23 research outputs found
Sonate a violino e basso , composte da Francesco Geminiani e dedicate all'illustrissima ed eccellentissima Signora Margarita contessa d'Orrery. Opera IV
No full textTitre uniforme : Geminiani, Francesco (1687-1762). Compositeur. [12 sonates. Violon, basse continue. Op. 4]Présentation musicale : [Partition]Appartient à l’ensemble documentaire : RISMIm
PROFILI DELL'IMPUGNAZIONE DELLE DECISIONI RESE SECONDO EQUITÀ
No full textThe thesis dealts with the challenge of ex aequo et bono judgements. First of all, the author analyses the way to challenge the judgment rendered by state courts or by arbitrators authorized to decide as amiable compositeur who, despite this, judge by strict law and the way to challenge the judgment rendered ex aequo et bono notwithstanding the parties have not authorized the judge or the arbitrators to act as amiable compositeur. Secondly, the author describes the system of appeal of the equitable judgements of the conciliator and of the judge of the peace, in particular in the light of the new article 339, par. 3 code of civil procedure. Finally, the work focuses on the particularity of the challenge of the ex aequo et bono awards
Fortune and desire in Guillaume de Machaut
No full textThere is a pervasive tendency, in Machaut scholarship, to read his poetry as having
value only insofar as it speaks to our postmodern age: either it is fragmented and
riven with ambiguities, or it celebrates eroticism and the things of this world for their
own sake; in any case, it resists religious and moral orthodoxy. Such readings, while
often valuable in themselves, fail to take sufficient account of the influence which
Boethian and Neoplatonic ideas had upon Machaut, and thus misunderstand his work
on a fundamental level. By paying attention to the Boethian content in the narrative
dits, and by analysing Machaut's verse more thoroughly than has been done before,
my thesis demonstrates not only this author's moral orthodoxy, but also his extremely
sophisticated didactic methods. I begin with the Confort d'ami, Machaut's most
overtly moral work. The Confort engages with the supposed 'worldly' perspective of
its imprisoned addressee, adapting biblical and classical exempla in order to coax
Charles of Navarre towards a deeper understanding of worldly fortune. In Chapter 2 I
show how, in the Prologue and the Dit du vergier, the ambiguity so beloved of critics
can serve as a moral commentary on the carnality and self-absorption of the erotic
and artistic points of view. Having established, in the preceding chapters, that this
author's approach to his subject is ambiguous and critical, in Chapter 3 I explore the
extremes of his pessimism, and show how his love poetry can incorporate
sophisticated philosophical ideas, through my analysis of the Jugement du roy de
Behaigne. The thesis culminates in a detailed reading of the Remede de Fortune.
Through his deliberately idealised statements about education, through his application
of these views to the art of courtly love, through his composition (and setting to
music) of a sequence of virtuoso lyrics, and through his explicit invocations of and
borrowings from Boethius, Machaut develops an empathic but ultimately, as I argue,
deeply sceptical vision of earthly love
Dom Pedro II e Wagner
No full textRESUMO
Com base na autobiografia de Wagner e na correspondência de Dom Pedro, o autor evoca a grande admiração do Imperador brasileiro em relação ao compositor alemão, tendo inclusive contribuído financeiramente para a construção do teatro de Bayreuth, dedicado exclusivamente à música de Wagner, e assistido à sua inauguração em companhia do Imperador da Alemanha. Descreve como Dom Pedro contribuiu indiretamente para a escolha do tema da ópera Tristão e Isolda e levou o compositor a começar a escrever essa obra, cuja estréia foi planejada para o Rio de Janeiro e dedicada ao Imperador brasileiro. Comenta os motivos que levaram Wagner a tal empreendimento e analisa os equívocos decorrentes das más condições de comunicação da época, bem como os fatores que impediram a visita de Wagner ao Brasil.
ABSTRACT
Dom Pedro II and Wagner. v. 19, n. 2, p. 215-232, jul./dez. 1991
Based on the autobiography of Wagner and the correspondence of Dom Pedro, the author evokes the great admiration that the Brazilian Emperor had for the German composer, including his having contributed financially to the construction of the Bayreuth which is dedicated exclusively to Wagner´s music, and having attended its inauguration in the company of the German Emperor. The author describes how Dom Pedro contributed indirectly to the thematic choice of the opera Tristão e Isolda, and led the composer to begin to write this work whose première was planned for Rio de Janeiro and dedicated to the Brazilian Emperor. The author comments on the motives which led Wagner to undertake such a project and analyses the errors caused by the precarious conditions of communication at the time, as well as the factors that impeded Wagner´s visit to Brazil.
