At this point, the project hasn’t really been launched but the main ideas are there.

Personally, I would say that the site is low on features. The tracks themselves are interesting but the “value proposition” of downloading tracks for free on such a relatively simple site may push people toward sites which focus on music communities. Which might be a good thing for independent music.<—75080996242ad97bb6fd653e29121fdd—>

Solidarythmé pour un changement durable présente : Gadji Gadjo, Tomas Jensen, Opossum, Zi King Kow, cirque Kaolectif, peinture live, expo photo, danse et plus!

QUOI : 6ème édition de cette soirée pluridisciplinaire engagée

QUI : Tomas Jensen, Gadji Gadjo, Opossum, Zi King Kow, cirque Kaolectif, peinture live, expo photo, danse afro-colombienne et plus!

QUAND : samedi 18 novembre à partir de 20h

OÙ : au Kola Note (5240 rue du Parc)

COMBIEN : En pré-vente – 12$ (avec présentation de carte d’étudiant) et 15$ pour le public en général. A la porte – 15$ pour les étudiants et 18$ pour le public en général. Les billets sont en vente sur le réseau admission.com, au Kola Note, à l’AQOCI au 871-1086, a l’UdeM au B-2253 ou au 514-343-7896. Nous vous encourageons fortement à acheter vos billets chez l’un des deux organismes pour éviter les frais de service .

L’Action Humanitaire et Communautaire de l’Université de Montréal s’associe à l’Association Québécoise des Organismes de Coopération Internationale pour célébrer le pouvoir qu’a la musique de faire bouger les gens. Solidarythmé pour un changement durable vient ainsi clore deux événements de solidarité majeurs au Québec : la Semaine de la Solidarité UdeM et les Journées Québécoises de la Solidarité Internationale. Les organisateurs de la Semaine d’Action Contre le Racisme se joignent à l’initiative en appuyant l’organisation du spectacle. Ces trois événements sont maintenant devenus des rendez-vous annuels incontournables où se mêlent, l’espace d’une dizaine de jours, colloques, débats, tables rondes, activités jeunesse, expositions, cinéma et musique, entre autres. Autant de passerelles qui visent à démystifier les différentes formes que peuvent emprunter dans notre société les manifestations de solidarité.

Merci de bien vouloir difuser ce message le plus possible !

Au plaisir de vous y retrouver!

Carminda Mac Lorin

Coordonnatrice du Solidarythmé

Université de Montréal/AQOCI

514-831-7090

semainedelasolidarite@gmail.com

POUR DIFFUSION IMMÉDIATE

Montréal, le 12 octobre 2006

Le 21 octobre 2006, certains des plus importants musiciens de la scène montréalaise participeront à un concert gala visant à célébrer le 10e anniversaire de La Scena Musicale. Cet événement unique s’annonce comme l’un des moments forts de la saison musicale de Montréal. En tout, 77 musiciens présenteront 4 heures de musique allant du baroque au jazz, en passant par les répertoires classique, romantique et contemporain, ainsi que l’opéra.

La première moitié de la soirée sera réservée à la musique de chambre : le duo Les Voix humaines interprétera la musique de Sainte-Colombe ; le violoncelliste Denis Brott se joindra au pianiste Wonny Song dans un programme Beethoven ; le pianiste Patrice Laré jouera Liszt ; Paul Merkelo, trompette solo de l’OSM, improvisera en compagnie du pianiste Alexandre Vovan, qui interprétera également Chopin ; la soprano Nathalie Paulin chantera des mélodies françaises de Cécile Chaminade et Pauline Viardot accompagnée du pianiste Michael McMahon ; le Quatuor Molinari interprétera Tan Dun, et Musica Camerata présentera un duo de Piazzolla. Cette première partie se conclura avec un programme jazz de trente minutes durant lequel la pianiste Lorraine Desmarais et son ancienne élève Marianne Trudel joueront en solo et en duo.

