{"id":12270,"date":"2026-06-21T11:13:49","date_gmt":"2026-06-21T15:13:49","guid":{"rendered":"https:\/\/www.composition.org\/non-classifiee\/world-new-music-days-report\/"},"modified":"2026-06-21T11:25:13","modified_gmt":"2026-06-21T15:25:13","slug":"world-new-music-days-report","status":"publish","type":"post","link":"https:\/\/www.composition.org\/fr\/nouvelles-fr\/world-new-music-days-report\/","title":{"rendered":"Retour sur les World New Music Days"},"content":{"rendered":"\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" data-id=\"12213\" src=\"https:\/\/www.composition.org\/wp-content\/uploads\/2026\/06\/IMG_6407-1024x768.jpeg\" alt=\"\" class=\"wp-image-12213\" srcset=\"https:\/\/www.composition.org\/wp-content\/uploads\/2026\/06\/IMG_6407-980x735.jpeg 980w, https:\/\/www.composition.org\/wp-content\/uploads\/2026\/06\/IMG_6407-480x360.jpeg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) 1024px, 100vw\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" data-id=\"12207\" src=\"https:\/\/www.composition.org\/wp-content\/uploads\/2026\/06\/7ed9fc00-cfea-41e4-9958-ea12a7f43067-768x1024.jpeg\" alt=\"\" class=\"wp-image-12207\"\/><\/figure>\n<\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-table\"><table class=\"has-fixed-layout\"><tbody><tr><td class=\"has-text-align-left\" data-align=\"left\">\u00ab&nbsp;<em>J\u2019ai eu le plaisir de me rendre de nouveau aux World New Music Days \u00e0 titre de d\u00e9l\u00e9gu\u00e9e canadienne, cette fois \u00e0 Bucarest, en Roumanie. Cela comprenait ma participation aux quatre assembl\u00e9es g\u00e9n\u00e9rales de la Soci\u00e9t\u00e9 internationale pour la musique contemporaine (SIMC) ainsi que l\u2019exercice du droit de vote au nom de nos membres. J\u2019ai \u00e9galement \u00e9t\u00e9 ravie d\u2019assister \u00e0 une multitude d\u2019excellents concerts et de r\u00e9fl\u00e9chir \u00e0 la vitalit\u00e9 de notre forme d\u2019art ainsi qu\u2019\u00e0 l\u2019importance des contributions canadiennes \u00e0 son d\u00e9veloppement.<br><br>La plus grande nouvelle \u00e0 annoncer est sans doute l\u2019acceptation de la candidature du Vivier pour accueillir les&nbsp;<strong>World New Music Days (WNMD) 2029<\/strong>&nbsp;\u00e0 Montr\u00e9al, avec l\u2019appui de la section canadienne. Cette proposition a \u00e9t\u00e9 adopt\u00e9e \u00e0 l\u2019unanimit\u00e9 lors de la troisi\u00e8me assembl\u00e9e g\u00e9n\u00e9rale, au cours de laquelle la candidature de la Lituanie pour accueillir les WNMD 2027 a \u00e9galement \u00e9t\u00e9 approuv\u00e9e. La section canadienne a par ailleurs \u00e9t\u00e9 invit\u00e9e \u00e0 pr\u00e9senter son processus de s\u00e9lection dans le cadre de son appel d\u2019\u0153uvres. Celui-ci a \u00e9t\u00e9 reconnu par le comit\u00e9 ex\u00e9cutif de la Soci\u00e9t\u00e9 internationale pour la musique contemporaine (SIMC) comme un mod\u00e8le exemplaire pour refl\u00e9ter la diversit\u00e9 des pratiques compositionnelles et des artistes du son qui fa\u00e7onnent aujourd\u2019hui le paysage de la cr\u00e9ation musicale au Canada.<br><br>J\u2019ai eu la chance d\u2019assister \u00e0 trois des quatre concerts pr\u00e9sentant des \u0153uvres canadiennes au festival, dont l\u2019\u0153uvre retenue par notre section officielle,&nbsp;<\/em>The Stockhausen Menagerie<em>&nbsp;d\u2019Anna Pidgorna, pour fl\u00fbte et clarinette, qui a \u00e9t\u00e9 tr\u00e8s bien accueillie par le public.