RESUMÉ
D. Pedro et Wagner. v. 19, n. 2, p. 215-232, jul./dez. 1991
A partir de l’autobiographie de Wagner et la correspondence de D. Pedro II, l’auteur évoque la grande admiration que l’empereur brésilien nourissait pour le compositeur allemand. L’empereur a contribué financièrement pour la construction du théâtre de Bayreuth et à assisté à son inauguration en compagnie du musicien. L’article décrit également la manière comment D. Pedro II a contribué pour le choix du thème de l’opéra Tristã et Iseut, dont la première présentation a eu lieu à Rio de Janeiro et dédiée à l’empereur brésilien. L’article se ferme en montrant les raisons selon lesquelles Wagner n ´a pas visité le Brésil
The aesthetics of Pierre Boulez
No full textTo enable the reader to find references as quickly and easily as possible, I have grouped all references together in the bibliography in alphabetical order. Texts by the same author are distinguished first by year and second, if there are several texts from the same year, by letter. Interviews and writing collaborations (including published correspondence) involving Boulez are also ordered alphabetically. The year given at the beginning of each bibliographical entry is, in the majority of cases, the year in which the text was first published (not necessarily the year of the edition cited). For all writings written by Boulez, I have provided the original title under which the text in question was first published (usually in French). Many articles have subsequently been translated into English and therefore I have decided to provide page references for both versions. For all texts by writers other than Boulez, I have cited the version of the text I have used. Wherever possible, I have cited the existing English translations of texts originally written in French. However, on many occasions I have considered it necessary to make alterations to the published translations. This is particularly applicable to Boulez on Music Today (1971) and Orientations (1986), both of which display an often heavy-handed and rather inaccurate approach to the task of translating specific concepts employed by Boulez. In contrast. Stocktakings of an Apprenticeship (1991) has required only occasional minor amendments. All changes to the published English translations are acknowledged in the corresponding footnote. None of the material m this thesis has previously been submitted for a degree in this or any other University. The copyright of this thesis rests with the author. No quotation from it should be published without prior written consent and information from it should be acknowledged. I have received permission to exceed the word limit from the Graduate School Committee at the University of Durham
Recueil d'airs à 1, 2 ou 3 voix égales, pour les cantiques à l'usage des Petits Frères de Marie, suivi de quelques motets pour les Saluts du très-Saint Sacrement
No full textMotets -- +* 1800......- 1899......+:19e siècle
Musica Armorial no Brasil (século XX) : a obra de Capiba entre tradição e érudição
No full textCe travail présente comme champs de connaissances le Mouvement Armorial et plus précisément, la Musique Armoriale. Il se réfère à l'œuvre savante du compositeur populaire Capiba (Lourenço da Fonseca Barbosa), à ses liens avec le romancier et dramaturge Ariano Suassuna, initiateur du Mouvement, et à l’analyse d’une de ses œuvres la plus représentative, la Grande Messe Armoriale. L'espace géographique de cette recherche est concentré dans les états de Pernambouc et Paraíba dans le Nord-est du Brésil. La période étudiée se situe entre 1946 et 2000 (XXe siècle). Cette thèse observe également la réaction du milieu musical et du public, face à cette "nouvelle" sonorité. Le Mouvement Armorial a provoqué une dynamisation de la musique traditionnelle et populaire et une révolution quant à la transition de cet univers vers un langage musical savant, à travers un contexte de récupération des manifestations culturelles du peuple. D'autres Messes seront évoquées telles que : Kyrie/Gloria (Messe Inachevée) de Cussy de Almeida, la Missa Nordestina de Clovis Pereira et la Missa de Alcaçus de Danilo Guanais.This work presents the Armorial Movement and Armorial Music as knowledge fields, using as reference the scholarly work of the popular composer Capiba (Lourenço da Fonseca Barbosa), his link with the author and playwright Ariano Suassuna and an analysis of his Grande Missa Armorial. The geographical space of this research is concentrated between the states of Pernambuco and Paraíba in the Northeast of Brazil and applies to the period between 1946 and 2000 (XX century). This thesis observes the reaction of the music community and about this "new" sonority. The Armorial Movement has provoked a dynamism in the way of transition of a traditional and popular music can be translated in a musical language. Other Masses will also be mentioned: Kyrie / Gloria (Unfinished Mass) by Cussy de Almeida, the Missa Nordestina by Clovis Pereira and The Mass of Alcaçus by Danilo Guanais.Este trabalho apresenta o Movimento Armorial e a Música Armorial como campos de conhecimento, utilizando como referência a obra érudita do compositor popular Capiba (Lourenço da Fonseca Barbosa), seu elo com o dramaturgo e romancista Ariano Suasssuna e uma análise de sua Grande Missa Armorial. O espaço geográfico desta pesquisa está concentrado entre os estados de Pernambuco e Paraíba no Nordeste do Brasil, e se aplica ao período entre 1946 e 2000 (século XX). Este estudo observa a reação da comunidade musical e do público a essa "nova" sonoridade. O Movimento Armorial provocou um dinamismo na transição de uma música tradicional e popular que pode ser traduzida em uma linguagem musical. Outras missas também serão mencionadas: Kyrie / Gloria (Missa inacabada) de Cussy de Almeida, a Missa Nordestina de Clovis Pereira e, finalmente, de Danilo Guanais, Missa de Alcaçus