Afin de souligner le 250e anniversaire de Mozart, la musique de ce dernier sera à l’honneur durant la seconde partie de la soirée, dédiée à des œuvres pour soliste et orchestre. Le chef Joseph Milo dirigera l’Orchestre symphonique des musiciens du monde de Montréal, un ensemble fondé en 2006 afin de donner aux musiciens immigrants l’opportunité de jouer, dans la Symphonie no 41 et l’ouverture du Mariage de Figaro de Mozart. Le pianiste Ludwig Sémerjian jouera le Rondo pour piano et orchestre en la majeur de Mozart, à la mémoire de son professeur Charles Reiner, alors que la soprano Nathalie Paulin interprétera l’air « Dove sono » du Mariage de Figaro. La violoniste Anne Robert se joindra à l’OMMM dans des pages célèbres de Tchaïkovski, Raff, Kreisler et Brahms, la violoncelliste Velitchka Votcheva interprétera Kol Nidrei de Bruch, et la soirée se conclura avec le finale du Concerto pour piano no 3 de Beethoven interprété par Wonny Song.

Le Gala 10e anniversaire du 21 octobre s’inscrit dans les célébrations du 10e anniversaire de La Scena Musicale et marque le début de sa campagne de financement 2006-2007. Le numéro commémoratif du 10 e anniversaire de La Scena Musicale, paru en octobre 2006, peut-être téléchargé au http://www.scena.org .

Les billets pour le Gala sont en vente au coût de 35 $ (25 $ pour les étudiants). Des billets VIP sont également disponibles à 130 $, incluant un reçu fiscal de 100 $, tirages de prix, buffet et réception. On peut se procurer des billets en communiquant directement avec La Scena Musicale au 514-948-2520, la billetterie McGill au 514-398-5145 ou sur le réseau Admission (les billets VIP sont disponibles uniquement en communiquant avec LSM).

Pour les biographies des musiciens et davantage d’information : http://www.scena.org/pdf-files/sm12-2gala.pdf

Propositions de sujets

Gala 10e anniversaire. Pourquoi les musiciens ont accepté de jouer gratuitement pour aider La Scena Musicale à amasser des fonds?

La Scena Musicale. Le magazine sans but lucratif fait la promotion de la musique classique et du jazz depuis 10 ans.

Entrevue avec Wah Keung Chan, rédacteur fondateur et éditeur. Quelle est la motivation derrière le magazine?

À propos du gala

Dimanche le 21 octobre 2006

Salle Pollack, Université McGill, 555 Sherbrooke O., Montréal

Partie A : 17 h 00 à 19 h 00

Partie B : 20 h 00 à 22 h 15

Billets : 35 $ (25 $ pour les étudiants)

Billets VIP : 130 $, incluant une réception de 19 h à 20 h, un buffet de desserts après le gala B et un reçu fiscal de 100 $.

Info : 514-948-2520 ou info@scena.org

Pour commander des billets: info@scena.org

Musiciens invités

• Orchestre symponique des musiciens du monde de Montréal, Joseph Milo, chef
• Anne Robert, violon
• Suzie LeBlanc, soprano
• Nathalie Paulin, soprano
• Quatuor Molinari
• Lorraine Desmarais, piano (jazz)
• Marianne Trudel, piano (jazz)
• Ludwig Sémerjian, piano
• Wonny Song, piano
• Denis Brott, violoncelle
• Les Voix humaines, duo baroque
• Paul Merkelo, trompette et Alexandre Vovan, piano
• Michael McMahon, accompagnateur (piano)

Pour les biographies des musiciens et davantage d’information : http://www.scena.org/pdf-files/sm12-2gala.pdf

Tirages pour les titulaires de billets VIP

• Œuvre originale encadrée (valeur de 600 $) de l’artiste Ann McCall

• Œuvre originale encadrée (valeur de 550 $) de l’artiste Wah Wing Chan

• 3 consultations en design d’intérieur (valeur de 180 $), gracieuseté de L’interior Studio

• 2 romans d’Alain Cavenne signés par l’auteur

Programme détaillé

Partie A, 17 h

Sieur de Sainte-Colombe, Concerts à deux violes esgales, « L’attentif », « Les Couplets »
Les Voix humaines (Susie Napper et Margaret Little, violes de gambe)

