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The Raven Saxophone Quartet will be competing in the semifinals of the International Chamber Ensemble Competition at the New England Conservatory in Boston on March 7, 2020.

The Music Department’s saxophone Instructor and Director of Saxophone Ensembles (including The Raven Saxophone Quartet), Mike Tremblay says the Quartet has achieved this amazing feat through talent, diligence, and fantastic chemistry.   

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You never know where you鈥檙e going to end up, and Ottawa鈥檚 is a textbook example.

鈥淚 never really left 杏吧原创,鈥� said the artist-in-residence (AIR) at the . 鈥淚t feels right to be here.鈥欌��

In the mid-1990s, a serendipitous wrong turn on campus ultimately led to her for . There have been more than a few sharp turns along the way, but her discovery of the while she was studying Law and led her to pursue music as a career in 2000. She has since released five critically acclaimed albums and one live recording of her debut and has won numerous awards.

One major turn came in 2015, when her subtly funky and soulful album was released on France鈥檚 Decca Records on Nov. 13. A day earlier, she suffered a major concussion from fainting in the bath and, as she realized how serious it was, she 鈥渂asically just put my life and my career on hold.鈥�

Prior to her fall, Evans was already trying to get her health back after she was struck by lightning while doing the dishes at home in 2013. The setbacks forced her to reassess her situation and to accept a slower pace of living.

When 杏吧原创鈥檚 James Wright, supervisor of performance studies and music professor, asked Evans to join the for the winter 2017 term, she was still figuring out what her body would allow her to do.

鈥淚 was like 鈥榶es! There鈥檚 no other person you could have that would be more committed to 杏吧原创!鈥欌�� she laughed. 鈥淚 want our students to be the best that they can be, but I wasn鈥檛 sure I was ready.鈥�

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Evans offers workshops to performing students in both the sizable Kailash Mital Theatre and the intimate Patrick Cardy Studio, where she conducts a monthly interview series. The workshops help performing music students to ascertain that they are delivering their music to their utmost ability. The interview series also offers a view into the careers of arts administrators and successful artists.

Evans interviewed her friend, singer-songwriter , on Feb. 3, and plans to host another four chats before the end of term. On, March 3, Kevin Breit and of the Juno Award-winning trio joined her.

Ever inquisitive, Evans has turned her touring work ethic into a supportive role on campus. Through laidback conversation, she encourages her interview subjects to share their experiences for students to absorb.

Both artistic director Petr Cancura and executive director Catherine O鈥橤rady of the will join Evans later in March. In April, she鈥檒l be joined by Jon Bartlett, label owner, talent manager and owner of . He鈥檚 also the founder/organizer of the annual music festival.

Although the residency has offered her the opportunity to reflect on her own career, Evans had already accepted her body鈥檚 new limits. To take the bad with the good has allowed her to spend more time with her three kids, coach young musicians as she was once coached, and help the 杏吧原创 community succeed.

鈥淵ou know, I have problems walking, I have problems with my arms, just using my hands . . . I would love to have my health back, but I wouldn鈥檛 want to change what happened,鈥� she said. 鈥淏ecause at the same time, there are so many ways that my life is so much better than it was before.鈥欌��

For more information about the AIR series, please go to: /music/air/.

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From March 1-3, and 杏吧原创 University collaborated to celebrate the 15th anniversary of the project in an event titled .

Co-organizers were, Project Manager of Project Naming and Online Content, Library and Archives Canada and Carol Payne, Associate Professor, School for Studies in Art and Culture: Art History, 杏吧原创 University.

The 15th anniversary event took place over 3 days and was open to the public. The first two days were a retrospective on the successes and meaning of the project and was held in conjunction with 杏吧原创 University. The third day will look to the future of the project and its engagement with First Nations, the M茅tis Nation and Inuit communities from across Canada.

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Past Event Information

More specifically, our objectives for during the first two days are twofold: to facilitate interchanges among Inuit participants as well as with non-Inuit collaborators; and, to aid the editorial process of a collected volume drawn from papers delivered at the workshop to be published by McGill-Queen’s University Press. It will also provide an opportunity to advance Inuit cultural knowledge and it will respond to the involving education, curricula resources, and language revitalization.

