6 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
The National song folio. Volume I
No full textTitre uniforme : Händel, Georg Friedrich (1685-1759). Compositeur. [Theodora. HWV 68
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
Moral Rights’ Flexibilization by Andean Case Law.
No full textAuthor’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