Ludwig van Beethoven, Sept Variations sur un thème de Die Zauberflöte de Mozart
Ludwig van Beethoven, Sonate no 3 en la majeur, opus 69 (Adagio cantabile et Allegro vivace)
Denis Brott, violoncelle et Wonny Song, piano

Franz Liszt, Valse Méphisto no 1
Patrice Laré, piano

Jacques Ibert, Impromptu
Improvisation sur Nana de Manuel de Falla
Paul Merkelo, trompette et Alexandre Vovan, piano

Frédéric Chopin, Quatrième Ballade
Alexandre Vovan, piano

Cécile Chaminade, Si j’étais jardinier
Cécile Chaminade, La lune paresseuse
Pauline Viardot, Hai luli
Nathalie Paulin, soprano et Michael McMahon, piano

Tan Dun, Eight Colours for String Quartet
Quatuor Molinari

Astor Piazzolla, Prepárense & Oblivion
Musica Camerata, Luis Grinhauz, violon et Berta Rosenohl, piano

Lorraine Desmarais, piano jazz
Marianne Trudel, piano jazz
Lorraine Desmarais et Marianne Trudel en duo

Partie B, 20 h

Mozart, Ouverture, Mariage de Figaro
Tchaikovsky, Melody
Raff, Cavatina
Anne Robert, violin

Mozart, Rondo pour piano et orchestre en la majeur
Ludwig Sémerjian, piano

Mozart, Symphonie no 41 (Jupiter)

Rossini, Overture, Barbier de Séville

Massenet, méditation de Thais (Tatiana Smirnov, violon solo de l’orchestre)

Bruch, Kol Nidrei
Velitchka Votcheva, violoncelle

Mozart, « Dove Sono » (Mariage de Figaro)
Nathalie Paulin, soprano

Kreisler, Liebeslied
Brahms, Danse hongroise no 2 (arr. Gilles Bellemare)
Anne Robert, violon

Beethoven, Concerto pour piano no 3, 3e mouvement
Wonny Song, piano

Orchestre symphonique des musiciens du monde de Montréal
Joseph Milo, chef

• programme sujet à changement

pour plus d’information, contacter info@scena.org, 514-948-2520, 514-815-0465

À propos de La Scena Musicale , guide canadien de la musique classique

La Scena Musicale est un magazine mensuel gratuit publié en français et en anglais par La Scène Musicale, un organisme sans but lucratif voué à la promotion de la musique classique. Chaque numéro contient un calendrier des concerts du mois, des critiques, des entrevues, des profils d’artistes et des articles traitant de différents aspects de la scène musicale locale, nationale et internationale.

La version imprimée est distribuée à travers le Canada, avec une emphase particulière dans les régions de Montréal, Québec et Ottawa-Hull. La version électronique est disponible sur l’Internet.

À propos de La Scena Musicale Online (http://www.scena.org)

Publié par La Scène Musicale, un organisme sans but lucratif voué à la promotion de la musique classique, La Scena Musicale Online est un des plus importants sites Internet dédiés à la musique classique. Il propose du contenu original (entrevues, articles, critiques), le Calendrier canadien de la musique classique, ClassicalMusicNews.info (des liens vers des articles parus dans des publications canadiennes et internationales) et Communiqués LSM (communiqués relatifs à la musique classique, de partout au monde). La Scena Musicale Online a été un des premiers sites Web a offrir en ligne l’intégralité du contenu de son magazine imprimé, et ce en formats html et PDF.

Dans son numéro de février 2000, la revue Chamber Music Magazine a choisi La Scena Musicale Online comme troisième meilleur site Web sur la musique au monde. Dans son édition spéciale sur Internet de mai 2000, Le Monde a choisi La Scena Musicale Online comme deuxième meilleur site Web sur la musique classique, lui attribuant 4 étoiles sur 4, un honneur réservé à seulement deux sites. Le magazine français Best on Web (no 8, juillet 2001) a sélectionné La Scena Musicale Online comme l’un des 500 meilleurs sites Web au monde. En décembre 2001, La Scena Musicale Online a été choisi par le London Daily Telegraph comme l’un des meilleurs sites sur la musique.

