{"id":1337,"date":"2017-05-10T16:48:51","date_gmt":"2017-05-10T16:48:51","guid":{"rendered":"http:\/\/dev.jsis.washington.edu\/canada\/?page_id=1337"},"modified":"2018-06-12T17:54:12","modified_gmt":"2018-06-12T17:54:12","slug":"quebecois-music","status":"publish","type":"page","link":"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/","title":{"rendered":"Qu\u00e9b\u00e9cois Music"},"content":{"rendered":"

The Traditional Music of Qu\u00e9bec<\/h3>\n
\"edouardrichard\"<\/a><\/p>\n

Gasp\u00e9 fiddler \u00c9douard Richard<\/span><\/p>\n<\/div>\n

As is the case for many Canadian musical traditions, the fiddle is the most commonly associated instrument with Qu\u00e9bec traditional music. Despite this association, however, the violin did not travel over with the first colonists to New France. It came over first in the mid-17th century and then flourished in New France during the 18th century, animating the bals of society and folk alike. Though its presence excited the wrath of Qu\u00e9bec\u2019s clergy, it was clear even at such an early date that dancing and fiddling were essential components of the Qu\u00e9b\u00e9cois character. As a quote from 1767 attests: \u201cIl est inutile de vous dire qu\u2019il y avait des violons. On ne donne pas un repas au Canada sans violons. Quelle race de danseurs.\u201d (Quoted in Joyal 2005)<\/p>\n

\n
\"josephallard\"<\/a><\/p>\n

Joseph Allard<\/span><\/p>\n<\/div>\n

The fiddle was used to animate dancers at the bals of Qu\u00e9bec. These social dance events featured dances brought from Europe like the contredanse<\/i>, the quadrille<\/i>, the cotillon<\/i> and in the late 19th century, the waltz and polka. Though the bals<\/i> were based in high-society, people living in rural areas and\/or lower economic classes adopted these dances as well. Qu\u00e9b\u00e9cois social dancing, inspired by European traditions, also drew from Celtic influences brought by early Scottish and Irish settlers. The gigue<\/i>, a traditional Qu\u00e9b\u00e9cois form of stepdancing, derived from these Celtic precedents and inspired a host of tunes, often called gigues<\/i>, that brought out the best in stepdancers. Instrumental dance tunes from this rich repertoire of social dance music are collected in the excellent book Danses d\u2019i\u00e7i<\/i> by fiddler and scholar Jean-Pierre Joyal<\/i>.<\/b><\/p>\n<\/div>\n

\n

\u00a0From the 78rpm Era of Qu\u00e9bec Trad to the 1950s<\/b><\/p>\n

\"Alfred<\/a><\/p>\n

Alfred Montmarquette<\/span><\/p>\n<\/div>\n

By the late 19th century and early 20th century, a distinctly Qu\u00e9b\u00e9cois vision of traditional music had developed from diverse influences such as Irish instrumental tunes, Scottish stepdancing, European dance forms, old French songs and 78rpm records from the US and Canada. As the recording era dawned, the fiddle would rise to the fore as the premier instrument of Qu\u00e9bec, followed closely by the accordion.
\nOne of the early fiddlers was Isidore Soucy<\/b> (1899-1963). Recording solo and with La Famille Soucy, he was a well known and popular Qu\u00e9b\u00e9cois fiddlers and one of the first recording stars of the fiddle in Qu\u00e9bec. He recorded over 200 78rpm discs and he even had a television show, \u201cChez Isidore,\u201d in the early 1960s. The CD, Violonneux<\/i><\/b> Qu\u00e9b\u00e9cois, collects a number of his 78rpm recordings in a digital format. However, those looking for the maximum exposure to Soucy, should look to the Virtual Gramophone<\/a>, which has hundreds of his 78rpms available for easy download.<\/p>\n