Musica Armorial no Brasil (século XX) : a obra de Capiba entre tradição e érudição
No full textThis work presents the Armorial Movement and Armorial Music as knowledge fields, using as reference the scholarly work of the popular composer Capiba (Lourenço da Fonseca Barbosa), his link with the author and playwright Ariano Suassuna and an analysis of his Grande Missa Armorial. The geographical space of this research is concentrated between the states of Pernambuco and Paraíba in the Northeast of Brazil and applies to the period between 1946 and 2000 (XX century). This thesis observes the reaction of the music community and about this "new" sonority. The Armorial Movement has provoked a dynamism in the way of transition of a traditional and popular music can be translated in a musical language. Other Masses will also be mentioned: Kyrie / Gloria (Unfinished Mass) by Cussy de Almeida, the Missa Nordestina by Clovis Pereira and The Mass of Alcaçus by Danilo Guanais.Ce travail présente comme champs de connaissances le Mouvement Armorial et plus précisément, la Musique Armoriale. Il se réfère à l'œuvre savante du compositeur populaire Capiba (Lourenço da Fonseca Barbosa), à ses liens avec le romancier et dramaturge Ariano Suassuna, initiateur du Mouvement, et à l’analyse d’une de ses œuvres la plus représentative, la Grande Messe Armoriale. L'espace géographique de cette recherche est concentré dans les états de Pernambouc et Paraíba dans le Nord-est du Brésil. La période étudiée se situe entre 1946 et 2000 (XXe siècle). Cette thèse observe également la réaction du milieu musical et du public, face à cette "nouvelle" sonorité. Le Mouvement Armorial a provoqué une dynamisation de la musique traditionnelle et populaire et une révolution quant à la transition de cet univers vers un langage musical savant, à travers un contexte de récupération des manifestations culturelles du peuple. D'autres Messes seront évoquées telles que : Kyrie/Gloria (Messe Inachevée) de Cussy de Almeida, la Missa Nordestina de Clovis Pereira et la Missa de Alcaçus de Danilo Guanais.Este trabalho apresenta o Movimento Armorial e a Música Armorial como campos de conhecimento, utilizando como referência a obra érudita do compositor popular Capiba (Lourenço da Fonseca Barbosa), seu elo com o dramaturgo e romancista Ariano Suasssuna e uma análise de sua Grande Missa Armorial. O espaço geográfico desta pesquisa está concentrado entre os estados de Pernambuco e Paraíba no Nordeste do Brasil, e se aplica ao período entre 1946 e 2000 (século XX). Este estudo observa a reação da comunidade musical e do público a essa "nova" sonoridade. O Movimento Armorial provocou um dinamismo na transição de uma música tradicional e popular que pode ser traduzida em uma linguagem musical. Outras missas também serão mencionadas: Kyrie / Gloria (Missa inacabada) de Cussy de Almeida, a Missa Nordestina de Clovis Pereira e, finalmente, de Danilo Guanais, Missa de Alcaçus
Réécrire : Quodlibet d'Emmanuel Nunes
No full textDas Projekt Quodlibet von E. Nunes verfolgt das Ideal eines mit raumlichen Vorstellungen engstens verbundenen offenen Werks, wie es im Tagebuch des Komponisten ab 1965 formuliert ist. Bei der Untersuchung der Entstehungsdokumente, der Prolepsen und Analepsen des Erzàhlung der Genese, in der sich die Stimme des Komponisten mit der seines Assistenten mischt, schlâgt P. Szendy eine Interpretation der creative method von E. Nunes vor, in die er die Begriffe Centonisierung, Insert und sinusformiger Ablauf integriert. Er legt die Rolle des Raums bei der Selbstanalyse frei, welcher der Komponist seine eigenen Werke unterzieht, um sie umzuschreiben.The project of Quodlibet is put in the perspective of the ideal of a mobile work, as formulated in the mid-1960s in the diary of the composer, closely linked with the issue of spatialisation. By investigating the documents of the genesis of the piece -by following the prolepsis and analepsis of its récit de genèse, in which the voice of the composer and that of his assistant merge -, Peter Szendy gives an interpretation of Emmanuel Nunes' creative method, integrating such notions as centonization, insertion et meandering. The author emphasizes the role of space in the kind of self-analysis the composer pursues by rewriting his own works.Il progetto di Quodlibet è inserito nella perspettiva di un' ideale di opera aperta formulato dagli anni 65 nel diario del compositore, e intimamente legato a delle preoccupazioni di ordine spaziale. Esaminando i documenti di genesi dell' opera -secondo le prolessi e analessi del suo rapporto di genesi, dove si mescolano le voci del compositore e del suo assistente-, Peter Szendy propone una interpretazione délia "creative method" d'Emmanuel Nunes, che intégra le nozioni di centonizza zione, di inserto e di sinuosità del percorso. L'autore chiarisce la funzione di spazio nell'autoanalisi che l'autore ha effettuato sulle sue stesse opere, in vista délia loro riscrittura.
