Serge Lacasse
Université Laval, Faculté de musique, Faculty Member
Research Interests: Psychology and Rhythm
Download Research reation In Music And The Arts Towards A Collaborative Interdiscipline Sempre Studies In The Psychology Of Music Pdf filetype: PDF, Epub, Doc, Docx, MOBI this nice ebook and read th Research Creation In Music And The Arts... more
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Présentation et cadre théorique Les réflexions et observations qui suivent portent sur l’anthologie phonographique de musique populaire, et que l’on pourrait grossièrement définir, en paraphrasant Emmanuel Fraisse, comme une collection... more
Présentation et cadre théorique Les réflexions et observations qui suivent portent sur l’anthologie phonographique de musique populaire, et que l’on pourrait grossièrement définir, en paraphrasant Emmanuel Fraisse, comme une collection d’enregistrements dont l’assemblage est dicté par un principe d’organisation. Ce principe est le plus souvent explicité dans le paratexte, qui peut, dans le cas qui nous occupe, se présenter soit sous la forme d’un livret d’accompagnement, soit sous d’a..
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Press, 2001); Andy Bennett, Hip hop am Main: the Localization of Rap Music and Hip Hop Culture (Media, Culture, and Society 21.1 [1999]: 7791); Adam Krims, Rap Music and the Poetics of Identity (Cam-bridge: Cambridge University Press,... more
Press, 2001); Andy Bennett, Hip hop am Main: the Localization of Rap Music and Hip Hop Culture (Media, Culture, and Society 21.1 [1999]: 7791); Adam Krims, Rap Music and the Poetics of Identity (Cam-bridge: Cambridge University Press, 2000). This collection is the first ...
Research Interests: History, Sociology, Philosophy, Art, Language in Society, and 3 moreFrench, Literary studies, and Notes
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Allan F. Moore, Rock, the Primary Text: Developing a Musicology of Rock. Popular Music in Britain. Philadelphie : Open University Press, 1993. ix, 227 p. ISBN 0-335-09787-1 (couverture rigide), 0-335-09786-3 (couverture molle). Exemples musicaux ; glossaire (p. 198–201) ; bibliographie (p. 202–9)...more
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Let's face it: in many respects popular music studies still has a hard time combining sociological and musicological views about music, its meaning(s), its sociological implications, and so on. Dialogue is difficult: scholars... more
Let's face it: in many respects popular music studies still has a hard time combining sociological and musicological views about music, its meaning(s), its sociological implications, and so on. Dialogue is difficult: scholars working in the social sci-ences, while dealing primarily ...
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Dans cet article, Lacasse propose une cadre général d’analyse de la musique populaire enregistrée.
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Ce second numéro de Volume ! dédié à la reprise poursuit la logique d’investigation entamée dans le numéro 7-1 en s’intéressant à de nouvelles problématiques. La reprise dans les musiques populaires devient ainsi un moyen... more
Ce second numéro de Volume ! dédié à la reprise poursuit la logique d’investigation entamée dans le numéro 7-1 en s’intéressant à de nouvelles problématiques. La reprise dans les musiques populaires devient ainsi un moyen inédit pour questionner, du point de vue sociohistorique, le copyright et les stratégies de médiatisation dans les industries culturelles. Ce numéro est aussi l’occasion d’étudier l’intertextualité qui nourrit la reprise, afin d’effeuiller la stratification laminaire de ses palimpsestes référentiels. Selon d’autres approches encore, la reprise se mue en une véritable locomotive temporelle pour nous révéler, à travers des généalogies, les transformations culturelles de nos sociétés. Loin de se réduire à la simple réitération d’une œuvre préexistante, la reprise devient dans ce numéro de Volume ! La revue des musiques populaires un objet d’étude privilégié pour interroger, par un ensemble de t...
