GG: "Canadian content"

[Katherine Lee <klee@dna.bc.ca>]

In response to Junichi Miyazawa's question, posted on Sat, 9 Nov 96
00:11:42 UT, which reads

>A question on the GG letter to John Roberts
>on January 28, 1973 (English version: p.196).
>
>Quote:
>[disguising himself as an Andorran harpshichord player
>who suggests to make a concert tour in Canada]
>
>Finally . . . I am given to understanding that,
>in this country, you observe a rather quaint custom known
>as "Canadian content."  I should like you to know, therefore,
>     ~~~~~~~~~~~~~~~~~~~~
>that, in view of this regional peculiarity, I am prepared to
>forgo my own repetoire predilections and,
>where necessary, to amplify my instrument accordingly.
>Indeed, out of respect for local sensibilities I have,
>in fact, prepared a program which opens with my own
>harpsichord transcription of Oskar Morawets' First Symphony,
>continues with a similar transcritpion of Healey Willan's
>Second Symphony and, as a gran finale, utilizing the full
>range of electronic capabilities at my command,
>concludes with a superimposition of the two compositions
>which, if I may modestly say so, includes many unique
>harmonic effects.
>_________________________
>
>Let me know, do the Canadian people often use the
>expression "Canadian content"?
>Is it a matured expression?
>Does this expression make the context of the letter
>sarcastic?
>
>Junichi / junichi_miyazawa@msn.com

________________________________________________________________________________
Before I'd read the other response to this query, I had started to write
this ? I hope it helps.

This perspective comes from the broadcast and recording industry, mainly.

"Canadian content" ? this term refers to the mandate of programming a
percentage of music, art, writing, production, etc. by Canadian artists.
The Canadian Radio and Telecommunications Commission (CRTC) is a government
body which (rightly or wrongly) enforces a certain amount of "Canadian
content" on our airwaves.  The original idea behind this policy was to
ensure the survival of Canadian music, film and television production,
especially in a market mostly dominated by the strong US entertainment
industry.  For example (it's been awhile since I've actually read any CRTC
documents, so I hope I'm not completely innacurate with these figures), the
Canadian Broadcasting Corporation (CBC) is  required to play at least 50%
Canadian content on its radio service, while other commercial radio
stations might only be required to broadcast at least 30% Canadian content.
I seem to recall also that these CRTC policies were developed sometime in
the 1960s or perhaps the early 70s.

Nowadays, on the back of Canadian CDs, you'll often find the "MAPL"
designation ? referring to the categories of Music, Artist, Production,
Lyrics ? any or all of which may have come from a Canadian artist's
efforts.  I forget exactly, but I believe that at least 3 of these
categories need to be "Canadian" in order for that particular recording to
qualify as "Canadian content".

Many artists in this relatively small country of 23 million have benefitted
from this regulation.  It's obvious that Gould did not need such legislated
protection.  At the same time, even though he may have been poking fun at
the notion of "Canadian content" in his letter to John Roberts, Gould
remained true to his Canadian roots.

The last part of Gould's letter refers to "utilizing the full range of
electronic capabilities ? [to superimpose] ? the two compositions which if
I may modestly say so, includes many unique harmonic effects."

When I read that, it brought something to mind for me ? that Gould in
disguise was actually commenting on Gould the Canadian radio documentary
producer and recording artist.

Gould (the producer) used superimposition ? to combine stories about living
in Canada, with music and environmental sounds ? in the Solitude Trilogy.

What resulted was _Gould's_ contribution to "Canadian content": a unique
vision of the country where he lived, an eloquent voice of Canada.  Modest,
indeed.

Perhaps someone who is more musicologically inclined can shed some light on
the compositions of Morawetz and Willan? as I'm not sure if there's
supposed to be a joke in there as well.