<br><br>Malheureusement, je n\u2019ai pas pu assister \u00e0 l\u2019interpr\u00e9tation de&nbsp;<\/em>Sprung Testament<em>&nbsp;de Zosha Di Castri, pour fl\u00fbte (ou violon) et piano, l\u2019\u0153uvre s\u00e9lectionn\u00e9e dans le cadre de la proposition soumise par Le Vivier.<br><br>Parmi les 11 candidatures individuelles retenues par la SIMC Roumanie (sur un total de 165 soumissions), deux \u00e9taient l\u2019\u0153uvre de compositeur\u00b7ice\u00b7x canadien\u00b7ne\u00b7x :&nbsp;<\/em>On Endless Hold<em>&nbsp;de James Lowrie, pour quatuor \u00e0 cordes, et&nbsp;<\/em>Seule<em>&nbsp;de Heather Hindman, pour fl\u00fbte solo. Les deux interpr\u00e9tations \u00e9taient remarquables.<br><br>Cette ann\u00e9e, le pays h\u00f4te avait choisi de programmer un maximum d\u2019une \u0153uvre par section officielle. Ainsi, la pr\u00e9sence de deux \u0153uvres canadiennes parmi les candidatures individuelles retenues a fait du Canada l\u2019un des pays les mieux repr\u00e9sent\u00e9s du festival. J\u2019ai quitt\u00e9 les World New Music Days avec l\u2019impression qu\u2019une tendance claire se dessine : la musique canadienne m\u00e9rite d\u2019\u00eatre entendue \u2014 et programm\u00e9e \u2014 sur la sc\u00e8ne internationale.<\/em>&nbsp;\u00bb<br><br>Bekah Simms, pr\u00e9sidente de la Section canadienne de la SIMC.&nbsp;<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" data-id=\"12211\" src=\"https:\/\/www.composition.org\/wp-content\/uploads\/2026\/06\/IMG_6429-1024x768.jpeg\" alt=\"\" class=\"wp-image-12211\" srcset=\"https:\/\/www.composition.org\/wp-content\/uploads\/2026\/06\/IMG_6429-980x735.jpeg 980w, https:\/\/www.composition.org\/wp-content\/uploads\/2026\/06\/IMG_6429-480x360.jpeg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) 1024px, 100vw\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" data-id=\"12209\" src=\"https:\/\/www.composition.org\/wp-content\/uploads\/2026\/06\/82c91af3-2d42-4a50-a2c0-9620fa071fcd-1024x768.jpeg\" alt=\"\" class=\"wp-image-12209\" srcset=\"https:\/\/www.composition.org\/wp-content\/uploads\/2026\/06\/82c91af3-2d42-4a50-a2c0-9620fa071fcd-980x735.jpeg 980w, https:\/\/www.composition.org\/wp-content\/uploads\/2026\/06\/82c91af3-2d42-4a50-a2c0-9620fa071fcd-480x360.jpeg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) 1024px, 100vw\" \/><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Bekah Simms, la pr\u00e9sidente de la Section canadienne de la SIMC, s&rsquo;est rendue \u00e0 Bucarest pour l&rsquo;\u00e9dition 2026 des World New Music Days.<\/p>\n","protected":false},"author":4,"featured_media":9435,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[67],"tags":[],"class_list":["post-12270","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-nouvelles-fr"],"acf":{"pdf_download_link":"","pdf_download_button_text":"","pdf_download_link_2":"","pdf_download_button_text_2":""},"_links":{"self":[{"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/posts\/12270","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/comments?post=12270"}],"version-history":[{"count":1,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/posts\/12270\/revisions"}],"predecessor-version":[{"id":12272,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/posts\/12270\/revisions\/12272"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/media\/9435"}],"wp:attachment":[{"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/media?parent=12270"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/categories?post=12270"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/tags?post=12270"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}