Dissertationen zum Thema „Musique religieuse – France – 18e siècle“
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Laurenti, Jean-Noël. „Valeurs morales et religieuses sur la scène de l'Académie royale de musique (1669-1737) : étude du Recueil général des opéras“. Paris 4, 2000. http://www.theses.fr/2000PA040104.
Der volle Inhalt der QuelleKrucker, Jérôme. „Sébastien de Brossard (1655-1730) et sa musique religieuse“. Paris 4, 1989. http://www.theses.fr/1989PA040303.
Der volle Inhalt der QuelleSébastien de Brossard's life is marqued by his entirely self-taught education and by the settlement, that he carried on untiringly, of an impressive series of scores and theoritical works, which he bequeathed to the king's library and which constitutes the most important funds of ancient music of the present Paris National Library. Sébastien de Brossard is the author of a famous dictionnary of music, and until recently, he was known only as a theorician. Still, his contemporaries and the succeeding generations also appreciated his religious music, which contents about sixty motets, described in the present study, Brossard's work thorough analysis shows that he tried to paint each word particularly; in doing that, he followed the italian influence under which he came strongly. Although Brossard's work is closer to the models of a recent past than to his contemporaries'. Some of his pages can bear the comparison with the king choir master's motets
Montagnier, Jean-Paul. „Charles-Hubert Gervais (1671-1744) : l'homme et son œuvre religieux“. Paris 4, 1995. http://www.theses.fr/1994PA040359.
Der volle Inhalt der QuelleCharles-Hubert Gervais (1671-1744) was surintendant of the music of duke Philippe II d'Orléans, and sous-maitre de musique of Louis XV's Chapelle Royale, along with Michel-Richard de Lalande, Nicolas Bernier and André Campra. Despite these two prestigious positions (which naturally lead one to suspect that his role in the history of French baroque music is particularly interesting), no studies have yet been devoted to his life and sacred music. Gervais made his musical debut at the Palais-Royal where the Italianate art was patronized by Philippe II d'Orléans, an ardent musical amateur and patron of the arts, who influenced not only the composer's career but more generally French musical history. While in his service (1671-1722), Gervais wrote several operas and an opera-ballet; Hypermnestre (1716) proved the most successful. His appointment as sous-maître in the Chapelle Royale of Louis XV (in January 1723) was a turning point: his attention shifted to sacred repertoires, as the position demanded. For the next 21 years, his output reflected the tastes of the court and fulfilled requirements for ceremonial music necessary to the grandeur of the monarchy. Finally, part I attempts to draw a picture of Gervais’s personality and relationship to other composers. Part II is devoted to an analysis of his church music. The grand motet was the most important genre at the Chapelle Royale. Gervais's contributions are significant and representative of his craftsmanship
Decobert, Laurence. „Henry du Mont (1610-1684), sous-maître de la chapelle de Louis XIV : contribution à l'histoire de la musique religieuse au Grand Siècle“. Paris 4, 1989. http://www.theses.fr/1989PA040120.
Der volle Inhalt der QuelleBiography of the composer (birth and youth in the diocese of Liege until 1640, Parisian racecourse as organist of saint-Paul’s church, and from 1660, at the court of Louis XIV), followed by an analysis of his 26 grands motets, including : description, dating, investigation of vocal and instrumental parts, structural and stylistic analysis, transcription of five grands motets
Mignogna, Francesca. „Écriture(s) et réécriture(s) dans l'œuvre pour les défunts de Pierre-Louis Pollio (1724-1796) : un exemple d'œuvre ouverte au XVIIIe siècle. Étude et édition critique“. Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL016.
