380 research outputs found
Mallet Serge —La nouvelle classe ouvrière
No full textS A. Mallet Serge —La nouvelle classe ouvrière. In: Population, 19ᵉ année, n°1, 1964. p. 170
Eurydice. A tragedy. Acted at the Theatre-Royal in Drury-Lane, by His Majesty's servants.
No full textCited by G. W. Bergquist, p. 165, as first edition.Mode of access: Internet.Clark Library copy: 21 cm.; bound in marbled boards.Copy 2 bound with: Alfred : a masque, acted at the Theatre-Royal in Drury-Lane by His Majesty's servants / David Mallet. London : Millar, 1751
Alfred : a masque. Acted at the Theatre-Royal in Drurylane, by His Majesty's servants.
No full textWithout the music (by Arne)Originally written by Thomson and Mallet in 1740; altered for the stage by Mallet in 1751.Mode of access: Internet.Copy 2 bound with: Elvira : a tragedy... / David Mallet. London : Millar, 1763 -- Mustapha : a tragedy... A new edition, corrected. / David Mallet. London : Millar, 1760 -- Eurydice : a tragedy... / David Mallet. London : Millar,1731
Soir d’amertume : chanté par Mlle Félicia Mallet et par Mr Victor Maurel [illustration Paul Balluriau]
No full textSoir d'amertume : chanté par Mlle Félicia Mallet et par Mr Victor Maurel ; illustration Paul Balluriau ; paroles de de Alfred Mortier ; musique de Isidore de Lara ; Enoch & Cie éditeurs ; ©MDCCCXCV (1895) ; [intérieur : (dédicace) “à son Altesse Royale l’Infante Eulalia” ; aucune mention artiste ; cotage E&C3614 ; imprimerie Dupré ; M. Fleurot gravure] ; catalogue “les succès du concert” ; incipit “Si tu me dis ce qu'est ton âme”
Soir d’amertume : chanté par Mlle Félicia Mallet et par Mr Victor Maurel [illustration Paul Balluriau]
No full textSoir d'amertume : chanté par Mlle Félicia Mallet et par Mr Victor Maurel ; illustration Paul Balluriau ; paroles de de Alfred Mortier ; musique de Isidore de Lara ; Enoch & Cie éditeurs ; ©MDCCCXCV (1895) ; [intérieur : (dédicace) “à son Altesse Royale l’Infante Eulalia” ; aucune mention artiste ; cotage E&C3614 ; imprimerie Dupré ; M. Fleurot gravure] ; catalogue “les succès du concert” ; incipit “Si tu me dis ce qu'est ton âme”
Alfred [electronic resource] : a masque. Acted at the Theatre-Royal in Drury-Lane, by His Majesty's servants.
No full textAdvertisement signed: D. Mallet.Adapted by David Mallet from the original version by James Thomson and himself.With a half-title.Rothschild,Electronic reproduction.English Short Title Catalog,Reproduction of original from John Rylands University Library of Manchester
La symbolique maternelle dans quatre romans de Françoise Mallet-Joris /
No full textSo far, Francoise Mallet-Joris has been categorized either as a Catholic novelist or as a moderate feminist. Accused of conservatism by some, perceived by others as immoral, she has been considerably underrated by a critical audience anxious to maintain traditional literary categories. This thesis attempts to demonstrate that faith and feminism, far from conflicting with each other, are linked in Mallet-Joris' work with the process of writing, thus forming a triple entity where the common denominator is the theme of maternity. This theme will be analysed in four of Mallet-Joris' novels, Les Mensonges, Les Signes et les Prodiges, Allegra, and La Tristesse du Cerf-volant, using a symbolic approach whose usefulness lies in the twofold definition of a symbol as, on the one hand, a materialisation of the inexpressible and on the other, a split unity. For the temporal modality and the concept of identity inherent in the maternal experience place it outside the narrative system, thus putting any author who wishes to tackle this area in the position of either inventing a new narrative form or attempting a compromise between already existing forms and the specific content of the maternal experience. It is this latter alternative that Francoise Mallet-Joris adopts. Although as far as form is concerned, Mallet-Joris can hardly be termed innovative, she demonstrates on an ideological plane an originality which is largely the product of using the symbol of the Virgin Mary as an intermediary between the maternal experience and the symbolic order
A new six-mallet marimba technique and its pedagogical approach
