Musical Canada

Musical Canada

JOHN BECKWITH
FREDERICK A. HALL
Series: Heritage
Copyright Date: 1988
Pages: 370
https://www.jstor.org/stable/10.3138/j.ctt15jjf8c
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  • Book Info
    Musical Canada
    Book Description:

    This book of twenty-three contributions, written by prominent composers and writers representing many different regions and both national languages, present a cross-section of current work in historical research, bibliography, analysis, criticism, and creative composition.

    eISBN: 978-1-4426-5677-2
    Subjects: Music

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-x)
  3. Preface
    (pp. xi-2)
    J.B. and F.A.H.
  4. The Transmission of Algonkian Indian Hymns: Between Orality and Literacy
    (pp. 3-28)
    BEVERLEY CAVANAGH

    A fundamental problem presents itself to the researcher who seeks to comprehend an Indian hymn tradition. In view of the extensive publication of hymn-books in both historical and contemporary periods, does one regard the task as a musicological source study of written variants? Or, on the other hand, since hymns are frequently sung from memory or varied in performance, should one begin from the premises posited by folklorists for oral transmission? The answer is clearly both.

    In virtually any society there are instances in which both oral and written elements play a role in the maintenance and development of a...

  5. Catalogue des imprimés musicaux d’avant 1800 conservés à la bibliothèque de l’Université Laval
    (pp. 29-49)
    CLAUDE BEAUDRY

    Il est notoire que la ville de Québec conserve en ses murs le plus ancien fonds de musique imprimée au Canada.¹ Ces institutions et communautés religieuses telles l’Hôpital général, le Monastère des Ursulines, le Monastère des Augustines de l’Hôtel-Dieu, le Séminaire de Québec et l’Université Laval se partagent, en plus d’une importante collection de manuscrits musicaux anciens, ce précieux corpus, témoin le plus manifeste de l’activité musicale à Québec tout au long de son histoire, tant sous le régime français qu’après la conquête de 1760. A cet égard, la bibliothèque de l’Université Laval n’est pas en reste et conserve une...

  6. Musique spirituelle (1718): Canada’s First Music Theory Manual
    (pp. 50-59)

    Historians writing about seventeenth- and eighteenth-century Canada are concerned with that relatively small inhabited area of the St Lawrence Valley which was the heart of New France. They seem to focus their attention almost exclusively upon military manoeuvres, Indian massacres, English sieges, trade and commerce, and the harsh climate. Yet anyone who has readLes Annales de lʹHôtel-Dieu de Québec¹ will have discovered that, notwithstanding the exploits of soldiers, sailors, trappers, explorers, and entrepreneurs, the country was also being civilized: intellectual, spiritual, and artistic excellence was being fostered at the Hôtel-Dieu and at the Monastery of the Ursulines of Quebec....

  7. La fortune de deux oeuvres de Jean-Jacques Rousseau au Canada français entre 1790 et 1850
    (pp. 60-70)
    LUCIEN POIRIER

    On a étudié l’influence de la pensée de Voltaire au Canada français au lendemain de la Conquête;¹ par contre, on s’est peu arrêté jusqu’à maintenant à Jean-Jacques Rousseau. Rares sont, en effet, les mentions du nom dans les ouvrages sérieux récents relevant de l’histoire, de la littérature ou de la musique du Canada et plus proprement du Québec.

    Le fait peut étonner, si l’on considère la pluralité des domaines couverts par la pensée du philosophe genevois (le social, le politique, l’éducation, la musique et le théâtre, pour ne nommer que ceux-là), la rigueur de la morale qu’il expose, susceptible de...

  8. Music Instruction in Nova Scotia before 1914
    (pp. 71-78)
    NANCY F. VOGAN

    Music instruction in Nova Scotia has a long and varied past; folk traditions, individuals, institutions, and social, economic, and political factors have all influenced its development.

    From the earliest days of colonization, the church was associated with instruction in music. When Father Fléché first came to Port Royal in the early 1600s, he began teaching the Micmacs how to sing the simplest parts of the Roman Catholic service.¹ This marked the first stage in a longstanding tradition of instruction in music, primarily Gregorian chant, by members of Roman Catholic orders in Nova Scotia. Later, these orders provided extensive instruction in...

  9. John Lovell (1810-93): Montreal Music Printer and Publisher
    (pp. 79-96)
    MARIA CALDERISI BRYCE

    To Montrealers and their visitors the name Lovell has long been synonymous with theMontreal City Directory(1842-1978). Now in its fourth generation of family ownership and management, Lovell Litho & Publications Inc. publishes little other than related directory products, for example,Criss-Cross(a street directory) and theRed Book(a telephone index). But the directory proper was the firm’s last link with the long, fruitful, and often turbulent career of its first publisher, John Lovell.