On peut accéder à La Scena Musicale Online par les noms de domaine scena.org, lascenamusicale.org et ClassicalMusicNews.info.

À propos de La Scène Musicale

La Scène Musicale est un organisme sans but lucratif voué à la promotion de la musique classique. Nos activités comprennent:

FESTIVAL DU MONDE ARABE DE MONTREAL
26 OCTOBRE AU 12 NOVEMBRE 2006

C¹est en partenariat avec Radio Canada, TV5, CH, Radio Couleurs Jazz, le
Devoir, Loto Québec, Hydro Québec, et divers instances tant municipales que
gouvernementales que le Festival du Monde Arabe de Montréal offrira sa
septième édition, placée sous le thème

parce que la prophétie est le lieu même de notre humanité.
Le verbe des prophètes du FMA sera musique, danse, théâtre, poésie et
réflexion. Les Prophètes rebelles sont ces créateurs qui résistent à
l¹effondrement de l¹humain, qui tentent d¹ajouter de la chaleur et de la vie
à ce monde décomposé et désenchanté. Ils sont ceux et celles qui osent
encore inventer un « nous » pour que la rencontre soit possible.

Tenant compte de l¹importance de l¹apport du Festival du Monde Arabe de
Montréal dans le cadre de cette rentrée automnale, dont vous pourrez trouver
toute la programmation au

www.festivalarabe.com

Seems like Calabash Music’s "Fair-Trade Music" concept has been on my mind lately. A bit of context…

I had mentioned Calabash Music here before. It’s an online music store which specialises in what people tend to call "World Music." I have been downloading their free singles for quite a while but haven’t yet purchased music from the service. I do hope that Madou Diarra and Dakan (the band in which I play) will sell its music through Calabash Music.

Yesterday, after having listened to a podcast about online music stores which sell tracks without copy protection, I posted an entry right here and another on my personal blog. Though I didn’t mention Calabash Music specifically, it was clearly at the back of my mind when I wrote one of my crazier posts about music, coffee, beer, and glocalisation.

Thinking about it a bit more, and thanks to fellow Critical World member Pascal, I now feel that this concept of "fair-trade music" is especially relevant for Critical World, whose mission is to Think Globalisation Through Music.

Through a cursory look at Calabash Music’s Q&A for musicians and Artist Terms of Agreement, it does seem like they care about artists. IANAL but it does sound like their conditions are rather "good for artists." This part is rather telling:

Q. How does the money work?

A. Our customers may purchase downloads of your music at a price range between 75 and 99 cents per song. Your music is sold by the downloadable track. You will receive 50% of the net revenues from your music downloads sold. Net revenues are determined as the gross revenues less merchant fees. Artists can expect to earn an average of 44 cents per track sold. We pay you four times a year (every quarter) for your downloads. (If the amount we owe you is less than $50 then we will hold the amount until the amount is greater than $50.) We give you an account with a user name and password that allows you to look at reports of how many downloads your songs have received and how much money you have earned.

Apart from the actual royalty structure, the very fact that Calabash Music prominently displays this explanation on their website implies a direct relationship with artists. You get the impression that you don’t even need an agent to sell music through Calabash Music. Of course, agents are still extremely important for artists but in this "fair-trade" model, they don’t hold all the cards. Because coffee is the best-known case for fair-trade, the notion of a "direct relationship coffee" is quite appropriate here:

Absolution in Your Cup. The real meaning of Fair Trade coffee

Farmers were being squeezed by middlemen, known as coyotes, so that even the dismal profits from cheap mass-produced coffee failed to reach them. Growers lacked basic information about what their crop was worth, how to maximize production, and how to market their beans, and it was to the coyotes’ advantage to keep it that way. Fair Traders, by contrast, sought a direct relationship between coffee farmers and coffee drinkers: clean, just, transparent transactions.

