ABSTRACT
This chapter looks at a site of regional modernist practice: that of Montreal composers such as Gilles Tremblay, Claude Vivier, José Evangelista and John Rea who, beginning in the early 1970s, became spellbound by the gamelan musical traditions of the Indonesian islands of Bali and Java. The logic of intercultural borrowing is central to this production, and gives rise to a series of questions about the geopolitical or cultural realities that explain the presence of this intercultural moment in modernist music in Quebec.