    The 1842 and 1843 editions were actually published by Lovell & Gibson together with Robert W.S. Mackay, the compiler. After a hiatus of eighteen years John...

  10. a Little Fantasy on J.P. Clarke’s Ballad “Summer and Winter” to Helmut
    (pp. 97-99)
    Clifford Ford
  11. Orchestras and Orchestral Repertoire in Toronto before 1914
    (pp. 100-114)
    CARL MOREY

    The nineteenth century was the century of the orchestra. Most of the repertoire that is still heard in our concert halls was composed and most of the great orchestras of today were established between the beginning of the nineteenth century and the outbreak of the war in Europe in 1914. However, despite the importance of orchestral developments in Europe and even in the United States, it was only slowly and with difficulty that the orchestra and its repertoire were established in Toronto. To be sure, Toronto had an active musical life, but it revolved around singing by both choirs and...

  12. Musical Activity in Canada’s New Capital City in the 1870s
    (pp. 115-133)
    ELAINE KEILLOR

    One hundred years before the Music Division of the National Library was established, Ottawa was adjusting to the fact that it was now the capital of a fledgling country called Canada whose domains ‘from sea to sea’ were still mainly empty wilderness. Writing in 1871, Charles Roger pointed out the rapid changes that had taken place:

    All classes of the people are being more or less influenced by the great change which has come over Ottawa since the advent of the seat of Government. Fine shops, vieing with those of Montreal or New York in the character of their goods...

  13. Homage to Helmut
    (pp. 134-142)
    Richard Johnston
  14. Ships of the Fleet: The Royal Navy and the Development of Music in British Columbia
    (pp. 143-148)
    ROBERT DALE McINTOSH

    In its early years the colony of Vancouver’s Island depended both economically and socially on the presence of the ships of the Royal Navy anchored on the Pacific Station in Esquimalt harbour. Engaged largely in hydrographic survey work and the establishment of the British ‘presence’ in the Pacific, the officers and men still found time to pursue those social activities which had formed so much a part of their lives before coming to the ‘furthest west’ on the coast which would become British Columbia. Most ships of the line had a band, some even an orchestra and dramatic corps, all...

  15. Maurice Ravel au Canada
    (pp. 149-163)
    GILLES POTVIN

    A partir de la dernière décennie du xixe siècle, l’Amérique du Nord commença à accueillir un nombre relativement imposant de compositeurs européens éminents qui effectuèrent la traversée de l’Atlantique pour venir aux Etats-Unis et parfois au Canada pour diriger leurs oeuvres ou participer à leur exécution. Parmi les plus célèbres, citons Tchaikovsky (1891), Dvorak (1893), Mascagni (1902), Richard Strauss (1904), d’Indy (1905 et 1921), Leoncavallo (1906), Mahler, Puccini et Elgar (1907), Saint-Saëns (1910), Prokofiev (1918), Milhaud (1922), Stravinsky (1925), Bartok (1927-8) et Ravel (1928). La venue de ces illustres visiteurs coïncidait avec une activité lyrique et symphonique qui connaissait un...

  16. Ernest MacMillan: The Ruhleben Years
    (pp. 164-182)
    KEITH MacMILLAN

    The German prison camp ‘Ruhleben’ for male British civilians during the first world war – stark, cheerless, crowded, noisy – would seem to have been the last place on earth for a young music student to prepare himself for entry into the demanding world of the professional musician, but that was the experience of Ernest Alexander Campbell MacMillan, virtuoso organist and church musician, in those agonizing years from 1914 to 1918. How that took place is the subject of this article, throughout which I refer to my father as ecm.

    Picture Ruhleben as a moderate sized race-course, faced by three...

  17. CanOn Stride
    (pp. 183-187)
    John Weinzweig
  18. Notes on Violet Archer
    (pp. 188-202)
    GEORGE A. PROCTOR

    Invited by the editors to contribute to this volume, George A. Proctor had accepted and in mid-October of 1985 wrote to suggest the title ‘Violet Archer and theGebrauchsmusikideal in Canadian music.’ He was at work on a study of Violet Archer and her music for the seriesCanadian Composers/Compositeurs canadiens, and the proposed paper was an offshoot of that larger project. At Dr. Proctor’s untimely death in December of that year, only a draft page of introduction for the article had been produced, but the Archer study itself was well advanced towards completion and at this writing is...

