3,051 research outputs found
Portfolio of recorded performances and exegesis: Messiaen’s musical language for the jazz pianist - an exploration through performance.
Get PDFMoving beyond Gunther Schuller’s Third Stream amalgamation of classical and jazz, this study explores whether the musical language of Olivier Messiaen can make a valid contribution to jazz piano performance. Initially, my project sought to answer such questions as: What elements of the musical language of Messiaen already exist in the jazz vocabulary? Am I able to extend this further? What are the timbral structures and pianistic effects within Messiaen’s musical language? What will be the most effective application of Messiaen’s musical language to jazz piano performance? Endeavouring to answer the final question led me to consider such aspects as whether the project should be limited to quoting Messiaen motifs, arranging Messiaen melodies, replacing jazz harmonic structures on standards with examples from Messiaen’s musical language or whether it would be better to approach the research conceptually. The work of Hubert Nuss provided encouraging reassurance that this was not an impossible task. In order to articulate this conception, the initial challenge was to decide how the classical and jazz worlds might meet in a ‘Messiaen’ technique. The approach adopted was similar to that used for undergraduate jazz study, namely, immersion in the piano scores and recordings of Messiaen’s music as well as by live performances. This was followed by the development and assessment of a contrived approach when specific techniques, such as tonal colourings or harmonic structures, were developed through prepared exercises and consciously included in my performance. It was then compared with an intuitive approach when no such precise parameters were established. This submission consists of CD recordings of two public recitals and an exegesis. It documents the development of this Messiaen technique and discusses its application in my performances. It also demonstrates the ways that Messiaen’s musical language can be used within jazz piano performance to provide a colour that distinguishes jazz piano performance in a competitive field.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 201
In memoriam Laure Beaumont-Maillet (1947-2016)
No full textLaure Beaumont-Maillet (1947-2016) Née le 4 mars 1947 à Clichy (Hauts-de-Seine), Laure Beaumont-Maillet a intégré l’Ecole nationale des Chartes en juin 1966 à un âge où généralement on entre à peine en classe préparatoire. À la précocité intellectuelle elle a d’emblée joint un esprit très brillant. À l’issue de sa scolarité en juin 1970, elle a soutenu une thèse consacrée au grand Couvent des Cordeliers de Paris, thèse qui a été signalée au ministre de l’Éducation nationale. Cet intérêt p..
Investigating Street Art in Latin America. Interview with Olivier Dabène
No full textcontribution à un site webPolitical scientist Olivier Dabène is the author of Street Art and Democracy in Latin America, published by Palgrave Macmillan. The author presents the results of a several year long project in several cities of Latin America, during which he investigated and questioned the relation between street art and (local) democracy. Olivier Dabène has accepted to answer our questions and present his book. Interview by Miriam Perier, CERI
Décès de Laure Beaumont-Maillet, directrice honoraire du département des Estampes et de la photographie
No full textNous avons appris avec beaucoup de tristesse le décès de Laure Beaumont-Maillet, qui a dirigé le département des Estampes et de la photographie de 1983 à 2006. Archiviste paléographe de formation, au cours de sa carrière elle a beaucoup œuvré pour la valorisation des collections du département en particulier pour le passage au catalogage informatisé puis à la mise en ligne des images. Elle a été commissaire de nombreuses expositions. Nous regrettons aujourd’hui une forte personnalité, une fe..
Décès de Laure Beaumont-Maillet, directrice honoraire du département des Estampes et de la photographie
No full textNous avons appris avec beaucoup de tristesse le décès de Laure Beaumont-Maillet, qui a dirigé le département des Estampes et de la photographie de 1983 à 2006. Archiviste paléographe de formation, au cours de sa carrière elle a beaucoup œuvré pour la valorisation des collections du département en particulier pour le passage au catalogage informatisé puis à la mise en ligne des images. Elle a été commissaire de nombreuses expositions. Nous regrettons aujourd’hui une forte personnalité, une fem..
sj-docx-1-aln-10.1177_11771801221146787 – Supplemental material for Cultural safety involves new professional roles: a rapid review of interventions in Australia, the United States, Canada and New Zealand
No full textSupplemental material, sj-docx-1-aln-10.1177_11771801221146787 for Cultural safety involves new professional roles: a rapid review of interventions in Australia, the United States, Canada and New Zealand by Marie-Claude Tremblay, Geneviève Olivier-D’Avignon, Laurence Garceau, Sandro Échaquan, Christopher Fletcher, Anne-Marie Leclerc, Marie-Eve Poitras, Eniko Neashish, Lara Maillet and Jean-Sébastien Paquette in AlterNative: An International Journal of Indigenous Peoples</p
sj-docx-2-aln-10.1177_11771801221146787 – Supplemental material for Cultural safety involves new professional roles: a rapid review of interventions in Australia, the United States, Canada and New Zealand
No full textSupplemental material, sj-docx-2-aln-10.1177_11771801221146787 for Cultural safety involves new professional roles: a rapid review of interventions in Australia, the United States, Canada and New Zealand by Marie-Claude Tremblay, Geneviève Olivier-D’Avignon, Laurence Garceau, Sandro Échaquan, Christopher Fletcher, Anne-Marie Leclerc, Marie-Eve Poitras, Eniko Neashish, Lara Maillet and Jean-Sébastien Paquette in AlterNative: An International Journal of Indigenous Peoples</p
Crisis and Revolution in Economic Theory and Policy: A Debate
No full textThe following is the transcript of a debate, entitled ‘Pensare un’alternativa’ (Thinking of an Alternative), between Olivier Blanchard, former Chief Economist of the International Monetary Fund and a leading exponent of mainstream macroeconomics, and Emiliano Brancaccio, author of the book Anti-Blanchard and advocate of ‘The Economists’ Warning’ against European deflationary policies. The debate examines, from two different theoretical perspectives, the global great recession, the Eurozone crisis, the effects of austerity and deflation, increased social inequality, and political conflict. It took place at the Giangiacomo Feltrinelli Foundation in Milan, Italy, on 19 December 2018, and was moderated by the journalist Pietro Raitano
'Auteur Shakespeare': Laurence Olivier
No full textThe article appears in a special issue Shakespeare and the Auteurs.The article discusses the films: Henry V. 1944. Dir. Laurence Olivier. United Kingdom. Two Cities Films;Hamlet. 1948. Dir. Laurence Olivier. United Kingdom. Two Cities Films;Richard III. 1955. Dir. Laurence Olivier. United Kingdom. London Film Productions.In lieu of an abstract, here is a brief excerpt of the content:In 1948 Laurence Olivier claimed that he could make a Shakespeare film “just as Shakespeare himself, were he living now, might make it” (Foreword 3). This statement refers specifically to the 1948 Hamlet but the connection between Olivier and Shakespeare is frequently evoked, too, in relation to Olivier’s other cinematic adaptations: Henry V (1944), Richard III (1955), and the unmade Macbeth. In this statement, Olivier asks us to read his own stylistic signature as constituting the equivalent of Shakespeare’s should the author be transmogrified into what would be later designated the cinematic auteur. Yet, appearing in the context of a foreword justifying the supposed liberties taken with Shakespeare’s play-text, it also stresses difference. In negotiating difference through sameness, Olivier’s justification of his “interpretation” of Hamlet ultimately asserts that Olivier’s visual stamp on the film is both analogous to Shakespeare’s imagined cinematic signature and specific to Olivier himself
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