Der volle Inhalt der QuellePierre-Louis Pollio (1724-1796) was maître de chapelle in various ecclesiastical establishments in France and the former Austrian Netherlands, including the cathedral of Saint-Pierre in Beauvais and the collegiate of Saint-Vincent in Soignies. Pollio's corpus of funereal compositions stands out for its exceptional quantity and diversity. In particular, his eight requiem masses make Pollio the composer with the largest number of such masses surviving. The richness and coherence of this corpus make it an object that sheds light on aspects of Ancien Régime funeral music that have yet to be fully explored. In this study, we seek to demonstrate the adaptive and functional character of this repertoire, through different angles of approach all stemming from the observation of sources carried out for the realization of the modern edition of Pollio's funereal corpus. By observing the way in which he appropriates musical elements inherited from tradition, and by analyzing the recasting operations carried out by Pollio on his own compositions, we highlight how his compositional choices are governed by the imperatives specific to the various liturgical occurrences. The result of these observations leads us to highlight a virtuality of the work that can be observed at different levels, particularly from a compositional point of view. The editorial issues raised by such a reading lead us, with the support of concepts aimed at dissociating the materiality of the text and document from the metaphysics of the work to the formulation of an editorial strategy that reflects and perpetuates the openness specific to this repertoire
Dubois, Paul-André. „Naissance et évolution de la musique religieuse en langue vernaculaire dans les missions amérindiennes de Nouvelle-France au cours de la première moitié du XVIIième siècle“. Master's thesis, Université Laval, 1996. http://hdl.handle.net/20.500.11794/28409.
Der volle Inhalt der QuelleDennery, Vaisman Anna. „La musique liturgique en l'abbaye de Saint Evroult d'après le Tropaire-prosaire ms. Paris, B. N. Lat. 10508“. Paris 4, 1987. http://www.theses.fr/1987PA040201.
Der volle Inhalt der QuelleThe manuscript listed as lat. 10508 in the Paris Bibliotheque Nationale, is made up of two different works bound together in one volume : 1) a cantatorium troper-proser, written for the use of saint Évroult abbey, in Normandy, dating from the early twelfth century, and 2) a musical treatise, from the same abbey, but very probably written at one of the foundations of saint Évroult in Italy, at about the same time. The historical and codicological survey of the manuscript is followed by an introduction to the proper of saint Évroult, which attests the presence of a few ancient liturgical forms that are gradually dying out. It enables us to observe uses peculiar to Normandy, particularly, concerning the introits. The following section is devoted to the genesis, development, and appearance in Normandy, and especially in abbey, of the tropes of ordinary and of sequentias. Analysis of their prosody shows that the Kírie eléison are not the result of laying a text under already existing melismas, as in the case with the sequentias. Rather they are a form of chant in which text and music were composed at the same time. The troper-sequentiary, of undoubted Norman origin, nevertheless contains chants from various other sources, for the works of the composers and poets of the North West make up only about one - third of saint Évroult repertory. The musical notations used in the manuscript run the gamut from neumes in campo aperto to guidonian notation, from alphabetical notation to the dasian. Additions show the evolution of notation on stave. A report on the interpretation, meaning, and liturgical use of the tropes and sequentias brings the survey to a close. It might just as well have been entitled: "musical and liturgical life at the saint Évroult abbey"
Mesplé, Pierre. „Les musiciens d’Église au XVIIIe siècle : acteurs, circulations, réseaux (diocèses de Blois, Chartres, Évreux, Orléans, Rouen)“. Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2023. http://www.theses.fr/2023UCFA0135.
Der volle Inhalt der QuelleThis research defines a social group, the musicians of cathedral and collegiate churches, in a circumscribed space (five dioceses, Blois, Chartres, Évreux, Orléans, Rouen) from the end of the 17th century to the Revolution. We will endeavor to identify their living conditions (by questioning in particular the notions of employment and itinerancy), but also the networks that they can form in relation to the canons who employ them and the rest of society. Finally, we will seek to describe and understand the place that society grants them in the functioning of worship
Noailly, Jean-Michel. „Claude Goudimel, Adrian Le Roy et les CL psaumes, Paris 1562-1567“. Saint-Etienne, 1988. http://www.theses.fr/1988STET2006.