This event will be the first major community and scholarly gathering to discuss the contributions of Project Naming, as well provide an opportunity for Inuit elders and youth from across Nunavut, faculty from NS, and southern non-Inuit collaborators to celebrate the project鈥檚 achievements and look to the future.

They will be joined in the gathering by faculty members from NS, Elders Ann Hanson, Piita Irniq, and Sally Webster, young Inuit activists and students, artist Barry Pottle, Dr. Heather Igloliorte, and Qallunaat research collaborators from LAC, 杏吧原创 University and the University of British Columbia. Each session will have a moderator, and will take the form of conversations using archival images as a way to facilitate dialogue amongst the participants.

Project Naming Overview

Project Naming, a photo identification and community engagement initiative, was created in 2002 with the goal of naming the anonymous Inuit depicted in the photographs through dialogue between Inuit youth and elders. Project Naming has also given rise to related photo-based projects including , a collaboration between 杏吧原创 University, the school Nunavut Sivuniksavut and LAC as well as the Nanivara and Nanisiniq history research projects developed by UBC, the communities of Arviat and Gioa Haven (Nunavut), and LAC.

Given Project Naming鈥檚 popularity with Inuit communities, LAC expanded the project in May 2015. It now includes all three Aboriginal groups in Canada, and engages with First Nations, the M茅tis Nation and Inuit from the Inuvialuit Settlement Region, Nunavik, Nunatsiavut, as well as Nunavut.

15th Anniversary of Project Naming – Tentative Schedule – March 1-2, 2017

Morning registration will be held from 8:30-9:00 on both days and the final sessions will end approximately at 4:00 p.m.

Wednesday, March 1, Library and Archives Canada (LAC), 395 Wellington Street Elder Sally Webster will open the first day with a prayer.

Morning Sessions

Moderator: Henry Kudluk

• Murray Angus and Morley Hanson
• Beth Greenhorn
• Elder Piita Irniq and two students from Nunavut Sivuniksavut

Lunch served at LAC

Afternoon Sessions

Moderator: Deborah Kigjugalik Webster

• Paula Ikuutaq Rumbolt
• Kathleen Ivaluarjuk Merritt
• Heather Igloliorte and Barry Pottle

Photo Identification Workshop.

Tuesday, March 2 鈥� morning at LAC, 395 Wellington Street

Morning Sessions

Moderator: Manitok Thompson (tentative)

• Elder Ann Mikijuk Hanson and 2 Nunavut Sivuniksavut students
• Carol Payne and Sheena Ellison
• Frank Tester and Curtis Kuunuaq Konek

Lunch served at 杏吧原创 University Art Gallery (a bus will provide transportation from LAC)

Afternoon Session, 杏吧原创 University Art Gallery, St. Patrick’s Building, 1125 Colonel By Drive

Opening prayer by Elder Sally Webster
Moderator: Deborah Kigjugalik Webster

• Elder Piita Irniq, Elder Ann Mikijuk Hanson, Elder Sally Webster

Tour of 鈥淭he Other NFB: The National Film Board of Canada鈥檚 Still Photography Division, 1941-1971鈥�, exhibition at the 杏吧原创 University Art Gallery curated by Carol Payne and Sandra Dyck Photo Identification Workshop.

Bus to the for the premiere film screening 鈥淢y Father鈥檚 Land鈥� co-directed by Zacharias Kunuk and Norman Cohn.

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Monday, November 28, 2016, 6:00 pm
Concert, Guitar Ensemble
Director Tim Bedner and his group as they celebrate the end of term with a rousing final concert
Patrick Cardy Studio, A900 Loeb Building
Join the Guitar Ensemble
Free admission

Friday, December 2, 2016, 7:00 pm
Chamber Music Ensemble
Join our Chamber Music Ensemble Director Nicole Presentey for a lovely evening of Chamber music as the students perform in their end of term concert.
Patrick Cardy Studio, A900 Loeb Building
Free admission

Saturday, December 3, 2016, 7:00 pm

Concert: Journey into Peace
Celebrate the season with the 杏吧原创 University Choir, directed by Laurie Hamilton, accompanied by Joanne Moorcroft, piano, and Anita Pari, cello, with Carol Anne Meehan, as Master of Ceremonies.

杏吧原创 University Choir
Southminster United Church, 15 Aylmer Ave.
Tickets available from choir members or at Leading Note, Compact Music, or at the door.
$15 adults, $10 students and seniors.

