La Tentation de Saint-Antoine au Chat Noir : un exemple de collaboration multidisciplinaire by Michela Niccolai

“…The music plays a central role because, in the absence of a text, it must be narrated, so that known tunes, drawn from operas, operettas and café-concert, often used with a parodic sense, alternate with original music composed by Tinchant and Fragerolle. …”
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A indústria cultural brasileira na formulação de Renato Ortiz by Marcelo Ridenti

“…The “popular” would now be understood as what is more widely accepted by the general public, and the “national” conceived as a space of domestic consumption and an attribute for the worldwide sale of Brazilian cultural products, such as soap operas.…”
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« A Single Tone Coming Out Of A Vast, Empty Space » : John Adams, le contemporain au risque de l’anachronisme by Mathieu Duplay

“…The purpose of this paper is to raise once more the question of music and the “contemporary” in the light of Adorno’s argument and in connection with an American composer known for his keen interest in current events. While John Adams’s operas often rely on anachronism and temporal distance, his early cantata Harmonium (1980‑81) already raises the question of dissociation and remoteness from the self: first, because it gives pride of place to a famous Emily Dickinson poem about alienation and disaster; secondly, because it also conducts a musical exploration of sound perceived as a paradoxical combination of immediacy and estrangement, presence and emptiness, as if music itself were seen as expressing the quintessence of the contemporary.…”
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