\"Jean<\/a><\/p>\n

Jean Carignan<\/span><\/p>\n<\/div>\n

Soucy shared the 78rpm fiddle spotlight with two other grand fiddlers of this early era: Jos Bouchard<\/b> and Joseph Allard. Jos Bouchard (1905-1979) hailed from \u00cele d\u2019Orl\u00e9ans, a largely francophone island near Qu\u00e9bec City. His fiddling is featured on the CD Jos Bouchard Violoneux d\u2019Orl\u00e9ans<\/b><\/i>. Unlike Soucy, he had a smooth, clean fiddle style that was clearly influences by Celtic sources. Joseph Allard<\/b> (1873-1947) was an elegant fiddler with a similar style to Bouchard, it being heavily influenced by Irish fiddling styles. The Irish had arrived in Qu\u00e9bec in the mid-19th century, fleeing the waves of potato famines in Ireland. Irish fiddling is one of the most heavily ornamented fiddling styles of the Celtic lands and features tunes with complex arrangements of notes. Irish fiddling styles and their tune repertoires would prove to be one of the strongest influences on traditional Qu\u00e9bec fiddling. Allard was one of the first fiddlers to show this influence and in turn caused others to search out Irish fiddle techniques. Allard\u2019s 78rpm recordings in the early 1900s can be easily found online at the Virtual Gramophone, on the CD Hommage \u00e0 Joseph Allard<\/i><\/b> and transcribed in the book Cinquante airs traditionnels pour violon<\/b>.<\/p>\n

Greatly inspired by Allard, Jean Carignan<\/b> (1916-1988) is perhaps the best known of Qu\u00e9bec fiddlers. With a fiddling style that bordered on classical violin, and an encyclopedic knowledge of 78rpms from the French-Canadian, Scottish and Irish traditions, Carignan melded all the music influences of 20th century Qu\u00e9bec into one unique playing style. Carignan recorded throughout the 1950s and 1960s, paying hommage to his musical heroes, the Irish fiddler Michael Coleman, the Scottish fiddler J. Scott Skinner and Qu\u00e9b\u00e9cois fiddler Joseph Allard. Carignan was well known from his many performances at folk festivals throughout Canada and the US, but he was also acclaimed as a great violinist by some of the greatest classical violinists of his time. He was awarded the Order of Canada in 1974. Though some of his recordings have been released on CD, they are usually produced for sale in Qu\u00e9bec only. A 3 CD set, Archives<\/b><\/i>, was recently released, drawn from private recordings in an intimate setting.<\/p>\n

If Carignan was the best traditional fiddler of the 20th century, then his friend and musical partner Philippe Bruneau<\/b> (1934-) was the best accordionist. Bruneau was a virtuoso of the one-row diatonic button accordion, a throwback to the first accordions brought to Canada in the mid-1900s. This instrument has ten buttons and plays approximately like a harmonica with bellows. In fact, the harmonica is as respected as the accordion in Qu\u00e9b\u00e9cois traditional music. Like many other cultures around the world, the Qu\u00e9b\u00e9cois had accepted the accordion as their own by the early 19th century, and recordings are available of this early style of Qu\u00e9bec accordion. Alfred Montmarquette<\/b> (1871-1944) is known as one of the great early accordionists and had a powerful affect on later players, especially Bruneau. His playing can be heard on a CD of his 78rpm recordings and many of these recordings are also available at the Virtual Gramophone. Bruneau drew inspiration from Montmarquette\u2019s playing and the playing of other early Qu\u00e9b\u00e9cois musicians but Bruneau\u2019s virtuosity is so far beyond most anyone else that he is in a class of his own.<\/p>\n

Outside of the recording \u201cmainstream\u201d of Qu\u00e9bec, many fiddlers and accordionists continued to carry on traditional music. Some of these artists wound up influencing a younger generation of Qu\u00e9b\u00e9cois who were looking for a national identity. Louis \u201cPitou\u201d Boudreault (1905-1988) is an example of a rural musician who was highly influential on young traditional musicians in the 1960s. Born in Chicoutimi, Boudreault retained a large repertoire of very old tunes, especially tunes of a characteristic \u201ccrooked\u201d nature. Departing from the usual structure of most Anglo-Celtic tunes, sometimes radically, French-Canadian tunes are often seen as crooked by other traditions\u2019 standards. In fact, this predilection for crooked dance tunes was a musical trait that French-Canadians passed to other musical styles they encountered and had influence over. The art of crooked tunes is explored in depth by the Qu\u00e9b\u00e9cois\/American group Les T\u00eates de Violon on their CD, Les Airs Tordus and in the book of the same name by Guy Bouchard <\/b>and Liette Remon<\/b>.<\/p>\n

