The “Louis Riel Song”: A Perspective
, Articles

The “Louis Riel Song”: A Perspective

Articles
Published 1993-06-01
  • Philip J. Thomas
Philip J. Thomas
PDF

How to Cite

Thomas, P. J. (1993). The “Louis Riel Song”: A Perspective. MUSICultures, 21. Retrieved from https://journals.lib.unb.ca/index.php/MC/article/view/21695
ACM ACS APA ABNT Chicago Harvard IEEE MLA Turabian Vancouver

Download Citation

Endnote/Zotero/Mendeley (RIS) BibTeX

Abstract

Philip J. Thomas rend compte de différentes versions de la “chanson de Louis Riel, ” depuis l’enregistrement commercial et la parution du livre de Barbara Cass-Beggs (1963) ju squ’au début des années 80 alors qu’il l’entendait chantée par Joe Venne sur les ondes de CBC-AM; selon Donald Deschênes et Charlotte Cormier, cette chanson serait une variante de “Lettre de sang ” connue dans l’ensemble du Canada français. Thomas compare les thèmes de 29 interprétations de cette chanson afin d’en mieux saisir l’histoire de sa migration (cf. l’article de Deschênes plus haut).
PDF
  • The author retains copyright over the work.
  • The author grants the journal owner (The Canadian Society for Traditional Music / La Société canadienne pour les traditions musicales) an exclusive license to publish the work.
  • The author may post a pre-print or post-print version of the work (see definitions below) on a personal website for up to twelve months after the work is published in MUSICultures. After twelve months, the pre-print version must be replaced with the published version.
  • The author may deposit the published PDF of the work in a non-commercial online repository twelve months after the work is published in MUSICultures, or any time thereafter.
  • Any such deposit must include a link to the work on the MUSICultures website, e.g., https://journals.lib.unb.ca/index.php/MC/article/view/19996

A pre-print is a work-in-progress—a contribution not yet accepted, or perhaps even submitted, to MUSICultures.

A post-print is the version of a contribution after peer review and acceptance by MUSICultures, with revisions completed.

The published version is the PDF file of a contribution as it appears in MUSICultures.

Please note that academia.edu and ResearchGate.com are both for-profit repositories; authors may not deposit the published PDF of the work in these repositories until after the journal’s embargo period.

For permission to reprint or translate material from MUSICultures, please contact Heather Sparling, General Editor of MUSICultures (heather_sparling@cbu.ca).