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Résumé Après avoir passé en revue une grande partie de la documentation scientifique portant sur la narrativité en musique et dans d’autres formes d’expression non littéraires, l’auteur observe que la chanson enregistrée n’a pas... more
Résumé Après avoir passé en revue une grande partie de la documentation scientifique portant sur la narrativité en musique et dans d’autres formes d’expression non littéraires, l’auteur observe que la chanson enregistrée n’a pas véritablement fait l’objet d’études sérieuses du point de vue narratologique. Afin de combler en partie cette lacune, l’article propose une analyse de la chanson « Stan » du rappeur états-unien Eminem, dans le but de dévoiler le fonctionnement narratif de la chanson. En se concentrant sur les aspects performanciels et technologiques, l’analyse rend compte de la richesse du récit phonographique à l’oeuvre dans cet enregistrement, en considérant notamment les relations temporelles et spatiales, de même que les modes d’énonciation vocale.
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Résumé Les pratiques de l’emprunt, de la transformation, de l’adaptation, du remixage, de la citation, du pastiche, de la parodie ou de la reprise sont très répandues en musique populaire. Sans vouloir rendre compte de ces pratiques de... more
Résumé Les pratiques de l’emprunt, de la transformation, de l’adaptation, du remixage, de la citation, du pastiche, de la parodie ou de la reprise sont très répandues en musique populaire. Sans vouloir rendre compte de ces pratiques de façon exhaustive, l’article propose de les aborder sous l’angle de la transphonographie : dérivé du modèle littéraire de la transtextualité proposé par Gérard Genette (1982). Le concept de transphonographie permet d’organiser ces pratiques en six grandes catégories qui décrivent les types de relations qui peuvent s’établir entre des enregistrements musicaux : l’archiphonographie (relations génériques), l’hyperphonographie (relations de transformation), l’interphonographie (relations de coprésence), la polyphonographie (compilations de phonogrammes), la paraphonographie (fonctions de médiation) et la métaphonographie (relations critiques). Cette façon d’analyser le phénomène devrait permettre, entre autres, de mieux saisir le potentiel esthétique et ex...
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Introduction On October 30 of 2002, George Graham (2002) broadcasted his 1300 album review on WVIA-FM, a Pennsylvanian public radio station. As a preamble to my paper, I would like to play you a few excerpts from this review: This is... more
Introduction On October 30 of 2002, George Graham (2002) broadcasted his 1300 album review on WVIA-FM, a Pennsylvanian public radio station. As a preamble to my paper, I would like to play you a few excerpts from this review: This is weekly album review number 1300, and I thought I would try something a little different in my approach. Our subject is Peter Gabriel’s new CD Up, which was released in September [2002], and has already received a good deal of press and quite a few reviews, generally quite favorable. [...] I thought that this time, I would focus this review almost entirely on a facet that we usually touch on only briefly each week, the sonic qualities of the recording. [...] It has been a decade since Gabriel released his last studio album. Since then, there has been a lot of sonic experimentation going on especially in the alternative rock field, with loops and samples of pre-recorded sounds, heavily distorted and altered treatments of various instruments and vocals, an...
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This article presents the results of a research centered on voice manipulation, or as suggested by the title, the staging of voice in recorded popular music. The main hypothesis in this study is that voice manipulation can give rise to a... more
This article presents the results of a research centered on voice manipulation, or as suggested by the title, the staging of voice in recorded popular music. The main hypothesis in this study is that voice manipulation can give rise to a range of connotations and effects whose emergence in the listener’s mind is not arbitrary, but rather coherent. Arguments used
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Allan F. Moore, Rock, the Primary Text: Developing a Musicology of Rock. Popular Music in Britain. Philadelphie : Open University Press, 1993. ix, 227 p. ISBN 0-335-09787-1 (couverture rigide), 0-335-09786-3 (couverture molle). Exemples musicaux ; glossaire (p. 198–201) ; bibliographie (p. 202–9)...more
Analyse d'une oeuvre de John Rea sous l'angle de l'hypertextualité de Gérard Genette (1982).
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http://www.cairn.info/revue-volume-2010-2.htm "This new issue of Volume ! continues the investigation started in n°7-1, with new questions raised about cover versions. Covers in popular music appear as a new way of questioning... more
http://www.cairn.info/revue-volume-2010-2.htm
"This new issue of Volume ! continues the investigation started in n°7-1, with new questions raised about cover versions. Covers in popular music appear as a new way of questioning copyright and media strategies within cultural industries. This issue also diggs into intertextuality and how it feeds covers. According to other approaches, they become a temporal locomotive that reveal, through their genealogies, the cultural transformations of our societies.
