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Written in October 1968, the activist poem "Speak White" by Quebec poet Michèle Lalonde references the expression's derogatory use against French-speaking Canadians, and the work as a whole rejects the imposition of the English language and Anglo-American culture, and denounces the political and economic oppression of the French language and those who speak it. [1]
Methods that establish the key for a particular piece can be complicated to explain and vary over music history. [citation needed] However, the chords most often used in a piece in a particular key are those that contain the notes in the corresponding scale, and conventional progressions of these chords, particularly cadences, orient the listener around the tonic.
The term tonalité (tonality) was first used in 1810 by Alexandre Choron in the preface Sommaire de l'histoire de la musique [26] to the Dictionnaire historique des musiciens artistes et amateurs (which he published in collaboration with François-Joseph-Marie Fayolle) to describe the arrangement of the dominant and subdominant above and below ...
Three Concert Études (Trois études de concert), S.144, is a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today.
"Et si tu n'existais pas" (English: And if you did not exist) is a 1975 song by Joe Dassin. It is the first track of his album Joe Dassin (Le Costume blanc).The lyrics are by Pierre Delanoë and Claude Lemesle, the music is by Salvatore Cutugno and Pasquale Losito.
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The second album, Berceuse pour un Lion (1977) was well received in Quebec and contained several hits ("Dans le temps des animaux", "La Vérité sur la vérité", "Berceuse pour un lion"), [6] but it was the third album, Nirvana bleu (1979) that brought Daniel Lavoie true recognition in Quebec. [8]
Tzigane is a rhapsodic composition by the French composer Maurice Ravel.The original instrumentation was for violin and piano (with optional luthéal attachment). The first performance took place in London on 26 April 1924 with the dedicatee, Hungarian violinist Jelly d'Arányi, on the violin and Henri Gil-Marchex at the piano (with luthéal).