As a cosmopolitan province, Quebec is a home to varied genres of music, ranging from folk to hip hop. Music has played an important role in Quebecer culture. In the 1920s and '30s, singer/songwriter Madam Bolduc performed comedic songs in a folk style with Irish influences. Quebec's most popular artists of the last century include Félix Leclerc (1950s), Gilles Vigneault (1960s–present), Kate and Anna McGarrigle (1970s–present) and Céline Dion (1980s–present).
The First Nations and the Inuit of Quebec also have their own traditional music. A local variety of Celtic music is also found. Quebec also has many well-known jazz musicians and a culture of classical music, as well as a strong presence of historically informed performance of baroque and renaissance music.
The song À la claire fontaine was the anthem of the New France, Patriots and French Canadian before being replaced by O Canada. Currently, the song Gens du pays is by far preferred by many Quebecers to be the national anthem of Quebec. The Association québécoise de l'industrie du disque, du spectacle et de la vidéo (ADISQ) was created in 1978 to promote the music industry in Quebec. The Orchestre symphonique de Québec and the Orchestre symphonique de Montréal are respectively
Traditional music
Québec was referred to as Le Canada during the time when it was under French control. It was also the most advanced colony out of all the New France settlements. After some generations of French settlers being born in Canada, the colonists began to identify with their home country and call themselves les Canadiens (the Canadians) as distinct from les Français (the French), those native to France. The Canadiens brought with them a rich tradition of songs and dances from northern France, namely the regions of Île-de-France, Picardy, Normandy, Poitou, and Brittany. Influence from these regions and the Irish immigration to Quebec of the 19th century may explain the Celtic connection that Quebec still shares with Brittany, Ireland, Scotland and the Maritimes.
As time went by, the French Canadians began to develop their own music, and also incorporated and transformed the styles of music played by the settlers from Great Britain, in particular the Scots, after the Conquest. (One hundred of these songs were collected by Ernest Gagnon for an 1865 compilation, one of the first such collections to be published in Canada.)
Traditional music is imbued with many dances, such as the jig, the quadrille, the reel and line dancing, which have developed in the festivities since the early days of colonization. Various instruments are more popular in Quebec's culture: harmonica (music-of-mouth or lip-destruction), fiddle, spoons, jaw harp and accordion. The podorythmie is a characteristic of traditional Quebec music and means giving the rhythm with the feet. Quebec traditional music is currently provided by various contemporary groups seen mostly during Christmas and New Year's Eve celebrations, the Quebec National Holiday and many local festivals.
Popular music
Perhaps the most remarkable phenomenon in the popular music of that century was the career of La Bolduc, who became extremely popular singing satirical and sometimes racy songs based on the Quebec and Irish folk traditions, and who also was expert in the wordless vocalization known as turlutte.
By the 1960s, radio and television had begun to help disseminate French folk songs, especially after the 1967 foundation of the Centennial Collection of Canadian Folk Songs, including recordings of Quebec performers like Yves Albert and Jacques Labrecque, as well as Acadian Edith Butler.
The most popular songwriters and singers of this period were Gilles Vigneault, Leonard Cohen (attended McGill University, d.2016, buried in Montreal), and Félix Leclerc, who brought more influences to the music of France-based singing stars like Jacques Brel. Leclerc, from La Tuque, and Vigneault, from Natashquan in the north of Quebec, became heroes for a new generation of Quebec youth. It was Vigneault's "Mon pays" (My Country), which became a rallying anthem for Quebec nationalism after a 1965 performance by Monique Leyrac, and established a tradition of Quebec artists supporting Quebec's independence movement. Many artists openly endorsed it, notably Raymond Lévesque, Pauline Julien and Paul Piché.