8 research outputs found
[Arias extraites de Siroe / Gaetano Latilla]
No full textAncien possesseur : Stillingfleet, Benjamin (1702-1771). Ancien possesseurAncien possesseur : Prunières, Henry (1886-1942). Ancien possesseurAncien possesseur : Thibault, Geneviève (1902-1975). Ancien possesseurTitre uniforme : Latilla, Gaetano (1711-1788). Compositeur. [Siroe]. ChoixTitre uniforme : Latilla, Gaetano (1711-1788). Compositeur. [Siroe. Acte 1, scène 15. Vedeste mai sul prato]Titre uniforme : Latilla, Gaetano (1711-1788). Compositeur. [Siroe. Acte 2, scène 7. Fra sdegno ed amore]Titre uniforme : Latilla, Gaetano (1711-1788). Compositeur. [Siroe. Acte 1, scène 1. Se il mio paterno amore]Titre uniforme : Latilla, Gaetano (1711-1788). Compositeur. [Siroe. Acte 2, scène 3. Mi credi infedele]Comprend : Alle Dame 1740 // Del Sig.r // Gaetano Latilla ; Alle Dame 1740 Del Sig.r Gaetano Latilla ; Alle Dame 1740 Del Sig.r Gaetano Latilla ; Alle Dame // 1740 // Del Sig.r // Gaetano LatillaContient 4 arias extraites de "Siroe", dramma per musica en 3 actes. - Livret de Pietro Metastasio. - 1re exécution : Rome, Théâtre alle Dame, carnaval 1740. - Mention ms. sur la p. de garde : "Benjamin Stillingfleet whose signature as the owner of this Ms. appears above, was author of "Principles & Power of Harmony". 4to. 1771_ in which year he died (15 Dec.), aged 69 or 70. He was an English Poet, Dramatist & Naturalist & wrote also the words of 5 oratorios.The treatise on Harmony is a commentary on (or a translation of) Tartini's "Trattato di Musica". - Table au dos de la f. de garde. - Mentions au plat : "Orig.l binding", "N°1240" et "H. Pr. 5. p. 3". - Reliure cartonnée, papier marbréPrésentation musicale : [Partition]Appartient à l’ensemble documentaire : RISM2Appartient à l’ensemble documentaire : Chambure1Appartient à l’ensemble documentaire : RISMMssAirs d'opéra -- +* 1700......- 1799......+:18e siècle
Fortune and desire in Guillaume de Machaut
Get PDFThere 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
Creative Transformation in African Art Music: A Case Study#
No full textThe study examines and analyses the significance of the style of music composition employing traditional and contemporary models noted in the solo voice and piano works of Nketia. It argues that an imaginative African contemporary composer can elect to work within the limitations of selected traditional instruments and create new African music that not only blends their sonorities, but also makes use of appropriate tunes and other materials from traditional or contemporary repertoire. What is of particular interest to us in this paper is the use of new models by the composer to transform the African traditional modes of expression, using techniques that may be foreign or not frequently used in African traditions. The study hopes to contribute to the discourses on African art music as a synthesis of elements of traditional and European resources. It argues that a genuine feeling of African style does not come merely from the use of folk songs and dances. A piece will sound African—Akan, Ewe, Hausa, Yoruba, etc., when the basic characteristics of the source materials feature in the body of the composition. The study is based on analysis and interpretation of three selected solo works of J. H. Kwabena Nketia and on interviews between the author and the composer. L'étude examine et analyse l'importance du style de la composition musicale en utilisant les modèles traditionnels et contemporains notés dans la voix solo et oeuvres de piano de J. H. Kwabena Nketia. Il affirme qu’un compositeur africain contemporain imaginatif peut choisir de travailler en restant dans les limites de certains instruments traditionnels et créer une nouvelle musique africaine qui non seulement allie les sonorités de ces derniers, mais permet également l'utilisation de mélodies appropriées et d'autres matériels de répertoire traditionnel ou contemporain. Ce qui nous intéresse particulièrement dans cet article, c’est l'utilisation de nouveaux modèles par le compositeur pour transformer les modes d'expression traditionnels africains, en utilisant des techniques qui peuvent être inconnues ou rares dans les traditions africaines. L'étude espère contribuer aux échanges sur l'art musical africain en tant que synthèse d'éléments traditionnels et européens. Il fait valoir qu'une véritable sensation du style africain ne se fait pas sentir simplement par les chants et danses folkloriques. Une pièce musicale sonne africaine – Akan, Ewe, Haoussa, Yoruba, etc. – lorsque les caractéristiques de base figurent dans l’ensemble de la composition. L'étude est basée sur l'analyse et l'interprétation d’une sélection de trois oeuvres solo de Nketia et sur des entretiens entre l'auteur et le compositeur