Der volle Inhalt der QuelleThe late rediscovery (1983) of "Pseaumes de David. . . A quatre parties » par Cl. Goudimel. Nouvellement mis en tablature sur le Leut par Adrian Le Roy-Paris, Le Roy-Ballard, 1567" has enabled us to study the melodies of calvinist psalms in three aspects. Part I is a modal analysis of these melodies coming after a description of the stages of their composition. Part II deals with Claude Goudimel's activity, suggests a method to analyze harmonizations "nota contra nota" and applies it to those of psalms made by Goudimel. Part III presents printer-lute-player : Adrian Le Roy, psalms "set in tablatures" for the lute and the influence of Goudimel's harmonizations on Le Roy's tablatures. This study tackles problems of musical typography : mutual influences of printers while composing the 1562 monodic psalter ; Le Roy's role in page-setting the lute tablatures and the musical alterations entailed. Those reflections on typography are to be found in the form of appendices gathered in a second volume presenting also a list of musical characters used in Paris in the sixteenth century as well as part of the material in Le Roy and Ballard's workshop. Tables, indexes and documents related to the huguenot psalter, its harmonizations, both in four parts "nota contra notam" and for the lute, complete this volume. The third volume gives the modern transcription of Le Roy's psalms of 1567. The principles of transcription respect the norms of the "corpus des luthistes français"
Gribenski, Fanny. „L'église comme lieu de concert : pratiques musicales et usages de l'espace ecclésial dans les paroisses parisiennes (1830-1905)“. Paris, EHESS, 2015. http://www.theses.fr/2015EHES0131.
Der volle Inhalt der QuelleWhile numerous works have highlighted the central role of Paris in nineteenth-century French musical life, the history of some of its most important musical spaces remains relatively unknown. Marked by the topos of France's secularization at this time, the historiography about the period has tended to systematically ignore the importance of churches as spaces of musical innovation and practice. Throughout the century, the « musical celebrations » organized in both the wealthiest and the poorest parishes of the city counted amongst the most important events of the musical season. Some highlights of the parishes' calendar (main religious celebrations of the year, patron-saint feasts, devotional exercises, political ceremonies, organ inaugurations. . . ) provided opportunities for an exceptional "musicalization" of the sanctuaries. Based on the hiring of musicians and singers who were not themselves members of the parishes, these events—announced and commented on at length in local periodicals—attracted crowds of music lovers, even though they were almost always articulated with a liturgical action as well. At the crossroads of musicology, cultural and religious history, and sociology of space, this study shows how the mutations characterizing nineteenth century musical life were not only carried by the creation of new urban spaces dedicated specifically to the performance of music, but were also translated through the transformation of churches into ephemeral concert halls
Lueders, Kurt. „Alexandre Guilmant (1837-1911), organiste et compositeur“. [Paris] : [K. Lueders], 2002. http://catalogue.bnf.fr/ark:/12148/cb389853868.
Der volle Inhalt der QuelleCao, Hélène. „Le tropaire-prosaire de Nevers, XIIe et XIIIe siècles (Bibliothèque nationale de France, Nouv. Acq. Lat. 3126)“. Paris, EPHE, 2013. http://www.theses.fr/2013EPHE4013.
Der volle Inhalt der QuelleThe troper-proser BnF N. A. L. 3126 was prepared in the mid-twelfth century for the monastery St. Martin of Nevers which became an Augustinian house in 1143. Two quires were added in the thirteenth century, at the top and the back of the manuscript. Since it was discovered in a private collection in the 1950s, it has interested several scholars, for it comprises a substantial number of proses and troped Ordinary chants of the second epoch, as well as four pieces associated with Abelard. Its repertory attests to connections with many traditions (in particular the cathedral St. Cyr of Nevers, South-West of France, Cluny, East, Notre-Dame de Paris and Saint-Victor). Furthermore, it is the earliest witness to several pieces and the sole witness to some proses and tropes. Our dissertation approaches the manuscript from various points of view : codicological description, study of the musical notation and liturgical assignments, structure of the manuscript. The melodies are carefully studied, for they distinguish themselves by stylistic diversity, thanks to their musical structure, modal conceiving, techniques of melodic development, style and part of their ornaments. Pieces were transcribed and compared with the versions transmitted by eight manuscripts from Nevers’ cathedral, South-West and Paris. Secondary sources were also examined, in order to state precisely some details of analysis. The purpose is to define better the influences of those traditions on the St. Martin repertory and to observe how the Augustinians of Nevers have mastered them to work out their own creations
Buvron, Jean-Marcel. „Le renouveau musical dans les cathédrales en France de 1801 à 1860 - Le Mans -“. Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2003.
