1,721,188 research outputs found
Nous avions 20 ans en 1945 / Pierre Boulez, aut., participant
No full textCollection : Francais de notre temps ; 19BnF-Partenariats, Collection sonore - BelieveContient une table des matière
Le texte et son pré-texte. Entretien
No full textBoulez Pierre, Szendy Peter. Le texte et son pré-texte. Entretien. In: Genesis (Manuscrits-Recherche-Invention), numéro 4, 1993. Écritures musicales aujourd'hui. pp. 135-148
Le marteau sans maître / Pierre Boulez, comp. ; Marie-Thérèse Cahn, chant ; [Orchestre du] Domaine musical ; Pierre Boulez, dir.
No full textTitre uniforme : Boulez, Pierre (1925-2016). Compositeur. [Le marteau sans maître]Collection : Présence de la musique contemporaineEnregistrement : (France) Paris, Théatre Marigny, 00-00-1956BnF-Partenariats, Collection sonore - BelieveContient une table des matière
SARUNAS JANKAUSKAS Clarinet MASTER'S RECITAL Wednesday, February 8, 2006 8:00 p.m. Lillian H. Duncan Recital Hall
No full textProgram: Fantasiestucke, Op. 73 / Robert Schumann (1810-1856) -- Domaines / Pierre Boulez (b. 1925) -- Sonatine for Clarinet and Piano / Clare Fisher (b. 1928).This recital is given in partial fulfillment of the requirements for Master of Music degree
The aesthetics of Pierre Boulez
Get PDFTo 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
Sonate pour piano, op. 1 / Berg, comp.. Variations op. 27 / Webern, comp.. 2e sonate pour piano / Boulez, comp. ; Yvonne Loriod, p
No full textTitre uniforme : Berg, Alban (1885-1935). Compositeur. [Sonates. Piano. Op. 1. Si mineur]Titre uniforme : Webern, Anton (1883-1945). Compositeur. [Variations. Piano. Op. 27]Titre uniforme : Boulez, Pierre (1925-2016). Compositeur. [Sonates. Piano. No 2]Collection : Présence de la musique contemporaineComprend : Sonate pour piano, op. 1 ; Variations op. 27 ; 2e sonate pour piano / Boulez, comp.BnF-Partenariats, Collection sonore - BelieveContient une table des matière
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
- …
