15 research outputs found
Fol amour : valse : piano / L. Danty ; [ill. par] H. Viollet
No full textTitre uniforme : Danty, Léopold (18..-19..? ; compositeur). Compositeur. [Fol amour. Piano]Valses (piano) -- +* 1800......- 1899......+:19e siècle:Piano, Musique de -- +* 1800......- 1899......+:19e siècle
En pédalant : galop : [piano] / par L. Danty ; [ill. par] H. Berson,...
No full textTitre uniforme : Danty, Léopold (18..-19..? ; compositeur). Compositeur. [En pédalant. Piano]Piano, Musique de -- +* 1800......- 1899......+:19e siècle:Galops (piano) -- +* 1800......- 1899......+:19e siècle
En pédalant : galop : à quatre mains / par L. Danty ; [ill. par] H. Berson,...
No full textTitre uniforme : Danty, Léopold (18..-19..? ; compositeur). Compositeur. [En pédalant. Piano]. Arr. pour piano à 4 mainsPiano, Musique de (4 mains) -- +* 1800......- 1899......+:19e siècle:Galops (piano, 4 mains) -- +* 1800......- 1899......+:19e siècle
Croquis de guerre. L. Danty
No full textPrésentation musicale : [Piano conducteur]Appartient à l’ensemble documentaire : GG1418
La Voix de la Lorraine. Paroles de Raphaël Adam et G. Gross, musique de L. Danty
No full textAppartient à l’ensemble documentaire : GG1418
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
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
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
