15 research outputs found
Argentan, mélodie. Paroles de A. Spale. Musique de J. Chauveau
No full textAppartient à l’ensemble documentaire : BNormand
Alexander's feast or the power of musick. An ode, wrote in honour of St Cecilia by Mr Dryden..., with the recitativo's, songs, symphonys and chorus's for voices & instruments. Together with the cantata, duet and songs as perform'd at the theatre royal in Covent garden. Published by the author
No full textTitre uniforme : Händel, Georg Friedrich (1685-1759). Compositeur. Éditeur scientifique. [Alexander's feast. HWV 75]Appartient à l’ensemble documentaire : RISMIm
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
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
Recens fabricatus labor oder Neugebachene Taffel-Schnitz // von mancherley lustigen Rencken und Schwencken // zusammengestickt // mit Noten auszgespickt // und under fröliche Compagnien geschickt // damit ihnen Essen und Trincken // und denen darbey auf warten den Musicanten die Spendage desto besser zu statten Kommen möge. Mit j. 2. 3. Sing-Stimmen // und 2. Violinen welche meistens ad placitum gesetz seyn. Item etliche Stücklein mit unverschiedlichen Instrumenten // insonderheit vor [sic] die Kunst - Pfeiffer // zum Auffwarten bequem. Mit Trompeten // Cornetten, Trombonen und Fagotten, samt einer Party mit 5. Violen, Kurz und leicht in anmuthiger Harmoni, zur zulässigen Ergötzlichkeit herauss gelassen. So dann appendice der lustig - politische Nasen-Krämer 1 voce. 3 viol. Der frantzösiche Author ist sonst in Teutschland wohl bekandt // Asne de Rilpe
No full textComprend : 1 - Ihr Leuthe wer heute (3 v., 2 v.ons ad lib.) - 2 - Drey vexations-Brüder. Im Gang Gesang und Tranck (3 v.) - 3 - Ich will euch werthe Freund (2 v., refrain à 5 v., 1 v.on ad lib.) - 4 - Guter Gesell ist der Weg gut draussen (3 v., 2 v.on ad lib.) - 5 - Es geht der Wind von Schwaben her (1 v., 5 v.on ad lib.) - 6 - Schwäbische Bauren Hochzeit (3 v., 2 V.on) - 7 - Von drey vexations Handwerckern (3 v., 2 v.on ad lib.) - 8 - Mayen und Gukguks Lied (1 v. 3 instr.) - 9 - Des Spiehlen und Buhlens Verwurff (2 v., 3 instr. ad lib.) - 10 - Vom Kartatschen oder Kartetschen. Eine Relation eines Wollen webers (2 v., 3 instr. ad lib.) - 11 - Der Scoptisirer Wiederbezahlung Glöttlins in engere Composition gesetzt [certaines parties portent : Blöttlins] (1 v., 2 v.on ad lib.) - 12 - Glottlins von vertraulicher - 13 - Aufzug à 6 Trompeten (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 14 - Aufzug à 6 Trompeten (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 15 - Sonata à 5, 2 cornetto, 3 Tromb (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 16 - Sonata à 5? 2 cornett., 3 Tromb (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 17 - Sonata à 4 Tromb (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 18 - Sonata à 4, 1 Clarino Cornet. 3 Tromb (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 19 - Sonata à 4. 1 Cornetto. 3 Tromb (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 20 - Aria à 3. 2 Viol. 1 Fagotto (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 21 - Gigue à 3. 2 Viol. 1 Fagotto (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 22 - Sonata à 3. 2 Viol. 1 Tromb (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 23 - Gigue à 3. 2 Viol. 1 Tromb (Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 24 - Sonata à 5 (2 Von, 2 alt., b. ; Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.) - 25 - Der Politische Nasen-Krämer (1 v., 2 v.ons, alt. ; Zusammerkunste in engerer Composition. 1 v., 2 v. orn. ad lib.)Présentation musicale : PartiesAppartient à l’ensemble documentaire : RISMImpAppartient à l’ensemble documentaire : Brossard
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