In "fair-trade music," the agent is less of a middleman and more of a consultant, helping artists to negotiate deals in their own terms. Calabash Music serves as middleman to a certain extent but mostly as a distributor, not as a gatekeeper. The notion is that this model is more ethical than "free-trade" because it gives control to those who produce what is being sold. It’s especially compelling an idea in a global context. Musicians from around the Globe are able to sell their own music to listeners from around the Globe. Control is distributed, to a certain extent.

One of the most basic characteristics of fair-trade coffee is that there is a floor price ($1.26/lbs.) for green coffee beans. Calabash Music’s royalty scheme uses a similar principle in that musicians are getting a "fair share" of the profits, allegedly much higher than the net artist royalty on other online music stores. It undercuts the law of supply and demand to ensure that those who did the work get a "fair share." Of course, this "fair share" is decided by the "fair trade system" itself. In anti-globalization/alter-mondialisme terms, those in "developing countries" still get their business decisions made by those in "industrial countries." But to the consumer, buying "fair-trade" seems like "the ethical thing to do": selling a clear conscience at a premium.

Of course, not all is good with "fair-trade."

You’d think this confluence of social responsibility and double lattes, good business practices and lefty politics, would make [coffee activist] Katzeff a happy man. But he and a growing number of roasters say the Fair Trade movement has lost its way. The movement has always aroused suspicion on the right, where free traders object to its price floors and anti-globalization rhetoric. Yet critics from the left are more vocal and more angry by half; they point to unhappy farmers, duped consumers, an entrenched Fair Trade bureaucracy, and a grassroots campaign gone corporate.

Calabash Music is too small to get the same treatment as TransFair (the regulatory body for fair-trade coffee in the U.S.). But it doesn’t mean that the disadvantages of the fair-trade model won’t hit the music industry.

There are major differences between "fair-trade coffee" and a fair-trade model applied to music. One is that, contrary to coffee, music is not a commodity. In the online distribution of audio files, supply is unlimited in that you don’t suddenly run out of a specific MP3 file. Online distribution is still costly, but the costs scale much differently from the distribution of physical goods.

A related issue is that "music consumption" is affordable, almost anywhere on the planet. While coffee growers may be too poor to afford brewed coffee, the poorest musician in Mali can listen to music. There is a huge imbalance between The Rich and The Poor, between The Core and The Periphery, but this imbalance cannot be described in a similar way.

The injustice in music has a lot to do with issues in what so-called "Intellectual Property." An important dimension of an "ethical" music model would be that it doesn’t prevent music listeners from privately using music as they wish. Ethical music would also ensure that musicians are the ones who get the better part of the profits instead of large-scale pirates, producers, or retailers. The whole "protect the artists" stance, applied to the actual artists (not the record labels). A new business model which actually compensates musicians for their work. That, most might agree, would be fair.

Though some music productions may sound indistinguishable from one another, music is quite distinctive. While some coffee consumers may not care about the coffee they drink, music listeners select music according to their tastes. With this distinctiveness comes a sense of "brand," to think in marketing terms, but also a sense of shared experience. Fans of a given Indie Rock band may feel a bond which can extend far beyond the "consumption" of the music. In coffee, even the most enthusiastic connoisseur will never remain loyal to a single type of coffee bean or even a single coffee "origin." In globalised music, a Polish accountant can become fanatic about an Argentinian band the same way a Thai mechanic can listen to Canadian singer Céline Dion.

So it is possible that Calabash Music may benefit from the "fair-trade mentality" without being hit from the disadvantages. Simply thinking about the connections between globalised markets may give us the key.

Audio Lunchbox

eMusic

DMusic

purevolume

Magnatune

(Electromancer is now defunct and CommonTunes seems to have changed its vocation)

My favourite so far has been Calabash Music, which has an excellent selection of music from around the world and gives away free tracks every week.<—e7228deea7aa72ac1580066b0acda278—>

Alhan el-Aalam Music and Culture Series Workshop
Fri, June 16, 1:00 PM
Sala Rossa
4848 St. Laurent
Free!