Der volle Inhalt der QuelleIn 1857, Joseph d’Ortigue saw that the music schools attached to French cathedrals in the first half of the 19th century could never play the part they had had for centuries, until they were closed in 1791. Though they were at first officially aided, all the cathedrals failed when they tried to revive their musical activity : the catholic church did not succeed in giving back to their celebrations the brilliance of music and song that had been theirs before the Revolution. Studying the Le Mans music school from 1801 to 1860 – it was « one of the first to be re-estblished and one of the most flourishing » –, this thesis analyses the main causes of this inevitable failure: the uncertainty of financial resources, the evolution of habits of thought as regarded religion, the incomplete training of the new generation of church musicians, as well as the changes in musical tastes. In the years 1830-1840, the liturgy and its music are hotly argued about by those in favour of an expressive music and those advocating a restoration of plain chant. The musical revival in cathedrals – notably in Le Mans – was eventually achieved only after a reform of the liturgy defining which music is most suitable for divine worship. With the return of the Roman liturgy and Gregorian chant, over fifty years were necessary for religious ceremonies to gain in coherency what they had lost in brilliance
Hennebelle, David. „Aristocratie, musique et musiciens à Paris au XVIIIe siècle“. Lille 3, 2006. http://www.theses.fr/2006LIL30026.
Der volle Inhalt der QuelleThe relationship which linked the aristocratic circle, music and musicians was the mainstructuring basis of the musical world during the Age of Enlightenment. Through various motives and aptitudes, wealthy aristocrats protected musicians. They would support private orchestras, accept dedications. They would contribute to extend the music market or would assert their musical tastes by frequently practissing music themselves. From praise music to avant-garde music, the aristocratic musical patronage enjoyed their Golden Age and directed the birth of specific forms of musical creations. As for musicians who were in the service of an aristocratic house, they would have various but still rather privileged statuses. As they were able to diversify their activities and their ways of life, and as they were very close to high social groups - which they could identify to, musicians contributed in building a complex image of their profession : they weren't submissive artist but neither were they emancipated artists
Realino, Umberto. „Un siècle de guitare en France, 1750-1850“. Paris 4, 1999. http://www.theses.fr/1999PA040093.
Der volle Inhalt der QuelleAzéma, Ludovic. „La politique religieuse du Parlement de Toulouse sous le règne de Louis XV“. Toulouse 1, 2008. http://www.theses.fr/2008TOU10052.
Der volle Inhalt der QuelleLefebvre, Dominique. „La musique dans le texte, France, 1660-1750“. Paris 3, 2003. http://www.theses.fr/2003PA030037.
Der volle Inhalt der QuelleThe ultimate objective of this work is to analyse how to put together a dissertation on the development of music in France since the classical period (with the creation of the opera) until the seventeen-fifties (period before the Querelle des Bouffons). This thesis is a study of the founding and development of aesthetics in musical appreciation of that period and its connection to aesthetics in literature and painting. The explosion of music and the beginning of criticism in music are examined as a social event and an object of historiography. Our study of music has been limited to opera and instrumental music. The texts which have been studied concern scientific and technical treatises of the Royal Academy of Sciences, theoretical works, works on aesthetics, private correspondance, dictionaries and some specialist publications on music
Maire, Catherine. „De la cause de Dieu à la cause de la Nation : le jansénisme au XVIIIe siècle“. Paris, EHESS, 1995. http://www.theses.fr/1995EHES0039.
Der volle Inhalt der QuelleThe thesis tries to identify the specificity of the hansenist movement in the XVIIIth century viewing in all its course, from the Unigenitus Bull in 1713 until the civilian constitution of the clergy in 1790, through the episode of the "convulsions" and parliamentary battles of the second half of the century. The leading thread of this story, the fundamental element which gives it unity is constituted by figurism. Figurism is a method of exegesis and theology of history the inspiration of which can be found at the root of all expressions and transformations of the movement. The thesis is organised in three books which correspond to the three key phases of the study. The first book is an analysis of the rebirth both doctrinal and organisational of the jansenist party caused by the Unigenitus Bull, particularly under the form of a clandestine bookshop. The second replaces the emerging of the movement of the convulsionaries from the angle of the figurist acculturation of the people of the faithful. The third book is an attempt, finally, to elucidate the enigma constituted by the political transfiguration of jansenism within the parliamentary battle after the crisis of the refusals of the sacraments. The first part in this process is hold by the figurist barrister and partisan of the convulsions Louis-Adrien La Paige, of whom we establish the omnipresent activity of "éminence grise". But figurist filiation does not stop there : it goes on until french revolution, where it can be seen at work during the debate on the civilian constitution of the clergy as much as in the attempt of rebuilding the constitutional church under the Directoire It is through it that jansenism has been able to shift from the defence of the "cause of God" to the defence of the "cause of the nation"
Testot, Xavier. „La musique dans les dictionnaires et les encyclopédies en France au XVIIIe siècle“. Paris 4, 1996. http://www.theses.fr/1996PA040285.
