11 research outputs found
Au Pays jaune ! Aventure chinoise, paroles de G. Guibourg et G. Delatray, musique de W. Stoltz
No full textSuits of the most celebrated lessons, collected and, fitted to the harpsichord or spinnet by Mr W. Babell, with variety of passages by the author
No full textTitre uniforme : Babell, William (1690?-1723). Compositeur. [Suits of the most celebrated lessons. Clavecin ou épinette]Appartient à l’ensemble documentaire : RISMImpClavecin, Musique de -- +* 1700......- 1799......+:18e siècle
Dans la Musique ! Paroles de Georges Guibourg et André Danerty, musique de G. Delatrey et W. Stoltz
No full text
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
Le compositeur au théâtre : la symbiose de la musique et du drame (part III)
No full textThe article, in essence a corollary to previously published articles on play production, puts particular emphasis on the musical setting and its author.
The analysis of play production demonstrates that music, though secondary to speech, has a vital role to play in theater. This, in turn, imposes specific demands on the music director, which are necessary in order to allow for an efficient cooperation with other artists involved in the production: the director, the composer, the stage designer and the choreographer. This is followed by a discussion of issues related to performance and to possible modifications introduced to the play after its premiere, as well as to psychological and artistic phenomena apparent at that stage. The issue of cooperation between distinct groups involved in play production is given particular attention. A closer look at the roles played by the conductor and the music director in a drama theater allows to determine that their work indeed demands a high degree of professional aptitude in the musical, psychological and educational domains, as well as strong interpersonal and adaptive skills. It can, however, also prove to be an extremely rewarding endeavor, providing an outlet for artistic expression and a vehicle for ideas, as well as stimulating personal, intellectual and artistic development. The article discusses the limitations inherent in the process of music production in theater, but primarily emphasizes the benefits, such as, notably, the emergence of a new artistic value, which come from the symbiosis between the two domains of endeavor.D’après le sujet commencé dans les tomes précédents sur la formation du spectacle théâtral, l’auteur de l’article met un accent particulier sur la mise en musique et son auteur. L’analyse du processus de la formation du spectacle montre que la musique, bien que secondaire par rapport à la parole, a un rôle significatif dans le théâtre. Cela, à son tour, impose à la personne responsable de la musique, des exigences spécifiques, qui sont nécessaires afin de permettre une coopération efficace avec d’autres personnes impliquées dans la production: le réalisateur, le compositeur,
le scénographe et le chorégraphe. Cette partie est suivie par une discussion des questions liées à la performance et aux modifications éventuelles, apportées au spectacle après la première, ainsi que les phénomènes psychologiques et artistiques apparus à cette étape
de travail. Nous allons y trouver aussi la question de la coopération entre les différents groupes impliqués dans la production du spectacle. D’une attention particulière. L’analyse de plus près du devoir qui est devant le chef d’orchestre et en même temps directeur musical dans un théâtre de drame, permet de déterminer en effet que ce travail exige un degré élevé d’aptitude professionnelle dans la musique et de solides habiletés interpersonnelles et d’adaptation. Ce travail donne également la possibilité de développer des capacités d’expression artistique, ainsi que la stimulation personnelle, intellectuelle et artistique. L’auteur de l’article discute les limitations inhérentes au processus de la production musicale dans le théâtre, mais aussi il met l’accent sur les avantages qui viennent de la symbiose entre la musique et le théâtre - la parution d’une nouvelle valeur artistique
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
Fictional and real music in Thomas Mann’s Doctor Faustus
No full textLe Docteur Faustus est un roman de Thomas Mann racontant l’histoire d’un compositeur fictif, Adrian Leverkhühn, né la même année qu’Alban Berg et dont la trajectoire est fortement inspirée de la biographie de Nietzsche. La rédaction du livre débute durant Seconde guerre mondiale, alors que de nombreux intellectuels opposés au régime nazi sont en exil. Certains d’entre eux, comme Mann et Adorno, choisiront la Californie et s’y rencontreront fréquemment. Partant du constat que l’auteur du roman s’est appuyé sur de nombreux écrits du philosophe et compositeur Theodor W. Adorno et sur leurs nombreux échanges, la thèse s’intéresse aux œuvres réelles fictives décrites dans le roman ; elles sont lues au prisme de la pensée musicale d’Adorno pour mettre en lumière l’articulation entre les écrits musicaux et la fiction. L’étude s’ouvre sur l’analyse d’une œuvre charnière du roman, particulièrement détaillée dans celui-ci : la Sonate Opus 111 de Beethoven. Elle sert de point de départ pour analyser la manière dont apparaissent les idées musicales