Peter SzendyLe projet de Quodlibet est situé dans la perspective d'un idéal de l'œuvre ouverte, tel qu'il apparaît formulé dès les années 1965 dans le journal du compositeur, intimement lié à des préoccupations d'ordre spatial. En examinant les documents de genèse de la pièce -en suivant les prolepses et les analepses de son récit de genèse , au sein duquel se mêlent les voix du compositeur et de son assistant -Peter Szendy propose une interprétation de la creative method d'Emmanuel Nunes intégrant les notions de centonisation, d'inserts et de sinuosité de parcours. L'auteur dégage le rôle de l'espace dans l' auto-analyse poursuivie par le compositeur sur ses propres œuvres, en vue de leur réécriture.El proyecto de Quodlibet se situa en la perspectiva de un ideal de obra abierta, tal como aparecio formulado a partir de los anos 1965 en el diario del compositor, mtimamente ligado a preocupaciones de orden especial. Examinando los documentos de génesis de la obra -siguiendo las prolepsis y las analepsis de su relato de génesis, en cuyo seno se mezclan las voces del compositor y de su asistente -Peter Szendy propone una interpretation de la creative method de Emmanuel Nunes integrando las nociones de centonizacion, de inversiones y de sinuosidad de recorridos. El autor subraya el papel des espacio en el anàlisis que el autor mismo realiza sobre sus obras, en vistas de su reescritura.Szendy Peter. Réécrire : Quodlibet d'Emmanuel Nunes. In: Genesis (Manuscrits-Recherche-Invention), numéro 4, 1993. Écritures musicales aujourd'hui. pp. 111-133
Castil-Blaze troubadour
No full textFrançois-Henri-Joseph Blaze dit Castil-Blaze (1784-1857) est un auteur et compositeur particulièrement actif dans la vie musicale française. Originaire du Comtat-Venaissin, son bilinguisme est fondateur de son regard à la fois distancié et critique porté sur les pratiques musicales de son temps. Précurseur du Félibrige, il n’aura de cesse de revendiquer sa singularité culturelle en écrivant, collectant et publiant du répertoire provençal tant poétique que musical. Si la production et la carrière parisiennes de Castil-Blaze sont relativement connues, son corpus et son enracinement provençaux ont été très peu abordés. Il s’agira donc de dégager ici les premiers contours de l’œuvre et de la biographie provençales de Castil-Blaze.François-Henri-Joseph Blaze alias Castil-Blaze (1784-1857) is a very active author and composer in the French musical life. Born in the Comtat-Venaissin region, his bilingualism is the foundation of his distant and critical view of the musical practices of his time. A forerunner of the Félibrige, he never ceased to claim his cultural singularity by writing, collecting and publishing Provençal repertoire, both poetic and musical. While Castil-Blaze's Parisian production and career are relatively well known, its Provençal corpus and roots have received very little attention. The aim here is to identify the first outlines of the Provençal work and biography of Castil-Blaze.Francés Enric Josèp Blaze, dich Castil-Blaze, es un autor-compositor plan actiu dins la vida musicala francesa. Originari del Comtat Venaissin, lo sieu bilingüisme es a l’origina de l'agach a l’encòp distanciat e critic que pòrta sus las practicas musicalas de son temps. Precursor del Felibritge, reivindiquèt de contunh sa singularitat culturala dins l’escritura, la collècta e la publicacion del repertòri provençal, tant poetic coma musical. La produccion e la vida parisenca de Castil-Blaze son ben conegudas, mas son còrpus e son enrasigament provençau o son pas tant. S’agís donc aquí de presentar aquí un escapol de l’òbra e de la biografia provençalas de Castil-Blaze