Der volle Inhalt der QuelleStudy of the position of music in lexicographical works and encyclopedias dated from the 18th century. Lexicological analysis of works and definitions from these books. Various approaches have been adopted to put forward the following facts and features: the semantic fields; the diachronic and synchronic dimension (original editions and the subsequent ones); the sources and quotations of collective or individual writings, anonymous or not. Four categories of written works have been chosen and are represented by following titles: 1- language dictionaries: the five first editions of the French academy dictionaries (1694, 1718, 1740, 1762 and 1798). 2 - the dictionnaire universel by Antoine Furetière and the six editions by the Jesuits from Trévoux (1704, 1721, 1732, 1743, 1752 and 1771). 3- encyclopaedias: the French encyclopedie by Diderot and d'Alembert; its supplement and the two volumes on music : l'encyclopédie méthodique - musique. 4- specialized dictionaries : the dictionary of music by S. De Brossard, J. J-. Rousseau and J. J. O. De Meude-Monpas. Various lexicons of music and other dictionaries (of language, sciences, etc. . )
Picaut, Claire. „Les Nouvelles poésies spirituelles et morales (1730-1737) : contribution à l'histoire de la musique spirituelle en France au XVIIIe siècle“. Paris, EPHE, 2012. http://www.theses.fr/2012EPHE4016.
Der volle Inhalt der QuelleThe eight books of the Nouvelles poésies spirituelles et morales were published in Paris by Guillaume Desprez, Jean Desessartz, Philippe-Nicolas Lottin and Guichard between 1730 and 1737. This collection of French spiritual parodies, set in music for voice and basso continuo, contains more than 400 pieces by more than 60 composers. It was a great success throughout the eighteenth century, as evidenced by the numerous reprints produced at the time. The first part of this study presents the corpus as a “book of music”. In addition to a material study of the songbooks and their various re-editions, we present the different actors involved in their composition and highlight their Jansenist commitment, as well as the links between publishers, poets and buyers of the corpus. The conception of the songbooks continues with an analysis of their characteristics, as highlighted in the attached catalog. This first part ends with a study of the dissemination and welcome reception of the works highlighted in the daily papers of the period. In the second part, we analyze the relationship between parodies and the parodied genres (operas, detached airs, cantatas and instrumental pieces) through the prism of associated composers, as well as the works, by trying to determine the publishers’ motivations
GARDES, SONG HYEJA. „Restitution et commentaire d'oeuvres dramatiques du fonds musical de la bibliothèque municipale de Lyon : échantillon du goût musical en France au XVIIIe siècle“. Lyon 2, 1993. http://www.theses.fr/1993LYO20029.
Der volle Inhalt der QuelleMaterial of this study is a choice of eight manuscripts of French dramatic music from the 18th century, preserved in the municipal library of Lyons : motets, cantatas, operas ("pastorale" , "pastorale heroique", "tragedie lyrique" , "ballet heroique"). Before each restoration (text and music), there is a biography of composers and librettists with a historical and literary analysis that also point out possible connexions with the freemasonery, abowe principal origins of texts and musics. A commentary on harmony, melody and rythm determines the caracters of these works and their place in the story of music. Thus, several different composers and writers, whose works had been forgotten till to-day, are brung to light. They represents a typical sample of baroque taste and art in France
Darras, Véronique. „La littérature pour violon au concert spirituel de 1725 à 1790 : étude et restitutions“. Lyon 2, 1991. http://www.theses.fr/1991LYO20076.
Der volle Inhalt der QuelleThe violin literature at the concert spirituel of Paris was remarkable for its large variety : from 1725 to 1790 violonists of different nationalities came to present to the parisian public works as duets, sonatas and concertos for violin, an instrument which was present, in solo, in nearly all concerts of concerts spirituel. This one was therefore the witness of the evolution of the violin repertoire during the eighteenth century, evolution which is distinguished by the forsaking of sonata and baroque style on belhalf of concerto and classic, even preromantic style, for exemple in Jean-Baptiste Viotti's works
Hamoury, Maud. „La peinture religieuse en Bretagne aux XVIIe et XVIIIe siècles“. Rennes 2, 2006. http://www.theses.fr/2006REN20010.