From the 1960s Folk Revival to Today<\/b>
\nAs Qu\u00e9bec moved toward more radical self-definition in the 1960s, young musicians and fans created a folk revival of sorts that continues to this day. The group most famous for leading this revival was La Bottine Souriante<\/b> (The Smiling Boot). Founded in 1976 in the musical town of Joliette, this folk super-group is still going strong 30 years later! Made up originally of young musicians and singers drawn from the Qu\u00e9b\u00e9cois folk revival of the 1960s, the band has seen many musicians move through its ranks and is currently made up entirely of the next generation of folk musicians in Qu\u00e9bec. In the band\u2019s first incarnation, lasting from 1976 to 1989, La Bottine set the template for all Qu\u00e9bec trad bands to come with a main instrumentation of fiddle and accordion, a vast repertoire of traditional chansons \u00e0 r\u00e9ponse or call-and-response songs and the immediate aural signifier of French-Canadian seated clogging, or la podorythmie. This period saw the seminal albums La Travers\u00e9e de l\u2019Atlantique<\/b><\/i> and Chic & Swell<\/i><\/b>. These two albums are the best introduction available to the traditional songs and dances of Qu\u00e9bec.<\/p>\n

In 1989, La Bottine switched to a radical new format, adding a large horn section and extensive arrangements of traditional material. Though they lost some of their more conservative fans, the new sounds of La Bottine garnered a huge international audience. They even incorporated sounds and ideas from hip-hop, as \u201cLe Rap \u00e0 Ti-P\u00e9tang\u201d demonstrates from Rock and Reel<\/b><\/i> (1998). La Bottine recently reformed once again for a new century, adding in two of the great players of a new generation, Andr\u00e9 Brunet on fiddle and \u00c9ric Beaudry<\/b><\/i> on guitar\/voice. No original members are left but the band is still blazing new ground as can be heard on J\u2019ai jamais tant ri <\/b><\/i>(2003). Andr\u00e9 Brunet<\/b><\/i> is the best fiddler of this young generation and his incendiary playing can be heard on the CD 1,2,3<\/b>\u2026 by Les Fr\u00e8res Brunet<\/i><\/b> and the Celtic Fiddle Festival<\/i><\/b> CD, Play On<\/i><\/b>.<\/p>\n

The hallmark of La Bottine Souriante and the prototypical song of French-Canada is the chansons \u00e0 r\u00e9ponse. Many of these songs date back to a time before the colonization of the New World and can still be found in France today. Either brought over by Acadian settlers in Nova Scotia or by voyageurs and colonists in Qu\u00e9bec, traditional chansons \u00e0 r\u00e9ponse involve verses and choruses repeated by a group of other singers following a first iteration by a lead singer. Accompanied by the seated clogging or podrythmie that is so common to Qu\u00e9b\u00e9cois music, they have a distinct and wonderful sound. To hear more examples of chansons \u00e0 r\u00e9ponse, as well as some of the old complaintes or ballads of medieval France, listen to CDs from the groups Ni Sarpe Ni Branche, Serre l\u2019Ecoute<\/b> and Trio Marchand\/Miron\/Ornstein<\/b>. The best known singing group in Qu\u00e9bec is the marvelous group Les Charbonniers de l\u2019Enfer<\/b> (Hell\u2019s Coalmen). They sing totally a cappella with amazing harmonies and have a vast repertoire of traditional songs drawn from their families and other sources all over the province.<\/p>\n

