10 research outputs found
Recueil de faux-bourdons suivant l'édition de Reims et de Cambrai, et autres chants à l'usage des diocèses qui suivent la liturgie romaine, et du diocèse d'Arras en particulier...Nouvelle édition, revue, corrigée et considérablement augmentée
No full textFortune 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
Henry Brant et sa musique
Get PDFL’auteure nous invite dans l’univers de Henry Brant, grand pionnier de la musique spatialisée. Elle décrit quelques oeuvres aux dispositifs peu communs, comme cette Bran(d)t an de Amstel qui s’étend à travers la ville d’Amsterdam, et le compositeur explique sa démarche dans un entretien réalisé en 1994.The author invites us into the sound world of Henry Brant, the pioneer of spatialized music. She describes some of his works which make use of the unusual placement of musicians, like Bran(d)t an de Amstel which is performed over the entire city of Amsterdam, and the composer explains his approach in an interview conducted in 1994
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
Dom Pedro II e Wagner
No full textRESUMO
Com base na autobiografia de Wagner e na correspondência de Dom Pedro, o autor evoca a grande admiração do Imperador brasileiro em relação ao compositor alemão, tendo inclusive contribuído financeiramente para a construção do teatro de Bayreuth, dedicado exclusivamente à música de Wagner, e assistido à sua inauguração em companhia do Imperador da Alemanha. Descreve como Dom Pedro contribuiu indiretamente para a escolha do tema da ópera Tristão e Isolda e levou o compositor a começar a escrever essa obra, cuja estréia foi planejada para o Rio de Janeiro e dedicada ao Imperador brasileiro. Comenta os motivos que levaram Wagner a tal empreendimento e analisa os equívocos decorrentes das más condições de comunicação da época, bem como os fatores que impediram a visita de Wagner ao Brasil.
ABSTRACT
Dom Pedro II and Wagner. v. 19, n. 2, p. 215-232, jul./dez. 1991
Based on the autobiography of Wagner and the correspondence of Dom Pedro, the author evokes the great admiration that the Brazilian Emperor had for the German composer, including his having contributed financially to the construction of the Bayreuth which is dedicated exclusively to Wagner´s music, and having attended its inauguration in the company of the German Emperor. The author describes how Dom Pedro contributed indirectly to the thematic choice of the opera Tristão e Isolda, and led the composer to begin to write this work whose première was planned for Rio de Janeiro and dedicated to the Brazilian Emperor. The author comments on the motives which led Wagner to undertake such a project and analyses the errors caused by the precarious conditions of communication at the time, as well as the factors that impeded Wagner´s visit to Brazil.
RESUMÉ
D. Pedro et Wagner. v. 19, n. 2, p. 215-232, jul./dez. 1991
A partir de l’autobiographie de Wagner et la correspondence de D. Pedro II, l’auteur évoque la grande admiration que l’empereur brésilien nourissait pour le compositeur allemand. L’empereur a contribué financièrement pour la construction du théâtre de Bayreuth et à assisté à son inauguration en compagnie du musicien. L’article décrit également la manière comment D. Pedro II a contribué pour le choix du thème de l’opéra Tristã et Iseut, dont la première présentation a eu lieu à Rio de Janeiro et dédiée à l’empereur brésilien. L’article se ferme en montrant les raisons selon lesquelles Wagner n ´a pas visité le Brésil
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 textKarol Szymanowski’s King Roger, masterpiece of unified diversity
No full textLe Roi Roger, chef-d’oeuvre du compositeur polonais Karol Szymanowski (1882-1937), constitue une œuvre-clé pour le développement de son auteur. Situé dans la Sicile médiévale, théâtre de la confrontation de nombreuses civilisations (notamment grecque, byzantine, arabe et normande), l’opéra se veut mosaïque de cultures (interculturalité) et des sources artistiquement variées (pluridisciplinarité). Allant des Bacchantes d’Euripide jusqu’à la philosophie nietzschéenne et de la musique folklorique des Tatras au drame wagnérien, ce kaléidoscope de sources est articulé par quelques idées fondamentales. L’étude proposée considère l’opéra, selon les termes mêmes du compositeur, dans l’opposition binaire, entre d’« immenses contrastes et richesses » et de « mondes […] unis » par le biais de procédés d’intégration devant faire accéder cette mosaïque au statut d’Œuvre. La présente étude est une série d’éclairages, seul moyen de considérer l’opéra si complexe en entier. Confrontant les projets et le résultat, elle s’organise au rythme des oppositions, approchant différents domaines dans leur épaisseur (étude des sources variées) et leur rôle dans l’œuvre achevée.King Roger, a masterpiece of the Polish composer Karol Szymanowski (1882-1937) is a key-work to the development of his author. Taking place in the medieval Sicily, setting for the confrontation of many civilisations (in particular Greek, Byzantine, Arabic and Norman), the opera presents itself as a mosaic of cultures (interculturality) and of varied artistic sources (pluridisciplinarity). Extending from the Bacchae of Euripides to nietzschean philosophy and from the music of the Tatra Mountains to the wagnerian drama, this kaleidoscope of sources is articulated by a few fundamental ideas. The present study considers the opera, according to the words of the composer himself, in the binary opposition between « great contrasts and riches » and the « united worlds » by means of particular methods of integration which rise this mosaic to the status of a Work of Art.The present study gives a series of insights into the opera, the only way of considering a work of such complexity in its entirety. Confronting the projects and the result, it is organized by the rhythm of the oppositions in presence, approaching different arts by their multiple layers (through the study of varied sources) and their part in the final work
Pour une « écoute informée » de la musique contemporaine : quelques travaux récents
No full textL’une des raisons de l’actuelle difficulté d’accès à la musique contemporaine pour un large public est la quasi inexistence d’outils d’écoute contemporains, permettant une écoute dite « active » et non pas une simple consommation passive. L’auteur fait le bilan de l’un des projets allant dans cette direction, réalisé par l’équipe de recherche « Analyse des pratiques musicales » dont il est responsable à l’Ircam. Une étude approfondie, reliant analyse musicale et anthropologie cognitive, sur l’oeuvre Voi(rex) de Philippe Leroux aboutit à un DVD-Rom interactif comportant des documents hypermédia articulant esquisses, fichiers sonores, entrevues, animations, extraits de partitions, etc., et qui pose de différentes manières la question de la transmissibilité de l’écoute de son oeuvre par le compositeur. Ces « guides d’écoute contemporains », en proposant des resynthèses plus ou moins fines du travail compositionnel, ont pour vocation d’« informer » leurs lecteurs-auditeurs, c’est-à-dire à la fois de leur fournir des informations précises et d’in-former leur écoute.One of the reasons for the current accessibility-deficit of contemporary music for a large audience is the near inexistence of contemporary listening tools, which allow for active listening rather than mere passive consumption. The author outlines one of the projects undertaken by his research team "Analyse des pratiques musicales" at IRCAM, which goes in this direction. An in-depth study, uniting music analysis and cognitive anthropology, of the work Voi(rex) by Philippe Leroux resulted in the production of an interactive DVD-Rom containing hypermedia documents which include sketches, sound files, interviews, animations, score excerpts, etc. The theme of the possibility of transmission of the way a composer listens to his own work is thus explored. These 'contemporary listening guides', by offering re-syntheses of the composer's activity with varying degrees of complexity, aim to 'inform' their readers-listeners, i.e. both to supply precise information and to 'give form' to ways of listening
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