As part of the programming for its 2006 edition, the organizers of Suoni Per Il Popolo are pleased to announce “Middle Eastern Musical Expression in an Age of Fear and Misunderstanding: A Workshop”. This workshop, which will include the participation of a number of artists from throughout the Middle East and its various diasporas, is organized in conjunction with the “Alhan El-Aalam” series, whose goal is to the celebrate the influence of Middle Eastern music on the North American avant garde and acknowledge the presence of various Middle Eastern diasporas in Canadian public life. The facilitators for the workshop will present a series of listening activities and discussion that touch on some or all of the following topics:

-How does music, not only lyrics but also sound, convey meaning about cultural, ethnic, and religious difference?
-How can music be both a bridge and an obstacle to combating negative stereotypes about people and politics in the Middle East?
-Can improvisation and/or listening be mobilized as metaphors of reconciliation in current and recent conflicts in the Middle East?
-What is or what should be the role that artists play in public debates about political and economic violence?
-What does it mean to talk about the Middle East as a political or cultural entity?

This workshop will include: Hassan El-Hadi, Yassin Alsalman (Narci) and members of A Silver Mt. Zion and The Black Ox Orchestra
Workshop facilitators:
Eric Lewis (Department of Philosophy, McGill University)
Bob W. White (Department of Anthropology, Université de Montréal)

Come join us for an afternoon of discussion, music and debate.

Organology and Globalization. Made for each other.

I’m sure I’ve earned a couple of bloody tourist looks here and there, especially after I dragged my bag right into the tiny tram carts, but I have to say, the atmosphere of the city is wonderful. It’s not the city of legal prostitution and legal drugs for nothing. It is also Rembrandt’s 400th anniversary so wherever you go you see Rembrandt staring at you with his Renaissance clair-obscure glare. I bought a three day ticket for the trams but I’m seriously considering renting a bike and just taking advantage of the canals and narrow streets. The weather is chilly but has that springy feel in it and the streets are filled with bikers and walkers. It makes you feel alive.

The Forum du NEM, which is the competition/event I’m researching starts today. Even though I haven’t slept yet, I’m probably going directly there as soon as I have my 5 euro toast and jam breakfast (expensive is the word I’m looking for here). I’m a little nervous as first days always are. This time there are 4 composers I’ll be trying to interview about music, identity, postcolonialism and all that stuff anthropologists are so fond of these days.

An update will be coming to you soon, probably tonight!

Yara<—4363fd2c1fe28a5708bcbc8300c25fab—>

============
UPGRADE MONTREAL
============

MERCREDI, le 08 mars 2006 / WEDNESDAY, March 8th, 2006
Société des arts technologiques (SAT) – 1195 St. Laurent

=
REMIX : VOIX DE FEMMES AUTOCHTONES
une manifestation artistique contre la violence pour c&#233;l&#233;brer la
Journ&#233;e internationale des femmes

REMIX: VOICES OF ABORIGINAL WOMEN
Artists Demonstrating Against Violence in Celebration of International
Women's Day
=

19h00 – 22h00 / 7pm – 10:00pm

€ 19h00: doors open/ouverture des portes
€ 19h30: Alexis O’Hara & Fanny Wylde
€ 19h50: Melissa M. Dupuis
€ 20h10: Taqralik Partridge & Nina Segalowitz
€ 20h30: table-ronde/discussion
€ 21h30: musique avec dj Tashish
€ 22h00: Fin

[.PDF: http://www.quadrantcrossing.org/papers/UpgradePress030806.pdf]