Though Qu\u00e9b\u00e9cois music is one of the least-known forms of North American folk music, it has had a lot of influence on American musical forms. Qu\u00e9b\u00e9cois brought to New England to work in lumberyards and factories brought the distinctive rhythms and joie-de-vivre of Qu\u00e9bec fiddle, heavily influencing the native country or contra dances of the area. This influence lives on today, especially in the Pacific Northwest, where contra dance bands still favor French-Canadian tunes and rhythms and master fiddlers are brought from Qu\u00e9becc to Port Townsend every year for the Festival of American Fiddle Tunes. This influence can be found in two collections of contra dance tunes of the Pacific northwest, The Portland Collection, compiled by Clyde Curley and Sue Songer. In New England, fiddler Laurie Hart has compiled a definitive collection of French-Canadian tunes entitled Danse ce soir. Also in New England, Irish fluter Grey Larsen collaborated with La Bottine Souriante\u2019s original singer, Andr\u00e9 Marchand for two sublime albums exploring the common roots of Qu\u00e9bec and Ireland, The Orange Tree and Les Marionettes.
\nWith new groups like Ni Sarpe Ni Branche<\/b> and Le Vent du Nord<\/b> bringing Qu\u00e9b\u00e9cois traditional music into the 21st century and garnering critical praise in the American folk music scene, this music seems poised for a breakthrough in the United States. Whether that happens sooner rather than later, one thing is for certain, the traditional songs and dances of Qu\u00e9bec will always have a place in the New World.<\/p>\n

Joyal, Jean-Pierre. \u201cUne longue histoire d\u2019amour: le violon et les qu\u00e9b\u00e9cois.\u201d Mn\u00e9mo Bulletin 9(2): Winter 2005.<\/p>\n

Top 5 Qu\u00e9b\u00e9cois Albums<\/h3>\n

1. La Bottine Souriante: \u201cLa Travers\u00e9e de l\u2019Atlantique\u201d<\/b>
\nLa Bottine are the be-all and end-all of Qu\u00e9bec trad music. They set the musical template that virtually every other folk group has followed: lots of old chansons-\u00e0-r\u00e9ponse, traditional podorythmie throughout, great tunes from the playing of local elders, and an irrepressible joie-de-vivre that is the most valuable cultural export of Qu\u00e9bec. This CD is the finest of their early lineup, before the horn arrangements and the stadium shows. Just young friends expressing their passion for their traditions.<\/p>\n

2. Les Charbonniers de l\u2019Enfer: \u201cLes Charbonniers de l\u2019Enfer\u201d<\/b>
\nA super-group of the finest traditional singers in Qu\u00e9bec, each of whom have served time in the big folk bands of the folk revival. This CD features wonderful old songs culled from traditional and familial sources and intricate vocal harmony arrangements that are very powerful. It\u2019s quite a package, but this group lives up to the hype.<\/p>\n

3. Le Vent du Nord: \u201cLes Amants de Saint-Laurent\u201d<\/b>
\nFollowing in the footsteps of La Bottine Souriante, Le Vent du Nord introduces an instrument that was probably familiar to the first colonists of New France: the hurdy-gurdy (vielle \u00e0 roue in French). Played by Nicolas Boulerice, the hurdy-gurdy works surprisingly well with traditional Qu\u00e9b\u00e9cois music. Throw in a goodly number of excellent tunes composed by band members and the fun accordion playing of Qu\u00e9bec trad legend Beno\u00eet Bourque, and you\u2019ve got a recipe for one of the best Qu\u00e9bec trad bands around.<\/p>\n

4. Anything by Jean Carignan or Philippe Bruneau<\/b>
\nThe two great legends of Qu\u00e9b\u00e9cois music, Carignan (fiddle) and Bruneau (accordion) only rarely recorded together, although they were close friends. Carignan is considered to be one of the best fiddlers on the 20th century and counted among his friends Mike Seeger and Yehudi Menuhin. He was equally adept at playing Qu\u00e9b\u00e9cois tunes as he was at playing the Irish fiddle style of Michael Coleman and the Scots fiddle style of J. Scott Skinner, both of which he learned from old 78 rpm records. Bruneau transformed the simple one-row accordion with his playing and is still one of the biggest influences for Qu\u00e9b\u00e9cois accordionists, despite the fact that he lives in France.<\/p>\n