Der volle Inhalt der QuelleThe purpose of this thesis is to study Breton religious painting between the XVII and the XVIII centuries. Although the richness of Breton religious heritage is well known, little attention has been given so far to Breton religious painting during this period because of its alleged poorness. This thesis is divided into four sections. Each one will analyse in depth the following topics : First an analysis of the structures of patronage and artistic commissions. These range from choosing the artist, methods and techniques through to contracts and final payments. Next, this thesis look into the different centres of artistic production and the social and economic contexts in which the artists worked. Attention will also be given to the artist's place in society and his training. Then the examine of the painter's profession : analysis of task distribution within the workshop and of the painters' influence. Understanding of painter's technical ability and nature of his work through the study of sources, especially prints. Then lastly, this thesis surveys the amount and range of paintings. Appendix I: Catalogue of paintings in Brittany. Appendix II: Biographical artists dictionary
Duhamel, Jean-Marie. „Musique et sociabilité en France, de la Régence à la fin du règne de Louis XV : recherches sur l'histoire culturelle au siècle des lumières“. Lille 3, 1991. http://www.theses.fr/1991LIL30015.
Der volle Inhalt der QuelleIn the 18th century, music had a fundamental position in france. Present in all ancient regime society, especially in the heart of urban life, it was a driving element in social life, and in the evolution of thought. In the spirit of academies whose contemporaties and heirs they were, opera and concert societies, gradually opening to the public, start to revolutionize the whole of cultural life in the kingdom. As artistic places and social haunts, they quickly grew into genwine withesses or mirrors for an elite in search of its own identity. But, benind the polish of elegance and affected attitudes in social life, we discovered bitter quarrels and violent squables. From mid-century, music not only became a gamble, but also reveales the tensions and struggles that shook and disturbed the whole of society
Hild, Michel. „La Réception de la musique instrumentale allemande en France : 1760-1790“. Université Marc Bloch (Strasbourg) (1971-2008), 2003. http://www.theses.fr/2003STR20012.
Der volle Inhalt der QuelleIn the second half of the XVIIIth century, German instrumental music occupies a very important place in France. German compositions appeal above all for their originality. Progressively they are used as models by the French. The way in which both cultures (German and French) come together can be studied from the reception point of view, which gives the most important aspect to the musical facts. To assess the presence of German instrumental music in France, we will start by noting the perceptible traces in two fields in full expansion : concert and edition. But the public execution and edition are not the only factores explaining the success of these works. In fact the reception of German musicians and the promotion of works are organised by some germanophile circles, linked one to another. .
Granger, Sylvie. „Les Métiers de la musique en pays manceau et fléchois du XVIIe au XIXe siecle : 1661-1850“. Le Mans, 1997. http://www.theses.fr/1997LEMA0001.
Der volle Inhalt der QuelleA thousand professional or semi-professional musicians who practised within the boundaries of the present sarthe department between the middle of the seventeenth century and the middle of the nineteenth have emerged from a scrutiny of the archives (fiscal or administrative rolls, parish or register-office records, notaries minutes, capitular and municipal registers, newspapers. . . ). The first part endeavours to establish the place of the musicians in society. The study of their geographical and familial origins and of their matrimonial alliances shows that they differ widely and that their ranks were open to men of varied origin: over half those "men of music" were born outside the region studied, two-thirds have non-musician fathers, and ninety per cent marry outside musical circles. As a whole they seem to have been well integrated into their society and environment, with comparatively few friends inside the musical world. The study of their material lives through afterdeath inventories shows the group of musicians is neither homogeneous nor original in relation to the rest of society. The second part describes various aspects of their professional lives. We know little of the ways in which most of them were trained (inside the family or with an outside contract, army, travelling, a period in paris. . . ), except for those who went through one of the choir schools in le mans, the working of which it has been possible to reconstruct precisely. Music in the le mans churches is the subject of a detailed study, both for the ancien regime situation and the period of reconstruction following the concordat. A final chapter deals with the lessons given by the music - and dancing - masters, whom and what they taught, what fees they charged. . . On the whole the areas surrounding le mans and la fleche prove to have been open to outside influences and willing to adopt parisian fashions speedily
Crepin, Elisabeth. „"la vie paroissiale dans le royans aux 17e et 18e siecles pour une contribution a l'etude des sensibilites religieuses. "“. Grenoble 2, 1988. http://www.theses.fr/1988GRE29024.