Far from being the simple repetition of a preexisting work, the cover version becomes, in this issue of Volume ! the French journal of popular music studies, a special object of study to question, with a group of interdisciplinary texts, popular music in its social, creative and cultural dimensions."
"This new issue of Volume ! continues the investigation started in n°7-1, with new questions raised about cover versions. Covers in popular music appear as a new way of questioning copyright and media strategies within cultural industries. This issue also diggs into intertextuality and how it feeds covers. According to other approaches, they become a temporal locomotive that reveal, through their genealogies, the cultural transformations of our societies.
Far from being the simple repetition of a preexisting work, the cover version becomes, in this issue of Volume ! the French journal of popular music studies, a special object of study to question, with a group of interdisciplinary texts, popular music in its social, creative and cultural dimensions."
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This chapter presents a critical overview of the musicological study of popular music from the 1960s to the 2010s.
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This article presents the results of a research centered on voice manipulation, or as suggested by the title, the staging of voice in recorded popular music. The main hypothesis in this study is that voice manipulation can give rise to a... more
This article presents the results of a research centered on voice manipulation, or as suggested by the title, the staging of voice in recorded popular music. The main hypothesis in this study is that voice manipulation can give rise to a range of connotations and effects whose emergence in the listener’s mind is not arbitrary, but rather coherent. Arguments used to support such a thesis are taken from the empirical data of a reception test and from information provided by secondary sources. Findings tend to support the hypothesis and point to a new set of musical parameters that should be taken into account in any discussion of popular music: sound staging.
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Let's face it: in many respects popular music studies still has a hard time combining sociological and musicological views about music, its meaning(s), its sociological implications, and so on. Dialogue is difficult: scholars... more
Let's face it: in many respects popular music studies still has a hard time combining sociological and musicological views about music, its meaning(s), its sociological implications, and so on. Dialogue is difficult: scholars working in the social sci-ences, while dealing primarily ...
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We already know how important technology is in popular music. Not only has technology allowed us to create sound sources which never existed before - and therefore peculiar to the technology -, such as the electric guitar or the... more
We already know how important technology is in popular music. Not only has technology allowed us to create sound sources which never existed before - and therefore peculiar to the technology -, such as the electric guitar or the synthesiser, but it has also provided artists with yet ...
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Les Presses de l'Université Laval reçoivent chaque année du Conseil des Arts du Canada et de la Société de développement des entreprises culturelles du Québec une aide financière pour l'ensemble de leur programme... more
Les Presses de l'Université Laval reçoivent chaque année du Conseil des Arts du Canada et de la Société de développement des entreprises culturelles du Québec une aide financière pour l'ensemble de leur programme de publication. Nous reconnaissons l'aide financière du ...
Les pratiques de l'emprunt, de la transformation, de l'adaptation, du remixage, de la citation, du pastiche, de la parodie ou de la reprise sont très répandues en musique populaire. Sans vouloir rendre compte de ces... more
Les pratiques de l'emprunt, de la transformation, de l'adaptation, du remixage, de la citation, du pastiche, de la parodie ou de la reprise sont très répandues en musique populaire. Sans vouloir rendre compte de ces pratiques de façon exhaustive, l'article propose de les ...
On le sait déjà, la technologie prend une place très importante en musique populaire. Non seulement rend-elle pos-sible, entre autres choses, la création de sources sonores nouvelles et caractéris-tiques, comme la guitare électrique ou le... more
On le sait déjà, la technologie prend une place très importante en musique populaire. Non seulement rend-elle pos-sible, entre autres choses, la création de sources sonores nouvelles et caractéris-tiques, comme la guitare électrique ou le synthétiseur, mais elle procure aux ...
Les Presses de l'Université Laval reçoivent chaque année du Conseil des Arts du Canada et de la Société de développement des entreprises culturelles du Québec une aide financière pour l'ensemble de leur programme... more
Les Presses de l'Université Laval reçoivent chaque année du Conseil des Arts du Canada et de la Société de développement des entreprises culturelles du Québec une aide financière pour l'ensemble de leur programme de publication. Nous reconnaissons l'aide financière du ...