=========
UPGRADE MARS
=========

Français

Afin de souligner la Journée internationale des femmes, Upgrade est
heureux de s’associer avec le Studio XX et Femmes autochtones du Québec
(FAQ) pour cette soirée de mars. La violence étant une problématique
taboue qui touche énormément de femmes, l’événement veut sensibiliser
le public à cette réalité (physique, psychologique, économique,
politique et sociale) telle que vécue par les femmes autochtones au
Québec et au Canada via des interventions artistiques. La soirée
débutera avec une performance de la chanteuse algonquine Fanny Wylde et
l’artiste sonore montréalaise Alexis O’Hara, alliant chants
traditionnels et sonorités électroniques, suivi d’une performance de
conte moderne de l’artiste médiatique innue Mélissa M. Dupuis.
L’artiste multidisciplinaire abénaquise Christine Sioui Wawanoloath
présentera aussi une version du mythe de la création huron-wendatt dans
une installation multimédia intitulée Tortue et Femme céleste, tandis
que les artistes inuits Taqralik Partridge et Nina Segalowitz, ayant
collaboré en 2005 avec l’Orchestre Symphonique de Montréal,
interpréteront quelques chants de gorge. Pour clore la soirée, une
table-ronde composée d’intervenantes en promotion de la non-violence
autochtone viendront apporter quelques pistes de réflexion sur le
phénomène de la violence. Par la même occasion, le 5e numéro de .dpi,
le périodique électronique du Studio XX, y sera lancé. Avec également
l’implication de jeunes artistes autochtones via la participation de
terminus1525.ca.

L’événement est ouvert à tous et toutes. Ouverture des portes à 19h
avec la musique de dj Tashish, les perfomances débutent promptement à
19h30, et c’est gratuit!

English

Marking this year’s International Women’s Day, Upgrade Montreal is
happy to collaborate with Studio XX and Quebec Native Women (QNW) for
the March event, presenting women artists demonstrating against
violence. Violence is still a taboo subject and a problem affecting
many women. The event is meant to raise awareness concerning violence
(physical, psychological, economical, political and social) faced by
Aboriginal women of Quebec and Canada. The evening will begin with a
performance by Algonquin singer Fanny Wylde and Montreal audio artist
Alexis O¹Hara, combining traditional singing and electronic sounds,
which will be followed by a modern storytelling performance by Innu
media artist Melissa M. Dupuis. Multidisciplinary Abenaki artist,
Christine Sioui Wawanoloath, will also present her own version of the
Huron-Wendatt creation myth in a multimedia installation called Turtle
and Skywoman, while inuit artists Taqralik Partridge and Nina
Segalowitz, who have collaborated with the Montreal Symphonic Orchestra
in 2005, will perform throat singing. In closing the evening, a
roundtable will take place with Aboriginal community workers involved
in the promotion of non-violence in order to deepen a reflection on the
issue of violence. At the same occasion, the 5th issue of .dpi, Studio
XX’s online periodical, will be launched. The event welcomes the
involvement of young Aboriginal artists with the participation of
terminus1525.ca.

The March Upgrade is open to all. Doors open at 7pm with music by dj
Tashish. Performances promptly begin at 7.30pm – and it’s all free!

The Upgrade est une organisation autonome, internationale et
rhizomatique de rendez-vous mensuels pour la culture numérique et les
arts technologiques.

The Upgrade is an autonomous, international and grassroots organisation
of monthly gatherings for digital culture and the technology arts.

Partenaires de mars / March partners:
http://www.studioxx.org/
http://www.faq-qnw.org/<—1e0ef61dbee45f7bd387d5aec306b051—><—88152229d3d9fdb6115f989e69bb0110—>

Press release

Street date: November 1, 2005

Musical Bells of Accra, Ghana

The Time of Bells, 3

Produced by Steven Feld & Nii Noi Nortey
Released in collaboration with VoxLox

Steven Feld’s global excursion into the sonic worlds shaped by bells continues with the third volume of a planned five disc series, co-released by VoxLox and EarthEar. In previous releases, Feld’s soundscape compositions from five European countries explored how animal, church, and festival bells shape social time. Now Musical Bells of Accra, Ghana turns to bells as musical instruments. The three featured groups highlight the vibrant mix of music styles in Accra today.  But what’s unique here is the presence of jazz in the mix, whether it is the traces of swing parts you hear in bells jamming with car horns, or the straight-up tribute to John Coltrane and the 1970’s avant garde played on African as well as Western instruments.