Monday, December 5, 2016, 7:00 pm

Jazz Vocal Ensemble
Jazz Vocal Ensemble Director Elise Letourneau has a great night of music planned as her students perform their end of term concert.
Donations to the Food Bank are welcome!

Patrick Cardy Studio, A900 Loeb Building
Free admission

Friday, December 9, 2016, 7:00 pm

Saxophone Quartet Ensemble
Join our Saxophone Quartet Ensemble Director Mike Tremblay as his students perform their end of term concert.
Patrick Cardy Studio, A900 Loeb Building
Free admission

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Professor Aboubakar Sanogo recently attended the 50^th anniversary of the held from October 28^th to November 5, 2016. The JCC are the very first film festival on the African continent and were co-founded by such pioneering figures in African cinema as Tahar Cheriaa and Ousmane Semb猫ne in 1966.

On the occasion of this celebration, Professor Sanogo co-organized, moderated and presented a paper during a two-day (October 29-30) International Symposium entitled 鈥淔ilm Heritage at Risk鈥�, under the aegis of the Tunisian Ministry of Culture, the Tunisian Academy of Sciences, Letters and Arts and the (FEPACI). Participants in the symposium included Christophe Dupin, Senior Administrator of the (FIAF), Nicola Mazzanti, Curator of the Royal Belgian Cin茅matek and Director of the Association of European Cin茅math猫ques, world-renowned Cambodian documentary filmmaker, Rithy Panh (S21, The Missing Picture), Ahmed Bedjaoui, Professor at the University of Algiers and pioneer of the Algerian Cin茅math猫que, Cecilia Cenciarelli, Head of Research and Special Projects of the Cineteca di Bologna, Hedi Jallab, Director of the National Archives of Tunisia, Gahit茅 Fofana, Head of the Audiovisual Resource Center in Guinea, Khaled Abdeljelil, Professor at the Higher Institute of Cinema and Advisor at the Egyptian Ministry of Culture, Khadija Habashneh, Project Coordinator for the Preservation of the ancient fund of Palestinian Films, Lea Morin of the Cin茅math猫que de Tanger (Morocco), Jose Manuel Costa, Director of the Portuguese Cin茅math猫que, Hichem Ben Ammar, Tunisian documentary film director and Mohamed Challouf, Artistic Director of the 50^th anniversary of the Carthage Film Festival.

The symposium offered participants the opportunity to discuss and take stock of the state of film archiving in various countries and regions in Africa and the Global South (Tunisia, Guinea, Palestine, Cambodia, Cameroon, Algeria, Morocco, and Egypt) as well as explore strategies toward the creation and strengthening of film archival institutions in these countries and regions. This is the first of many such initiatives to come. Stay tuned!

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by Nick Ward

In some form or another, we鈥檝e all been exposed to musical taste shaming.

If you’re a fan of The Eagles, Drake, Rush, or perish the thought, you are passionate about the music of Nickelback, you have probably received more than your share of barbs aimed in your direction.

As a populace who has endured the ‘age of ,’ most of us have been exposed to the smug judgment of those who perceive their own musical tastes as superior to the preferences of the rest of us rubes.

Of course, hipsterism is just another term for yet another ‘age’ that mimics the same social and cultural elitist behaviours that have been occurring for centuries. Pomposity is perennial, and generally speaking, it is a personality trait of those lacking a degree of social awareness. Surely we can agree that it is narrow-minded to judge someone鈥檚 essence based solely on their musical preferences!

Although taste shaming is nothing new, shaming in today鈥檚 digital reality can have more profound consequences than ever before. Our social media accounts prompt us to express ourselves through superficial ‘must-complete’ field templates, and for most of these platforms, they ask us to list our favourite shows, movies and of course, music. This accessible personal information provides bullies with a public venue to judge and lampoon us based on our cultural palates, making us more susceptible than ever to negative judgment; social assessments which can have a genuine impact on our sense of self and subsequent life quality.

Taste Shaming in a Digital World

To better understand this prevalent issue, Professor in the , James Deaville has been researching the cultivation and social dynamics of musical taste shaming and how it wields power in our lives.

When discussing the matter, Deaville, a Musicologist whose background work includes research on composers, musical practices and institutions of the 19th and 20th centuries, Franz Liszt, music criticism, movie trailer sound, television news music, Nordic composers during the Third Reich (and lots more), uses one of the most predominant figures in modern day taste shaming as his central case study.