No full textviii, 80 leaves : col. ill. ; 29 cmThis thesis presents a six-mallet technique developed by the author along with a pedagogical guide teaching that technique. Included in the thesis are the following components: 1) a DVD which demonstrates how to learn the technique, with performances of significant compositions for six mallets; and 2) a pedagogical survey of recommended works written for six mallets on a scale from relatively simple to highly complex, giving students a repertoire of pieces from which they can develop six-mallet marimba technique
MALLET PERCUSSION INSTRUMENTS
No full textV uvodu tega diplomskega dela so kratko predstavljene osnovne razvrstitve glasbil ter splošni pregled tolkalnih instrumentov, njihov razvoj in uporaba. Osrednja tema je posvečena posameznim melodičnim tolkalom, ki so lahko narejena iz lesa (ksilofon, marimba), kovine (metalofon, vibrafon, zvončki, zvonovi, tubafon, čelesta, jekleni boben, bonang, pojoča žaga, fleksaton), kamna (litofon) in stekla (steklene čaše, steklena harmonika). Predstavljeni so tudi nekateri manj znani in novejši instrumenti. Avtorica pri vsakem instrumentu predstavi njegov opis, zgodovinski razvoj, akustične značilnosti, tehniko igranja nanj, orkestrsko rabo, strokovno literaturo in tolkače, ki se uporabljajo pri igranju. Poleg tega poskuša oceniti možnosti njegove uporabe v današnjem času. V delu so uporabljene naslednje metode: deskriptivna metoda, komparativna metoda, zgodovinska metoda in metoda klasifikacije. V sklepu avtorica povzame obravnavano snov in izpostavi nekaj glavnih virtuozov in izvajalcev na melodičnih tolkalih današnjega časa, ki so prispevali k temu, da se ti instrumenti vse bolj izpopolnjujejo, hkrati pa se povečujejo njihova prepoznavnost, raba in vrednost v glasbenem svetu. Zagovor diplomskega dela vsebuje tudi izvedbo treh skladb, napisanih za melodična tolkala: Fantazija za vibrafon solo skladatelja Roberta Kampleta, Blues for Gilbert za vibrafon solo Marka Glenthwortha in Eldorado za vibrafon in kovinska tolkala Neya Rosaura.The introduction of my dissertation gives general overview of the basic classifications of musical instruments, followed by detailed overview of the percussion instruments, their development and use. The main part is dedicated to individual mallet percussion instruments, which may be made of wood (xylophone, marimba), metal (metalophone, vibraphone, glockenspiel, tubular bells, tubaphone, celeste, steel drum, bonang, musical saw, flexatone), stone (litophone) and glass (crystal glasses, glass harmonica). Some less known and newly developed percussions are presented too. For each instrument, the author focuses on its description, historical development, acoustic characteristics, technique of playing, orchestral use, professional literature and beaters used for playing it. Additionally, she tries to assess the possibilities of using it nowadays as well. The theoretical part was written by using the following methods: descriptive method, comparative method, historical method and classification method. In the conclusion, the author summarizes the discussed topic and exposes some of the main contemporary virtuoses and mallet percussion performers, who contributed a lot to the perfection and transparency of these instruments in the world of music. Within the presentation of my dissertation three songs, written for mallet percussions will be performed: Fantasy for solo vibraphone by Robert Kamplet, Blues for Gilbert for solo vibraphone by Mark Glenthworth and Eldorado for vibraphone and metal percussions by Ney Rosauro
SIX-MALLET TECHNIQUE IN SELECTED MARIMBA SOLOS FROM 1998 TO 2011 BY BRUCE HAMILTON, ANDREW THOMAS, EVAN HAUSE, NOAH TAYLOR, MARCOS CABEZAZ, ROBERT PATERSON, AND PIUS CHEUNG
No full textThis paper presents a detailed musical and technical examination of seven six-mallet marimba solo works. The author conducted interviews in person and via email with the seven composers in order to better understand their original compositional intentions and their preferred interpretation. Based on this information, performance strategies, sticking, and mallet positions are illustrated through musical and photographic examples. In addition to proposing new six-mallet techniques, I provide my own exercises and performance practice methods to better learn the works under consideration. Practical advice is also provided for composers interested in writing for six-mallet marimba.U of I OnlySchool of Music polic
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