3,170 research outputs found
Portfolio of recorded performances and exegesis: Messiaen’s musical language for the jazz pianist - an exploration through performance.
No full textMoving beyond Gunther Schuller’s Third Stream amalgamation of classical and jazz, this study explores whether the musical language of Olivier Messiaen can make a valid contribution to jazz piano performance. Initially, my project sought to answer such questions as: What elements of the musical language of Messiaen already exist in the jazz vocabulary? Am I able to extend this further? What are the timbral structures and pianistic effects within Messiaen’s musical language? What will be the most effective application of Messiaen’s musical language to jazz piano performance? Endeavouring to answer the final question led me to consider such aspects as whether the project should be limited to quoting Messiaen motifs, arranging Messiaen melodies, replacing jazz harmonic structures on standards with examples from Messiaen’s musical language or whether it would be better to approach the research conceptually. The work of Hubert Nuss provided encouraging reassurance that this was not an impossible task. In order to articulate this conception, the initial challenge was to decide how the classical and jazz worlds might meet in a ‘Messiaen’ technique. The approach adopted was similar to that used for undergraduate jazz study, namely, immersion in the piano scores and recordings of Messiaen’s music as well as by live performances. This was followed by the development and assessment of a contrived approach when specific techniques, such as tonal colourings or harmonic structures, were developed through prepared exercises and consciously included in my performance. It was then compared with an intuitive approach when no such precise parameters were established. This submission consists of CD recordings of two public recitals and an exegesis. It documents the development of this Messiaen technique and discusses its application in my performances. It also demonstrates the ways that Messiaen’s musical language can be used within jazz piano performance to provide a colour that distinguishes jazz piano performance in a competitive field.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 201
Raymond Aron Workshop (30-31 mai 2016, FMSH)
No full textLe but de ce workshop est de permettre aux contributeurs de l’ouvrage Raymond Aron and International Relations, à paraître chez Routledge en 2017, de se rencontrer et d’échanger sur leurs contributions. Avec : Ariane Chebel, Brian-Paul Frost, Reed Davies, Daniel Steinmetz Jenkins (USA) Henrik Breitenbauch, Olivier Schmitt (Danemark) Richard Ned Lebow (UK) Joël Mouric, Thierry Balzacq, Jean-Vincent Holeindre, Christian Malis, Olivier Chopin (France
Raymond Aron Workshop (30-31 mai 2016, FMSH)
No full textLe but de ce workshop est de permettre aux contributeurs de l’ouvrage Raymond Aron and International Relations, à paraître chez Routledge en 2017, de se rencontrer et d’échanger sur leurs contributions. Avec : Ariane Chebel, Brian-Paul Frost, Reed Davies, Daniel Steinmetz Jenkins (USA) Henrik Breitenbauch, Olivier Schmitt (Danemark) Richard Ned Lebow (UK) Joël Mouric, Thierry Balzacq, Jean-Vincent Holeindre, Christian Malis, Olivier Chopin (France
Investigating Street Art in Latin America. Interview with Olivier Dabène
No full textcontribution à un site webPolitical scientist Olivier Dabène is the author of Street Art and Democracy in Latin America, published by Palgrave Macmillan. The author presents the results of a several year long project in several cities of Latin America, during which he investigated and questioned the relation between street art and (local) democracy. Olivier Dabène has accepted to answer our questions and present his book. Interview by Miriam Perier, CERI
La tragédie de l'apparence à l'époque contemporaine
No full textAron Jean-Paul. La tragédie de l'apparence à l'époque contemporaine. In: Communications, 46, 1987. Parure pudeur étiquette, sous la direction de Olivier Burgelin, Philippe Perrot et Marie-Thérèse Basse. pp. 305-314
Raymond Aron and International Relations
No full textAt a time when the field of International Relations (IR) is diverting from grand theoretical debates, rediscovering the value of classical realism and exploring its own intellectual history, this book contributes to these debates by presenting a cohesive view of Raymond Aron’s theory of IR. It explores how a careful reading of Aron can contribute to important current debates, in particular what a theory of IR can be (and thus, what is within or outside the scope of this theory), how to bridge the gap that emerged in the 1970s between a "normative" and a "scientific" theory of IR, and finally how multidisciplinarity is possible (and desirable) in the study of IR.This edited collection offers a synthetic approach to Raymond Aron’s theory of International Relations by bringing together some of the most prominent specialists on Raymond Aron, thus filling an important gap in the current market of books devoted to IR theories and the historiography of the field. The volume is divided into three parts: the first part explores Aron’s intellectual contribution to the theoretical debates in IR, thus showing his originality and prescience; the second part traces Aron’s influence and explores his relations with other prominent scholars of his time, thus contributing to the historiography of the field; and the third part analyses Aron’s contemporary relevance. This comprehensive volume contributes to current debates in the field by showing the originality and breadth of Aron’s thought.This book will be of great interest to academics and students interested in IR theories, strategic studies and the historiography of the field
Olivier de Lapparent, Raymond Aron et l’Europe. Itinéraire d’un Européen dans le siècle
No full textRaymond Aron était-il un européen convaincu ? Telle est la question à laquelle le livre d’Olivier de Lappparent tend à répondre positivement. La tâche est à la fois facile et ardue. Facile puisque Raymond Aron, l’un des plus grands penseurs politiques français du XXe siècle, se voyait certainement comme un membre de la République des lettres européennes, appartenant à et construisant une culture européenne. Tâche ardue cependant, car avant de conclure que Raymond Aron était un Européen conva..
Crisis and Revolution in Economic Theory and Policy: A Debate
No full textThe following is the transcript of a debate, entitled ‘Pensare un’alternativa’ (Thinking of an Alternative), between Olivier Blanchard, former Chief Economist of the International Monetary Fund and a leading exponent of mainstream macroeconomics, and Emiliano Brancaccio, author of the book Anti-Blanchard and advocate of ‘The Economists’ Warning’ against European deflationary policies. The debate examines, from two different theoretical perspectives, the global great recession, the Eurozone crisis, the effects of austerity and deflation, increased social inequality, and political conflict. It took place at the Giangiacomo Feltrinelli Foundation in Milan, Italy, on 19 December 2018, and was moderated by the journalist Pietro Raitano
'Auteur Shakespeare': Laurence Olivier
No full textThe article appears in a special issue Shakespeare and the Auteurs.The article discusses the films: Henry V. 1944. Dir. Laurence Olivier. United Kingdom. Two Cities Films;Hamlet. 1948. Dir. Laurence Olivier. United Kingdom. Two Cities Films;Richard III. 1955. Dir. Laurence Olivier. United Kingdom. London Film Productions.In lieu of an abstract, here is a brief excerpt of the content:In 1948 Laurence Olivier claimed that he could make a Shakespeare film “just as Shakespeare himself, were he living now, might make it” (Foreword 3). This statement refers specifically to the 1948 Hamlet but the connection between Olivier and Shakespeare is frequently evoked, too, in relation to Olivier’s other cinematic adaptations: Henry V (1944), Richard III (1955), and the unmade Macbeth. In this statement, Olivier asks us to read his own stylistic signature as constituting the equivalent of Shakespeare’s should the author be transmogrified into what would be later designated the cinematic auteur. Yet, appearing in the context of a foreword justifying the supposed liberties taken with Shakespeare’s play-text, it also stresses difference. In negotiating difference through sameness, Olivier’s justification of his “interpretation” of Hamlet ultimately asserts that Olivier’s visual stamp on the film is both analogous to Shakespeare’s imagined cinematic signature and specific to Olivier himself
La haute Provence de l'esprit
No full textPoem in French which includes an original frontispice by the author. Presentation: D'abord un poème itinérant, fait de rien, c'est-à-dire d'herbes, de vents des hauts plateaux, glanés au fil des sentiers vertigineux qui plongent dans le Verdon, et sur le contrefort des barres rocheuses. Ensuite, une déchirure faite dans le temps, libérée par l'état hypnotique de la fatigue, conduisant peu à peu à la spiritualisation du paysage. Olivier Salazar-Ferrer est né en 1962. Il est maître de conférences à l'Université de Glasgow au Royaume-Uni. Il est également l'auteur des textes poétiques suivants : Adieu à Terre rouge (2002), Eloge du peintre (2003), Poèmes du silence et de la neige (2003), La Roulotte peinte (2004) chez le même éditeur
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