d’Adorno, lequel aura consacré toute sa vie à penser la musique de Beethoven, et leur impact sur la vie et l’œuvre d’Adrian Leverkühn. Alors que les écrits musicaux les plus importants d’Adorno, tels que Alban Berg, le maître de la transition infime ou Mahler, une physionomie musicale, sont encore à venir, il apparaît que certaines idées du philosophe commençaient déjà à émerger, notamment dans l’œuvre majeure de Leverkühn, Le chant de douleur du Docteur Faustus, imaginée à la demande de Thomas Mann ; la dernière partie de la thèse y est consacrée.Doctor Faustus is a novel by Thomas Mann about a fictional composer, Adrian Leverkhühn, born in the same year as Alban Berg and whose life story is strongly inspired by Nietzsche's biography. The book writing was started during the Second World War, when many German intellectuals opposed to the Nazi regime were in exile. Some of them, Mann and Adorno among others, chose California (USA) where they frequently met. Considering that the author of the novel grounded on number of philosopher and composer Theodor Adorno’s writings and on their many exchanges, the thesis looks into the fictional and real works described in the novel ; it is observed through the prism of Adorno's musical thought in order to analyze the articulation between musical writings and fiction. The study opens with an analysis of a pivot opus, particularly detailed in the novel: Beethoven's Sonata Op. 111. It serves as a starting point for analyzing the way in which emerged Adorno's musical ideas, he who devoted his entire life to thinking about Beethoven's music, and their impact on the Adrian Leverkhühn's life and works. While Adorno's most important writings, such as Alban Berg: Master of the Smallest Link or Mahler: A Musical physiognomy, are still to come, it appears that some of the philosopher's ideas were already beginning to show, particularly in Leverkühn's major work: The lamentation of Doctor Faustus imagined at Thomas Mann's request. The final part of the thesis is devoted to this opus
Les œuvres musicales fictives ou réelles dans Le Docteur Faustus de Thomas Mann : approche adornienne du répertoire d'Adrian Leverkühn
No full textDoctor Faustus is a novel by Thomas Mann about a fictional composer, Adrian Leverkhühn, born in the same year as Alban Berg and whose life story is strongly inspired by Nietzsche's biography. The book writing was started during the Second World War, when many German intellectuals opposed to the Nazi regime were in exile. Some of them, Mann and Adorno among others, chose California (USA) where they frequently met. Considering that the author of the novel grounded on number of philosopher and composer Theodor Adorno’s writings and on their many exchanges, the thesis looks into the fictional and real works described in the novel ; it is observed through the prism of Adorno's musical thought in order to analyze the articulation between musical writings and fiction. The study opens with an analysis of a pivot opus, particularly detailed in the novel: Beethoven's Sonata Op. 111. It serves as a starting point for analyzing the way in which emerged Adorno's musical ideas, he who devoted his entire life to thinking about Beethoven's music, and their impact on the Adrian Leverkhühn's life and works. While Adorno's most important writings, such as Alban Berg: Master of the Smallest Link or Mahler: A Musical physiognomy, are still to come, it appears that some of the philosopher's ideas were already beginning to show, particularly in Leverkühn's major work: The lamentation of Doctor Faustus imagined at Thomas Mann's request. The final part of the thesis is devoted to this opus.Le Docteur Faustus est un roman de Thomas Mann racontant l’histoire d’un compositeur fictif, Adrian Leverkhühn, né la même année qu’Alban Berg et dont la trajectoire est fortement inspirée de la biographie de Nietzsche. La rédaction du livre débute durant Seconde guerre mondiale, alors que de nombreux intellectuels opposés au régime nazi sont en exil. Certains d’entre eux, comme Mann et Adorno, choisiront la Californie et s’y rencontreront fréquemment. Partant du constat que l’auteur du roman s’est appuyé sur de nombreux écrits du philosophe et compositeur Theodor W. Adorno et sur leurs nombreux échanges, la thèse s’intéresse aux œuvres réelles fictives décrites dans le roman ; elles sont lues au prisme de la pensée musicale d’Adorno pour mettre en lumière l’articulation entre les écrits musicaux et la fiction. L’étude s’ouvre sur l’analyse d’une œuvre charnière du roman, particulièrement détaillée dans celui-ci : la Sonate Opus 111 de Beethoven. Elle sert de point de départ pour analyser la manière dont apparaissent les idées musicales d’Adorno, lequel aura consacré toute sa vie à penser la musique de Beethoven, et leur impact sur la vie et l’œuvre d’Adrian Leverkühn. Alors que les écrits musicaux les plus importants d’Adorno, tels que Alban Berg, le maître de la transition infime ou Mahler, une physionomie musicale, sont encore à venir, il apparaît que certaines idées du philosophe commençaient déjà à émerger, notamment dans l’œuvre majeure de Leverkühn, Le chant de douleur du Docteur Faustus, imaginée à la demande de Thomas Mann ; la dernière partie de la thèse y est consacrée
