The next dictionary-type book again was sponsored by the CBC. It was edited by Helmut Kallmann and includes 356 composers (and some 100 others briefly listed), expanding the scope not only forward in time but also backward to the 19th century and earlier. Because of the shortcomings of this mimeographed edition and the phenomenal growth of Canadian composition in the late 1940s, a new edition in book format was compiled 1950-1 and issued in 1952 (reprint Ann Arbor, Mich, 1972). When the work did appear in 1947 it was typed without critical editing or supplementary research and was, for many composers, out of date. Gagnier and continued by Jean Beaudet, was shelved for a number of years. The project of assembling the raw data into a Catalogue of Canadian Composers, begun under the direction of J.-J. Since one of its major responsibilities was the performance of Canadian music, the CBC, created in 1936, set out to gather information about living composers and their compositions by means of a questionnaire distributed at the beginning of World War II. The work remains an indispensable tool in Canadian studies, despite its inaccuracies and imbalances which stem from a scissors-and-paste approach to compilation and an obvious dearth of original historical research. Molt, Clara Lichtenstein, and Sarah Fischer. The book misses only a few major figures, among them Joseph Quesnel, T.F. Coverage begins with such men as Charles-Amador Martin and Martin Boutet in the 17th century and includes the young generation of 1934. Vogt and Annie Lampman Jenkins) from Ontario. It includes 384 musicians whose careers centred in the province of Quebec but only a handful (eg, A.S. Of much greater importance was the second edition, which appeared in 1935 as Dictionnaire biographique des musiciens canadiens (Lachine 1935 reprint Ann Arbor, Mich, 1972). The choice was slanted towards French operetta and salon music composers of the late 19th century in the first category, and almost entirely towards Quebec musicians, both French-speaking and English-speaking, in the second. Some 675 non-Canadian musicians were included along with 150 Canadians. (See also Sisters of Ste-Anne) of Lachine, Que, the anonymous work of Louise Paquin (Sister Marie-Valentine). The first true dictionary was the Dictionnaire biographique des musiciens published in 1922 by the Soeurs de Sainte-Anne. In all these cases, the author's main purpose was to take stock of musical activity and accomplishment, and the dictionary section was only a subsidiary device. It offers the first nationwide coverage: 71 major and not-so-major musicians sketched on nine pages. Edouard Hesselberg's 'A review of music in Canada' (in Modern Music and Musicians, New York ca 1913) is essentially a Canadian supplement compiled in Canada, though published abroad. Sandwell's The Musical Red Book of Montreal (1907). Godfrey's Musical Toronto (1897, 1898-9), Hugo Talbot's Musical Halifax (1903-4), and B.K. The earliest examples are the biography sections in H.H. Thiele and published by Waterloo (no date). Both types will be considered here since their respective main functions - the provision of biographies and/or of information on music itself - overlap.Īll Canadian music dictionaries and dictionary-sections in larger books prior to EMC have been biographical with the exception of The Pocket Dictionary of Musical Terms compiled by C.F. The entries are usually in prose, although in a related type of reference work, the catalogue of compositions, lists abound. Reference books which present information in alphabetically ordered individual entries.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |