Invitation: Gala Concert in honour of Her Majesty Queen Elizabeth and His Royal Highness the Duke of Edinburgh

An invitation from The Right Honourable Pierre Elliott Trudeau for a gala concert in the Opera of the National Arts Centre in honour of Her Majesty Queen Elizabeth and His Royal Highness the Duke of Edinburgh.

« Autour de la musique narrative » ; « Les musiques de concert, de ballet et de film»

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

Vers une symbiose de la composition et de l'improvisation dans cinq oeuvres de musique de concert

Thèse diffusée initialement dans le cadre d'un projet pilote des Presses de l'Université de Montréal/Centre d'édition numérique UdeM (1997-2008) avec l'autorisation de l'auteur.

L’influence réciproque qu’exerce la pratique conjointe de la composition de musique à l’image et de la composition de musique de concert sur le développement de mon langage musical

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

L’intégration de la spatialisation en composition acousmatique et de son interprétation en concert

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

Marimba, rumba y peregrinación en el pacífico colombiano

Las culturas afrocolombianas recogen historias culturales muy valiosas. Guapi y Timbiquí, dos municipios del Cauca, azotados por el conflicto armado, no han dejado de mostrar su sonrisa y su devoción a través de sus fiesta patronales y su constante alegría.

Sharing power? Prospects for a U.S. concert-balance strategy

The Pax Americana and the grand strategy of hegemony (or “Primacy”) that underpins it may be becoming unsustainable. Particularly in the wake of exhausting wars, the Global Financial Crisis, and the shift of wealth from West to East, it may no longer be possible or prudent for the United States to act as the unipolar sheriff or guardian of a world order. But how viable are the alternatives, and what difficulties will these alternatives entail in their design and execution? This analysis offers a sympathetic but critical analysis of alternative U.S. National Security Strategies of “retrenchment” that critics of American diplomacy offer. In these strategies, the United States would anticipate the coming of a more multipolar world and organize its behavior around the dual principles of “concert” and “balance,” seeking a collaborative relationship with other great powers, while being prepared to counterbalance any hostile aggressor that threatens world order. The proponents of such strategies argue that by scaling back its global military presence and its commitments, the United States can trade prestige for security, shift burdens, and attain a more free hand. To support this theory, they often look to the 19th-century concert of Europe as a model of a successful security regime and to general theories about the natural balancing behavior of states. This monograph examines this precedent and measures its usefulness for contemporary statecraft to identify how great power concerts are sustained and how they break down. The project also applies competing theories to how states might behave if world politics are in transition: Will they balance, bandwagon, or hedge? This demonstrates the multiple possible futures that could shape and be shaped by a new strategy. viii A new strategy based on an acceptance of multipolarity and the limits of power is prudent. There is scope for such a shift. The convergence of several trends—including transnational problems needing collaborative efforts, the military advantages of defenders, the reluctance of states to engage in unbridled competition, and hegemony fatigue among the American people—means that an opportunity exists internationally and at home for a shift to a new strategy. But a Concert-Balance strategy will still need to deal with several potential dilemmas. These include the difficulty of reconciling competitive balancing with cooperative concerts, the limits of balancing without a forward-reaching onshore military capability, possible unanticipated consequences such as a rise in regional power competition or the emergence of blocs (such as a Chinese East Asia or an Iranian Gulf), and the challenge of sustaining domestic political support for a strategy that voluntarily abdicates world leadership. These difficulties can be mitigated, but they must be met with pragmatic and gradual implementation as well as elegant theorizing and the need to avoid swapping one ironclad, doctrinaire grand strategy for another.

Causation, complexity, and the concert: the pragmatics of causal explanation in international relations

A causal explanation provides information about the causal history of whatever is being explained. However, most causal histories extend back almost infinitely and can be described in almost infinite detail. Causal explanations therefore involve choices about which elements of causal histories to pick out. These choices are pragmatic: they reflect our explanatory interests. When adjudicating between competing causal explanations, we must therefore consider not only questions of epistemic adequacy (whether we have good grounds for identifying certain factors as causes) but also questions of pragmatic adequacy (whether the aspects of the causal history picked out are salient to our explanatory interests). Recognizing that causal explanations differ pragmatically as well as epistemically is crucial for identifying what is at stake in competing explanations of the relative peacefulness of the nineteenth-century Concert system. It is also crucial for understanding how explanations of past events can inform policy prescription.

Herivelto Brandino e a obra mensagem para marimba solo: discussão do processo composicional e performance

This article points out some elements required for comprehending the work mensagem for marimba solo (2011) by Herivelto Brandino in regard to its compositional process and performance. The text shows how various materials have been chosen for the confection of the work - mainly those related to the act of writing texts - and approaches the composer's queries about the non-necessity, and even the uselessness of composition, performance and artistic objects themselves. At the end we conclude that regardless such a supposed non-necessity of any musical object it is possible to construct a coherent piece based on similar paradoxes that, at first, served to make any compositional work useless.

Bucknell Dance Studio Fall Concert 2004

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Bucknell Dance Studio Fall Concert 2003

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Bucknell Dance Studio Concert 2006

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Bucknell Dance Studio Fall Concert 2007

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