In Accra, capital cityof Ghana, the former “Gold Coast,” one commonly hears musicians instruct that “the bell is the keeper of the time” in traditional drum and dance ensembles. But bells do much more than keep ensemble time. Listen here as bells of different sizes, pitches, and timbres make time multiple. Interacting with voices, wind, string, percussion and reed instruments­—including car horns and jazz saxophone—bells ring the vibrant time of traditional, modern, Pan African diasporic styles now resounding in Accra.

Musical Bells of Accra, Ghana features three never-recorded ensembles working out bell
time on six extended tracks:

Trotro Drivers Union Por Por Group:

Por Por music links two great 20^th Century inventions, the motor car and jazz music. Played by professional bus drivers on bells and the squeeze bulb circular brass car horns brought to Ghana by Indian traders, por por (pronounced paaw paaw) started as a way to scare animals away on forest roads at night as drivers pumped punctured tires. The music grew into a style equally resembling African animal horn ensembles and
riffing jazz horn sections.

Accra Trane Station:
Nii Noi Nortey and Nii Otoo Annan weave bells together with wind, reed, string and percussion sounds of Africa and the Diaspora.  Nortey is inventor of the “afrifone” a family of West African instruments modified with saxophone mouthpieces. Annan is inventor of the “African Percussion Kit,” a wild mixture of jazz cymbals and African drums and bells. The ATS tracks preview a forthcoming tribute CD to the African legacy of John Coltrane.

Powerful Bells:
An impromptu medley for bells and voices by seasoned performers associated with the Powerful Drum Shop at Accra’s National Arts Center.

For full liner notes for Musical Bells of Accra—The Time of Bells, 3: VoxLox

The Time of Bells is the most ambitious recording project on the sonic legacy of bells
across human and animal history, and continues the groundbreaking work Feld has done in the academic world to build an appreciation of the value of high-quality field recordings as ethnographic publications in their own right.  The Time of Bells series builds on his
earlier work on the acoustic ecology of rainforests (Voices of the Rainforest, Rainforest Soundwalks), and is a soundscape contribution to understanding how bells produce musical and social time around the world.

For more about Feld’s line of VoxLox recordings: www.voxlox.net

For the Time of Bells series: www.EarthEar.com/catalog/timebellsone.html

www.EarthEar.com/catalog/timebellstwo.html

www.EarthEar.com/catalog/timebellsthree.html

For Feld’s New Guinea recordings: www.EarthEar.com/catalog/rainsoundwalks.html

For Feld’s other recordings in Greek Macedonia: www.EarthEar.com/catalog/bellswinterfestivals.html

www.uwm.edu/People/dickblau/BrightBalkanMorning/

Previous EarthEar releases (http://www.EarthEar.com/eerelease)

2004:

A Day of Sound (Jason Reinier, et al)

The Time of Bells 2 (Steve Feld)

The Time of Bells 1 (Steve Feld)

2002:

Grooved Whale (Lisa Walker)

Caratinga: Soundscapes of Brazil’s Atlantic Rainforest (Doug Quin)

2001:

Rainforest Soundwalks: Ambiences of Bosavi, Papua New Guinea (Steve Feld)

2000:

Before the War (David Rothenberg/Doug Quin)

1999:

The Dreams of Gaia (2CD, Various)

Forests: A Book of Hours (Doug Quin)

Why do Whales and Children Sing?: A Guide to Listening in Nature (David Dunn)

FOR REVIEW COPIES OF ANY TITLE, OR FOR INTERVIEW REQUESTS,
PLEASE CONTACT JIM CUMMINGS AT:
cummings@earthear.com

888-356-4918
505-466-1879

De retour ici, je google un peu et découvre un artiste engagé plutôt intéressant, qui a du récemment se réfugier en France… Vous trouverez ici un petit documentaire (environ 12 min, 65MB, format RealMedia) sur l’artiste, deux MP3s de son plus récent album (maintenant introuvable, parait-il), ainsi que des liens à d’autres textes sur lui.

Pour le plaisir de découvrir un nouvel artiste.

From “The World’s First Fair Trade Music Company,” some potentially very interesting music.
Also linked to a blog and, supposedly, giving back to artists.<—9e25b5adb2830584f761a230750f00ff—>