Der volle Inhalt der QuelleThis thesis is the study of parochial history of the "royans" throughout two centuries. Benefitting from lessons drawn from religious sociology and serial analysis, i describe the history of the ecclesiastical action as well as that of the "chretien quelconque" taking into account the evolution of the faithful's attachment to religion between the 17th and the 18th centuries. The material and moral destruction which could be witnessed up to 1670-1680, which i depict, gave way to an era of reconstruction. Moreover the religious authorities made it a point to recapture the minds of the faithful aiming at imposing unanimity, conversion and adhesion. The aforementioned programme of action seemed to come to fulfilment between 1730 and 1750; the faithful seemed ripe enough. Nevertheless the analysis of their behaviour at the approach of thesacred, enables us to evaluate beyond an apparent conformism the lukewarmness which precedes hostility and anticlericalism, obvious about 1760. The setting of a pre-industrial production undoubtedly contributed to this evolution of the society while the religious fervour remains even after the revolution. We notice the internalization of religion and of religious feelings reveals a change in people's frame of minds. A study of people's religious consciousness in the 19th century should show that the effects of the catholic reform are postponed while religious militantism and political commitment come into conflict
Dinet, Dominique. „Réguliers et vie régionale dans les diocèses d'Auxerre, Langres et Dijon (fin 16e siècle - fin 18e siècle)“. Paris 1, 1996. http://www.theses.fr/1996PA010629.
Der volle Inhalt der QuelleConsiderable place of monks and muns (all the orders and congregations) in three dioceses of burgundy and champagne during the modern age (between 1598 and 1790) revealed by complex and multiple relations (legal, economical, social, cultural, religious. . . ) with the people and local authorities
Goujard, Philippe. „La vie religieuse dans les paroisses rurales de Haute-Normandie (1680-1789)“. Paris 1, 1990. http://www.theses.fr/1990PA010568.
Der volle Inhalt der QuelleIn this thesis I try to describe and explain how the counter reformation contributed to modify the social structure of rural high Normandy, between the 1680 and 1789. After having studied the material and moral conditions of the clerks - which were good - I show that the church tried to control the attitudes of the population by being satisfied with a summary religious observance this policy got a lot of consequences. First form of a diversified devotion appeared : the majority of population only went to mass and received the sacrements. Above all the church allowed to rural notables to take possession of authority in the parishes. This prevented the majority of population to control the parochial life. So church enforced social structure. This produced some difficulties. Particularly the notables looked for depriving priests of their temporal power. One of the main effects of catholic reform was to accelerate a process of separation between spiritual and temporal affairs and of laicisation of the attitudes
Galland, Caroline. „Pour le service de Dieu, du roi et du Bien public : l’apostolat des récollets en Nouvelle-France aux XVIIe et XVIIIe siècles“. Paris 10, 2008. http://www.theses.fr/2008PA100131.
Der volle Inhalt der QuelleThis study deals with the apostolate of the Recollet brothers in French then English America in the seventeenth and eighteenth centuries. The diversity of their fields of action as well as the change of priority they granted to each one in turn, makes for the most part the originality of their work. Through the apostolate, Franciscan identity is at stake; how do the brothers experiment their being Recollet in New France and cope with their new way of life ? The reform of the Recollet rule within the larger and stricter Franciscan Discipline, and its evolution in the colonial context, raise questions. The purpose of this study is thus to show the double movement at work in the history of the Recollets in New France: in what measure the identity of these reformed Franciscans allows us to understand their missionary work overseas – missionary work being taken in a large sense – and how, in the specific context of the colony, their mission in their various forms can in return influence the identity of the brothers ? This double movement – changing the world and being changed by the world – is at the roots of the Franciscan order. The history of the Recollets in New France clearly shows that dialectic. Though the brothers still wobble between the opening to the world and the reclusion into monastery life in the seventeenth century, a century later they are so opened to the world that a number of them have left the convent for the parish
Naudeix, Laura. „Dramaturgie de la tragédie en musique : 1673-1764“. Paris 4, 2001. http://www.theses.fr/2001PA040206.
