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P u b li s h e d by the S t u d e n t s ’ S o c i e t y o f M c G i l l U n i v e r s i t y si nc e 1 9 8 1
Tuesday, O c t o b e r 16, 2 0 0 1 Issue 7
No double cohort to hit McGill Stavroula Papadopoulos_______
M an y students are wondering how M c G ill will handle the “dou ble cohort effect” that will hit post-secondary institutions in September 2003. As a result of this reform in high school curricu lum ,
this year’s eleventh and
twelfth graders of Ontario schools will graduate in the same year. M any students this semester have been forced to watch their professor teach the course materi al through a screen, rather than live. For instance, students taking Molecular Biology 200 are divid ed in two classrooms. In other classes, there are not enough desks and chairs to accommodate all the registered students. “Th is is just one o f the symp toms that we are more or less at the lim it o f what we can reason
________________ The hall is alive with the sound of music. Classical hits fil the air at Pollock Hall last Thursday night
McGill prof retires with a concert celebration Michael Liew
supporter of Canadian music, he has performed at many internation
now digress to provide a mini-les son on 20th century art music (or
al festivals as well as with several of the world’s major orchestras. “His repertoire is vast,” claimed the pro gramme, “ranging from Bach to Boulez and encompassing virtually everything in between.” We would get a good dose of that tonight in Pollack H a ll, hosting a C B C / M c G ill concert. T h e first piece D ’après un cri by Bruce Mather (1939-) was your typical 20th century composition: weird, atonal and punctuated by seemingly arbitrary bursts of ener
classical music, as it’s most often called): it’s weird! It’s outside the box, it’s funky, it makes you scratch your head in confusion. Dissonant chords and tone clusters are exactly what they sound like— notes that when played together don’t neces sarily sound good. Th is music is all
Canadian Music Council’s Artist of
gy-
the Year in 1980 is retiring to fur ther pursue performing. A n avid
For those not currendy enrolled in A rt o f Listening, I will
level. Th is is all to say that I am completely biased.
ably handle,” says Nicholas de
academic
Louis-Phillippe Pelletier entered the stage, sat at the piano and adjusted his chair. H e checked his feet on the pedals and smiled lit tle. H e seemed a bit stiff actually, acknowledging the crowd upon entering only with short and abrupt
advancement. In this respect, it is
bows. A h , the mannerisms of a true
no surprise that the provincial government has decided to elimi
musical master. Professor of Piano Pelletier, a renowned pianist, having won First
Takacsy, associate V P Academic for M c G ill University. Karen Yam, a M c G ill student and
former
O n ta rio
student,
describes her Grade 13 experience as having been fun but w ith litde attribution
to
her
nate Grade 13, also known as Ontario Academic Courses. Th e
actual
am ount
of
increase in the student body may not be as drastic as it appears. Please see O N TA R IO , page 5
Prize in the 1979 Arnold Schoenberg Internationa] Piano Competition in Rotterdam, and the
The closest
over the keyboard and out of nowhere. In sum, it’s not pretty and I like to compare it to a fiveyear-old banging on a piano. Call me old-fashioned, but I am just not down with this weird stuff. I appre ciate it, but only on an intellectual
To return to the concert, Pelletier followed the unpleasant ness with D ’après un cri, specially written for Pelletier by Mather on the occasion o f his retirement. Mather may be the only one who enjoys his compositions: he was in the audience and applauded hearti ly at the conclusion of the piece. Alban Berg’s (1885-1935) Piano Sonata was up next. Because this guy spent half of his life in the 1900’s I was treated to more 20th century music! Fortunately, Berg composerd earlier than Mather, and the Sonata was not as hardcore weird as D ’après un cri. W hat made this selection particularly interestin Please see DIGG IN G, page 12
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