canadiens). L’industrie de la musique canadienne a depuis des décennies noué de nombreux liens avec l’industrie mondiale, mais le secteur indépendant s’est concentré sur la production d’artistes canadiens pour le marché canadien. Récemment, cependant, les liens entre musique canadienne et compagnies de disques appartenant à des Canadiens se sont affaiblis, de manière à ce que l’un dépende moins de l’autre. Cet article commente les manières dont cette dissociation a eu lieu au cours des quinze dernières années dans le contexte de transformations mondiales de l’industrie de la musique et considère les conséquences pour l’avenir de politiques relatives à la musique au Canada.

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