鈥淏illy Joel is a great example of what many people consider 鈥榮chlock鈥� artistry,鈥� said Deaville. 鈥淛oel is tremendously popular. He鈥檚 in the Rock and Roll Hall of Fame, and nearly anyone can sing a bar or two of at least one of his songs.鈥�

鈥淏ut, based on the mainstream sensibilities of Joel鈥檚 discography, many people see his work as lacking a certain credibility.鈥�

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Deaville employs the composer as an example of a talented and decorated musician whose fans are reluctant to publicly affiliate themselves with.  Joel is an objectively gifted musician, so why do his followers prefer not admitting to being fans of his work? Deaville reveals that Joel is viewed as lacking the elusive and fleeting perception of artistic authenticity. Merge this perceived lack of artistry with Joel鈥檚 industrial songwriting and financial success, and you have an artist who personifies schlock. 鈥淭he defines schlock it as 鈥榗orporate radio friendly music of low quality, often intended for adolescent males,鈥� while proclaims 鈥榮chlock, at its finest, is where bad taste becomes great art. Schlock is music that drowns all other values in brute emotional impact. It aims to overwhelm while lacking sophistication, subtlety, wit, irony, originality and experimentation,鈥欌�� relayed Professor Deaville.

Schlock

鈥淐onfessing that you are a diehard fan of Billy Joel or Kenny G, or the Fifty Shades of Grey book series opens you up to criticism. All of these are examples of 鈥榖ad鈥� or 鈥榬ubbish鈥� art. The social ramifications of divulging your taste are real. It can lead to public or social media ridicule and even a type of ostracism,鈥� said Deaville.

Sadly, this prompts many to hide their fandom, viewing their enthusiasm for certain artists as a guilty pleasure or secret passion. 鈥淚n certain fan communities public shaming may serve the purpose of boundary policing, for the fan of schlock, shaming arises from the compulsion to silence the geek in others, to exercise normalizing power over that person鈥檚 deviant identities,鈥� explained Deaville. Thus, it is easier to remain silent than to endure taste shaming by colleagues, classmates, friends, and family.

Paradoxically, although the publicness of the internet exposes fans to criticism, it also offers users hidden communal nooks like fan message boards to ambiguously and unabashedly express their enthusiasm. These online communities of like-minded people can function as fan-identity validation. In best-case scenarios, it can also produce a momentum in translating their hidden online personas to expressing their fandom openly in their everyday lives without the mask of a username or avatar.

In a he presented at , Deaville drew upon contemporary research on the performance and performativity in fandom.

鈥淢y work intends to explore the psychic and physical pressures experienced by schlock fans,鈥� said Deaville. 鈥淪ome researchers believe that the burden for relief rests with the fan, who should relinquish the shame, while others have effectively argued for the personal loss and pain that practices of abjection like shaming bring to bear.鈥�

鈥淧eople should feel free to like what comes naturally to them,鈥� contended Deaville. 鈥淭here is no right or wrong when it comes to taste.鈥�

Deaville believes that part of his function as a public musicologist is 鈥渢o help create an environment that recognizes the validity of the broadest range of tastes and perspectives.鈥�

For all of the taste-shaming victims out there, let鈥檚 hope the work of Deaville and his academic peers are significant steps towards helping you finally feeling all right enough to wear your with the level of pride your fandom has always warranted. It is about time that we should all feel comfortable expressing ourselves just the way we are.

Post Image Credit: , Micah Sittig, Flickr ().

, Wikipedia, Fair Use

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When: Thursday, September 1 2016

Where: National Gallery of Canada

Price: $9-$32

For more information, visit:  event page and the 

and the present Sofia Coppola鈥檚 “Marie Antoinette: Fact or Fiction”. Join us for a special screening of Sofia Coppola鈥檚 Marie Antoinette, an evocative retelling of France鈥檚 iconic but ill-fated queen, Marie Antoinette.

The evening begins (5:00 – 6:30) with tapas and drinks in the Water Court Foyer. Film screening in the Auditorium starts at 6:30 p.m., followed by a conversation with film professor and Assistant Vice-President at 杏吧原创 University , and NGC Deputy Director and Chief Curator Paul Lang.

Photo Credit for all images used in this post: Sony

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