R. Murray Schafer’s Apocalypsis is a theatrical musical pageant in two parts — Part 1: John's Vision is adapted from the book of Revelation, about the end times, while Part 2: Credo is a serene and ecstatic meditation on the majesty of God. A massive and complex production that requires at least 500 performers, Apocalypsis was commissioned by the CBC in 1976 and premiered at Centennial Hall in London, Ontario, on 28 November 1980, as part of the city’s 125th anniversary. William Littler called it “one of the most spectacular events in the history of Canadian music.” In 2015, Toronto’s Luminato Festival closed with an acclaimed, $1.5 million production featuring a cast of nearly 1,000 musicians, singers, conductors, dancers and actors. The score to Part 1 and Part 2 are published separately and available through Schafer’s Arcana Editions (Part 1, 1981; Part 2, 1986).
Throughout the Diaspora, the Scots have been enthusiastic organizers, forming various types of ethnic or national societies in their places of settlement. These associations were bulwarks in the preservation of identity, culture and class for their group. The creation of St. Andrew’s Societies as with those of Highland, Caledonian and Burns clubs followed specific patterns, and served specific cultural and social needs. With the exception of the early Highland Societies, which were allied with the Highland Society of London, these associations were organized independently of one another and usually remained that way through their existence, although many created and maintained informal links which were stressed at key celebrational events. From the first society founded in Saint John in 1798, St. Andrew’s Societies have been an important part of Scottish associational life in Canada.
“Tax shelter films” were films made in Canada between 1975 and 1982, when the federal government allowed investors to deduct 100 per cent of their investment in Canadian feature films from their taxable income. This resulted in a massive increase in Canadian film production and what became known as the “tax shelter era.” Total feature film production in Canada increased from three in 1974 to a peak of 77 in 1979. Industrial infrastructure increased and a growing industry of craftspeople gained valuable experience. Some of the films achieved critical acclaim or commercial success, but the majority were practically indistinguishable from poorly made American films, and many were never distributed.
Based on an ancient Inuit folktale, Atanarjuat (The Fast Runner) is the first Inuktitut-language feature film ever made. A critically-acclaimed commercial success, it won numerous awards worldwide, including the Camera d’or for best first feature at the Cannes Film Festival and five Genie Awards, including Best Screenplay, Best Direction and Best Motion Picture, as well as the Claude Jutra Award (now the Canadian Screen Award for Best First Feature). It is widely considered one of the best Canadian films ever made, and in 2015 was ranked No. 1 of all time in a poll conducted by the Toronto International Film Festival (see Top 10 Canadian Films of All Time).
Stories We Tell sees Sarah Polley invite her family and friends to share a family secret. This intimate and genre-bending film mixes interviews and home movies as Polley explores the greater truths that lie between conflicting narratives. The film received numerous awards and accolades, including Best Feature Length Documentary at the Canadian Screen Awards. It was named one of the Top 10 Canadian films of all time in a poll conducted by the Toronto International Film Festival (TIFF) in 2015, and one of 150 essential works in Canadian cinema history in a similar poll in 2016.
Guy Maddin blends fact and fiction, documentary and drama, reality and myth in this dreamy black-and-white tour of Winnipeg. Widely regarded as Maddin’s best film, My Winnipeg won the award for Best Canadian Feature Film when it premiered at the 2007 Toronto International Film Festival (TIFF). A 2015 poll conducted by TIFF named it one of the Top 10 Canadian films of all time, while another in 2016 listed it as one of 150 essential works in Canadian cinema history.
C.R.A.Z.Y. is the story of a young Montréal man’s coming of age and coming out during the Quiet Revolution, a time of great social change in Québec. Bursting with raw vitality and heartfelt performances, the film became a critical and commercial smash hit. It won 10 Genie Awards and 12 Jutra Awards (now Prix Iris) — including best picture, director, screenplay and actor at both galas — as well as the Golden Reel Award and the Billet d’Or as the year’s top-grossing domestic film in Canada and Québec, respectively. It was named one of the Top 10 Canadian films of all time in a poll conducted by the Toronto International Film Festival (TIFF) in 2015, and one of 150 essential works in Canadian cinema history in a similar poll in 2016.
The word "ethnomusicology" was adopted by a group of music scholars in the 1950s to replace "comparative musicology". In the early and mid-20th century, the field was often defined to encompass musical traditions other than European art music (the study of which is sometimes labelled "historical musicology"). In the late 20th century, on the other hand, ethnomusicologists broadened the field to encompass, not only what is marketed as "world music", but all musical practices, the ideas that shape them, and the social contexts that sustain them. That is, ethnomusicologists ask questions about the ways in which social attitudes and values shape the production and reception of musical sound. In addition, they consider how the performance of sound itself and the means by which the sound circulates (ie, in performance, via broadcasts, or as a commodity) shapes social values and attitudes, in turn structuring such things as class, ethnicity and gender.