5. Grey Larsen\/Andr\u00e9 Marchand: \u201cThe Orange Tree\u201d<\/b>
\nThis is one of the most listenable albums in the collection and also one of the most accessible. Ever since droves of Irish immigrated to Qu\u00e9bec during the Great Famines of the 1840s, Irish music has had a profound influence on the music of Qu\u00e9bec. Irish \u201cfluter\u201d and concertina player Grey Larsen and Andr\u00e9 Marchand, founding member of La Bottine Souriante, explore these connections in this classic CD. The two musicians operate symbiotically and provide a wealth of gorgeous songs and tunes, all neatly arranged.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Artist<\/b><\/td>\nTitle of Item<\/b><\/td>\nType<\/b><\/td>\nProvince<\/b><\/td>\nLibrary<\/b><\/td>\nCall #<\/b><\/td>\n<\/tr>\n
Allard, Joseph<\/td>\nCinquante airs traditionnels : pour violon \/ Joseph Allard<\/td>\nBook<\/td>\nQuebec<\/td>\nMusic Library<\/td>\nM41.A55 V5 1992<\/td>\n<\/tr>\n
Allard, Joseph<\/td>\nHommage \u00e0 Joseph Allard<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Bottine Souriante, La<\/td>\nChic & Swell<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nCD PMILLEP 001<\/td>\n<\/tr>\n
Bottine Souriante, La<\/td>\nCordial<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Bottine Souriante, La<\/td>\nJ’ai jamais tant ris<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Bottine Souriante, La<\/td>\nLa travers\u00e9e de l’Atlantique<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nOrdered<\/td>\n<\/tr>\n
Bottine Souriante, La<\/td>\nRock and Reel<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nCD EMI 050<\/td>\n<\/tr>\n
Bouchard, Guy & Liette Remon<\/td>\nAirs Tordus = Crooked Tunes, 2 vols.<\/td>\n2 Books<\/td>\nQuebec<\/td>\nMLLC<\/td>\nM1670318 .A47 1997<\/td>\n<\/tr>\n
Bouchard, Jos<\/td>\nVioloneux, l’Ile d’Orleans<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Boudreault, Louis<\/td>\nOld Time Fiddler of Chicoutimi<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nCd VOYR 001<\/td>\n<\/tr>\n
Carignan, Jean<\/td>\nArchives (3 CDs)<\/td>\n3CD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nICD TOUTC 002<\/td>\n<\/tr>\n
Carignan, Jean<\/td>\nChants et danses du Qu\u00e9bec<\/td>\nLP<\/td>\nQuebec<\/td>\nMLLC<\/td>\nPhonodisc NH 1 .1<\/td>\n<\/tr>\n
Carignan, Jean<\/td>\nFrench Canadian Fiddle Songs<\/td>\nLP<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nPhonodisc LEG 120<\/td>\n<\/tr>\n
Carignan, Jean<\/td>\nJean Carignan, violoneux<\/td>\nVideo<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nVideorecord NFBC 088<\/td>\n<\/tr>\n
Celtic Fiddle Festival<\/td>\nPlay On\u2026<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nCd GREEL 007<\/td>\n<\/tr>\n
Charbonniers de l’Enfer, Les<\/td>\nen personne<\/td>\nCD\/DVD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Charbonniers de l’Enfer, Les<\/td>\nLes Charbonniers de l’Enfer<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Famille Cantin, La<\/td>\nDans le 5\u00e8me rang<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Faubert, Michel<\/td>\nMaudite M\u00e9moire<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nCd MILLEP 001<\/td>\n<\/tr>\n
Fr\u00e8res Brunet, Les<\/td>\n1.2.3.<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nM1678 .D25 2001<\/td>\n<\/tr>\n
Gagnon, Aim\u00e9<\/td>\nAim\u00e9 Gagnon: violoneux d’origine<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Genticorum<\/td>\nMalins Plaisirs<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Gu\u00e9rard, Carmen<\/td>\nLa gigue du plateau Mont-Royal<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nCd TSZ 001<\/td>\n<\/tr>\n
Hart, Laurie & Greg Sandell<\/td>\nMel Bay Presents: Danse ce soir: Fiddle and Accordion Music of Quebec<\/td>\nBook<\/td>\nQuebec<\/td>\nMLLC<\/td>\nIn Process<\/td>\n<\/tr>\n
Hogan, Dorothy<\/td>\nLa Grande Ronde<\/td>\nCD+Book<\/td>\nQuebec<\/td>\nMLLC<\/td>\nCD 9043\/In Process<\/td>\n<\/tr>\n
Hommages aux A\u00een\u00e9s<\/td>\nSi Mignonnement<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Joyal, Jean-Pierre<\/td>\nDanses d’ici: musique traditionelle du Quebec<\/td>\nBook<\/td>\nQuebec<\/td>\nMLLC<\/td>\nM1678.J69 D36 1994<\/td>\n<\/tr>\n
Lambert, Yves<\/td>\nR\u00e9cidive<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Larsen, Grey & Andr\u00e9 Marchand<\/td>\nLes Marionettes<\/td>\nCD<\/td>\nQuebec\/Ireland<\/td>\nMLLC<\/td>\nCD 9048<\/td>\n<\/tr>\n