  19. Healey Willan’s Unfinished Requiem
    (pp. 203-210)
    F.R.C. CLARKE

    The world première of the first two movements (in a performance version prepared by myself) of the unfinishedRequiemby Healey Willan (1880-1968) was given on 2 December 1983 by the Queen’s University Choral Ensemble. This marked the first time that any of the music of this work had been heard publicly, even though it was composed some seventy years ago.¹ If completed it would have been the composer’s largest choral/orchestral composition.

    Willan’sRequiemwas conceived for satb soli, large chorus (occasionally double chorus), and orchestra. There are four movements for which the sketches are fairly complete, at least of...

  20. Thisness: Marks and Remarks
    (pp. 211-231)
    ISTVAN ANHALT

    Stopping by a signpost, a marker meant to stop, a passer-by looks and queries the sign, probes it for meaning as if peering through an opaque window. Others also stop, look, and exchange accounts of what is seen, finding that these are not identical.

    A door opens and a visitor enters. Hearing – one of several faculties felt to be active – now comes into play. One listens… a sound is heard… and then another. Is this an echo of the ‘I,’ a reflection of the self, or is it someone else’s sign? A voice now… potentially intelligible. At first...

  21. Sun-Father Sky-Mother
    (pp. 232-238)
    R. Murray Schafer
  22. Sounds in the Wilderness: Fifty Years of cbc Commissions
    (pp. 239-261)
    PATRICIA KELLOGG

    This internal memo was addressed to Helmut Kallmann, the person primarily responsible at that time for operating the cbc Music Library in Toronto. Efforts went forward immediately, and the suggested catalogue of cbc-commissioned works became available that fall. On the occasion of the cbc’s fiftieth anniversary in 1986, a completely updated catalogue was prepared by the staff of the cbc Toronto Music Library, covering almost all of the serious works commissioned by both the French and English radio networks from the point of the first commission (1939) to the present. Helmut Kallmann’s original catalogue from 1959 was a crucial source...

  23. The Canadian Music Council: A Brief History
    (pp. 262-273)
    RONALD NAPIER

    The Canadian Music Council began immediately following the presentation to Parliament in 1944 of briefs from various national organizations representing all areas of Canadian arts and culture. All areas, that is, except music, for alone among the arts there existed no national or even provincial organization which could speak for music, or for any substantial section of the Canadian musical community.

    When it was realized that no musical group was willing or able to send a representative with a prepared brief to Ottawa, Sir Ernest MacMillan was urged by several interested persons to give music a voice among all the...

  24. Three Masses by Maritime Composers
    (pp. 274-285)
    WALTER H. KEMP

    Composers, filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and increase its store of treasures.

    Let them produce compositions which have the qualities proper to genuine sacred music… for the active participation of the entire assembly of the faithful.¹

    The Ordinary of the Mass is not a principal source of interest for the majority of contemporary Canadian composers. In the concert hall, Harry Somers’sKyrie(1972) and Clifford Ford’sMass(1976) are masterly pieces, but lonely. One work which Canada has produced in tune with theMissa Luba, African Sanctus, et al is...

  25. Towards the ‘One Justifiable End’: Six Discs
    (pp. 286-297)
    KENNETH WINTERS

    In music the middle 1980s may be looked back upon as the time when we extricated ourselves with painful slowness but absolute determination from a thrall under which, for rather a long time, only a few of Canada’s hundreds of composers, and those few in only some of their works, had managed to sting their audiences to more than dutiful curiosity or involve them in more than temporary inconvenience. Those same middle 1980s may also be recalled as the years of a slightly quickened perception that music is made by no one alone, not even the composer, but by every...

  26. The Glenn Gould Outtakes
    (pp. 298-314)
    GEOFFREY PAYZANT

    My book on Glenn Gould came out in the spring of 1978, the first (and in 1986 still the only) monograph on its subject.¹ A year later it had sold almost 5000 copies, the magic number in Canada to qualify as a ‘best seller’; I believe it was the first Canadian title on a musical topic to achieve this status. Subsequently it was published in Japanese by Tappan in Tokyo and in French by Fayard in Paris, so there are now more than 20,000 copies in print in three languages. I do not know the exact number because ownership of...

  27. Writings by Helmut Kallmann
    (pp. 315-324)
  28. Notes
    (pp. 325-344)
  29. Notes on Contributors
    (pp. 345-348)
  30. Index
    (pp. 349-369)