Lyre de la jeunesse chrétienne. Recueil de Cantiques choisis, revus et notés à toutes les strophes... par des prêtres de la Société de Saint-Bertin, à l'usage des petits séminaires et des maisons d'éducation
No full textArranging Orchestral Music for the Pope of Instruments: An Applied Analysis of Arrangements by Beethoven, Lemare and Liszt
No full textNote:Arrangements for keyboard instruments played a significant role in the musical life of the nineteenth and early twentieth centuries. Based on an analysis of writings and arrangements by Ludwig van Beethoven (i.e., the composer arranging his own works), Edwin H. Lemare (i.e., a prolific arranger for the organ) and Franz Liszt (i.e., a prolific arranger for the piano), this paper discusses their respective reasons for arranging and their techniques of arrangement. (...) The author has applied the results of his research in his own arrangement for organ of the Second Movement from Ludwig van Beethoven’s Fifth Symphony. Excerpts from this arrangement are presented after each analytical section, together with an explanation of the decision-making process during the making of the arrangement.This paper concludes with an evaluation of the benefits of arrangements for the organ in today’s music scene.Les transcriptions ont joué un rôle majeur dans la vie musicale du dix-neuvième siècle et au début du vingtième siècle. Fondée sur une analyse des écrits et des transcriptions de Ludwig van Beethoven (un compositeur qui a transcrit ses propres oeuvres), Edwin H. Lemare (un arrangeur fécond pour l’orgue) et Franz Liszt (un arrangeur fécond pour le piano), cette thèse doctorale discute des raisons en faveur des transcriptions et la technique de ces trois compositeurs/arrangeurs. (...) L’auteur de cette thèse a appliqué les résultats de ses recherches à sa propre transcription du Deuxième Mouvement de la Cinquième Symphonie de Ludwig van Beethoven pour orgue. Des extraits de cette transcription sont présentés après chaque section analytique, avec des explications concernant les décisions prises pendant la rédaction de la transcription.La thèse se termine par une évaluation des avantages des transcriptions destinées à l’orgue dans la vie musicale d’aujourd’hui
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
Moral Rights’ Flexibilization by Andean Case Law.
Get PDFAuthor’s moral rights under the Colombian legal system are protected as a fundamental right that seeks to protect the special connection between the author and their work. However, since moral rights are regulated under the Andean Law, it is the Andean Court of Justice’s jurisprudence the one to determine their scope of protection. In this way, this paper aims to argue that decision 47-IP-17 relaxed the threshold of protection of the moral right of integrity for certain types of works, having as an impact at the domestic sphere the need to revoke the decision of first instance in the Gabriel Antonio Calle case.El derecho moral de autor en el ordenamiento jurídico colombiano se ha entendido como un derecho fundamental que busca proteger esa conexión especial existente entre el autor y su obra. No obstante, debido a que el derecho moral se encuentra también regulado por la Decisión Andina 351 de la Comisión de la Comunidad Andina, es la jurisprudencia del Tribunal Andino la más pertinente para determinar el verdadero alcance de su protección. De esta manera, el presente artículo busca evidenciar que la interpretación prejudicial 47-IP-17 flexibilizó la protección del derecho moral de integridad para cierto tipo de obras, lo cual produjo un impacto en el ámbito doméstico: la necesidad de revocar la decisión de primera instancia en el caso Gabriel Antonio Calle