Larsen, Grey & Andr\u00e9 Marchand<\/td>\nThe Orange Tree<\/td>\nCD<\/td>\nQuebec\/Ireland<\/td>\nMLLC<\/td>\nCD 9046<\/td>\n<\/tr>\n
Laufman, Dudley<\/td>\nBrandy: Seventeen traditional contredanses from Quebec<\/td>\nBook<\/td>\nNew England<\/td>\nOdegaard<\/td>\nGV1763 .L32 1995<\/td>\n<\/tr>\n
Martineau, Danielle & Lisan Hubert<\/td>\nOn a du plaisir nous autres: Traditions orales de Lanaudi\u00e8re<\/td>\nCD+Book<\/td>\nQuebec<\/td>\nMLLC<\/td>\nML3563.7.Q4 M37 2004 + CD 9145<\/td>\n<\/tr>\n
Mimeault, Yvon<\/td>\nY’\u00e9tait temps!<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nIn Process<\/td>\n<\/tr>\n
Montmarquette, Alfred<\/td>\nAlfred Montmarquette 1871-1944 : r\u00e9pertoire de musique traditionnelle du Qu\u00e9bec<\/td>\nBook<\/td>\nQuebec<\/td>\nMusic Library<\/td>\nM175.A4 A6 2002<\/td>\n<\/tr>\n
Ni Sarpe, Ni Branche<\/td>\nQuand \u00e7a vient le temps<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nCD MDLC 002<\/td>\n<\/tr>\n
Ornstein, Lisa<\/td>\nLe Bruit Court dans la Ville<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nCD 9107<\/td>\n<\/tr>\n
Philippe Bruneau<\/td>\nAccordeons Diatonique<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nCd TOUTC 001<\/td>\n<\/tr>\n
Philippe Bruneau<\/td>\nHommages, vol. 1<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Pierre Chartrand<\/td>\nLa gigue qu\u00e9b\u00e9coise<\/td>\nBook+Video<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nVideorecord RLQ 001<\/td>\n<\/tr>\n
Remon, Liette<\/td>\nUn p’tit air de famille<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nIn Process<\/td>\n<\/tr>\n
Remon, Lina & Jean-Pierre Joyal<\/td>\nParoles et Musique: La Bolduc<\/td>\nBook<\/td>\nQuebec<\/td>\nMLLC<\/td>\nM1679.18 B64 P3 1993<\/td>\n<\/tr>\n
Richard, Edouard<\/td>\nMusique Gaspesienne<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nCD MDLC 01<\/td>\n<\/tr>\n
Serre l’\u00c9coute<\/td>\nChansons des bords du Saint-Laurent<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nIn Process<\/td>\n<\/tr>\n
Songer, Sue & Clyde Curley<\/td>\nThe Portland Collection, vol.1<\/td>\nBook<\/td>\nUnited States<\/td>\nOdegaard<\/td>\nM1627 .P768 1997 v.1<\/td>\n<\/tr>\n
Songer, Sue & Clyde Curley<\/td>\nThe Portland Collection, vol.2<\/td>\nBook<\/td>\nUnited States<\/td>\nMLLC<\/td>\nM1627 .P768 1997 v.2<\/td>\n<\/tr>\n
Soucy, Isidore<\/td>\nIsidore Soucy: Violoneux Quebecois<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
T\u00eates de Violon, Les<\/td>\nAirs Tordus (Crooked Tunes)<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nIn Process<\/td>\n<\/tr>\n
Tuque Bleue, La<\/td>\n5 Habitants<\/td>\nCD<\/td>\nOntario<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Various.<\/td>\n100 ans de musique traditionelle, vol 1<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nIn Process<\/td>\n<\/tr>\n
Various.<\/td>\n100 ans de musique traditionelle, vol 2<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nIn Process<\/td>\n<\/tr>\n
Various.<\/td>\n100 ans de musique traditionelle, vol 3<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nIn Process<\/td>\n<\/tr>\n
Various.<\/td>\n100 ans de musique traditionelle, vol 4<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nIn Process<\/td>\n<\/tr>\n
Various.<\/td>\nAccord\u00e9ons diatoniques<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nCd CVPV 001<\/td>\n<\/tr>\n
Various.<\/td>\nHommage \u00e0 Alfred Montmarquette<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nCD 9044<\/td>\n<\/tr>\n
Various.<\/td>\nIl n’y a qu’un seul Dieu: Chansons folkloriques \u00e0 sujet religieux<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n
Various.<\/td>\nLe miroir d’argent: tr\u00e9sors puis\u00e9s aux Archives de folklore de l’Universit\u00e9 Laval, 1944-1994<\/td>\nCD<\/td>\nQuebec<\/td>\nMLLC<\/td>\nOrdered<\/td>\n<\/tr>\n
Various.<\/td>\nMon Oncle Antoine<\/td>\nDVD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nDVD IEF 177<\/td>\n<\/tr>\n
Vent du Nord, Le<\/td>\nLes Amants du Saint-Laurent<\/td>\nCD<\/td>\nQuebec<\/td>\nOdegaard<\/td>\nIn Process<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The Traditional Music of Qu\u00e9bec As is the case for many Canadian musical traditions, the fiddle is the most commonly associated instrument with Qu\u00e9bec traditional music. Despite this association, however, the violin did not travel over with the first colonists to New France. It came over first in the mid-17th century and then flourished in<\/p>\n

Read more<\/a><\/div>\n","protected":false},"author":260,"featured_media":0,"parent":319,"menu_order":5,"comment_status":"closed","ping_status":"open","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-1337","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nQu\u00e9b\u00e9cois Music - Canadian Studies Center<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Qu\u00e9b\u00e9cois Music - Canadian Studies Center\" \/>\n<meta property=\"og:description\" content=\"The Traditional Music of Qu\u00e9bec As is the case for many Canadian musical traditions, the fiddle is the most commonly associated instrument with Qu\u00e9bec traditional music. 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It came over first in the mid-17th century and then flourished in\" \/>\n<meta property=\"og:url\" content=\"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/\" \/>\n<meta property=\"og:site_name\" content=\"Canadian Studies Center\" \/>\n<meta property=\"article:modified_time\" content=\"2018-06-12T17:54:12+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/jsis.washington.edu\/canada\/wp-content\/uploads\/sites\/20\/2017\/06\/edouardrichard.jpg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/\",\"url\":\"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/\",\"name\":\"Qu\u00e9b\u00e9cois Music - Canadian Studies Center\",\"isPartOf\":{\"@id\":\"https:\/\/jsis.washington.edu\/canada\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/jsis.washington.edu\/canada\/wp-content\/uploads\/sites\/20\/2017\/06\/edouardrichard.jpg\",\"datePublished\":\"2017-05-10T16:48:51+00:00\",\"dateModified\":\"2018-06-12T17:54:12+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/#primaryimage\",\"url\":\"https:\/\/jsis.washington.edu\/canada\/wp-content\/uploads\/sites\/20\/2017\/06\/edouardrichard.jpg\",\"contentUrl\":\"https:\/\/jsis.washington.edu\/canada\/wp-content\/uploads\/sites\/20\/2017\/06\/edouardrichard.jpg\",\"width\":350,\"height\":236,\"caption\":\"Gasp\u00e9 fiddler \u00c9douard Richard\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/jsis.washington.edu\/canada\/music-collection\/quebecois-music\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/jsis.washington.edu\/canada\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Music Collection\",\"item\":\"https:\/\/jsis.washington.edu\/canada\/music-collection\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Qu\u00e9b\u00e9cois Music\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/jsis.washington.edu\/canada\/#website\",\"url\":\"https:\/\/jsis.washington.edu\/canada\/\",\"name\":\"Canadian Studies Center\",\"description\":\"Resource Center within the Henry M. 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