Der volle Inhalt der QuelleThis thesis covers the entire production of 'Tragédies en musique', from Lully to Rameau. We expose formal and structural aspects of a complex dramatic genre, which can be observed from the text of the libretto. It indeed falls upon the poet to organize the performance : in a dramatic intrigue, he organizes the part played by the music, the dance and the scenery, according to a poetry based on classical aesthetics. .
Coronat-Faure, Raphaële. „Naissance de la critique musicale en France : 1750-1774“. Paris 8, 1999. http://www.theses.fr/1999PA081597.
Der volle Inhalt der QuelleHeintzen, Jean-François. „Musiques discrètes et société : les pratiques musicales des milieux populaires, à travers le regard de l'autorité, dans les provinces du centre de la France, XVIIIe-XIXe siècles“. Clermont-Ferrand 2, 2007. http://www.theses.fr/2007CLF20021.
Der volle Inhalt der QuellePottier, Laurence. „Le répertoire de la flûte à bec en France à l'époque baroque (musique profane)“. Paris 4, 1992. http://www.theses.fr/1992PA040181.
Der volle Inhalt der QuelleThe recorder is nowadays a very popular instrument, but its past is often unknown. This thesis study its history, its craftsmanship, its iconography and its repertory between its flourishing period in France (c. 1657-1745). It tries to explain how and why the recorder was pushed out of the picture during the XVIIIth century. A thematic catalogue, a catalogue of paintings and an unpublished method for the recorder from the end of the XIIth century are added to this study
Provost, Georges. „Le pèlerinage en Bretagne aux XVIIe etXVIIIe siècles“. Rennes 2, 1995. http://www.theses.fr/1995REN20001.
Der volle Inhalt der QuelleThis thesis examines the reality and the historical genesis of the picture created in the XIXth century of a brittany as " land of pardons " where pilgrimages presented totally specific characteristics. To this end, attention ws paid to the previous two centuries, studying the most varied documents (miracles, wills, chapel accounts, hospital records, monuments, oral tradition, local folklore). It shows that celtic culture undeniably stands out at the end of the middle ages to which the large number of chapels, holy springs, holy stones, the wide variety of the pigrim's rituals as well as a marginal situation compared with the usual routes of european pilgrimages (rome, st james of compostella) bear witness. But the counter-reformation, which made itself here from 1620 in the increasing number of spontaneous pilgrimages such as to Sainte-Anne d'Auray, also plays a decisive role in the birth of pardons as they appear in the XIXth century ; it renews their forms by briging in, through the use of indulgences, an extensive use of sacraments ; it further adds a spectacular festive element. This evolution, which is the opposite of that prevailing in the surrounding areas, lends more originality to the pardon at the the end of the xXVIIIth century and enables us to understand the forming of the stereotype which holds sway later
Seichepine, François. „Livres et cloîtres : les bibliothèques religieuses de Bourgogne au XVIIIe siècle“. Dijon, 2007. http://www.theses.fr/2007DIJOL034.
Der volle Inhalt der QuelleThat study shows the connection between monasteries and their libraries in Burgundy in the Eighteenth century. At first, we check the purchases, the preserving of books and estimate librarians’s aptitudes. Then, we are interested in valuables and understand the consequences of Revolution’s confiscations. The second part is primarily a statistical one. The book’s collections are listed according to their vocations and receptions of Mabillon’s project to reform studies. A lot of lists hand back their sizes and tittles. A third part shows the relations between religious libraries and French Enlightenment’s century. Legacies accross history and religion are expounded. A special part describes the impact of jansenistic controversy. Then we learn the ecclesiastics’s efforts of modernization and openmindedness for erudites, consumers, scientific news and philosophical writings. Finally, we check the balanced results of libraries’s state and take notice of their holders’s skills assessment
Serre, Solveig. „L'Académie royale de musique (1749-1790)“. Paris 1, 2006. http://www.theses.fr/2006PA010541.
Der volle Inhalt der QuelleDelvare, Anne. „Thomas-Louis Bourgeois (1676-1750/51) : contribution à l'histoire de la musique française dans la première moitié du XVIIIe siècle“. Poitiers, 2007. http://www.theses.fr/2007POIT5022.
Der volle Inhalt der QuelleThis thesis proposes as complete a biography as possible of the musician Thomas-Louis Bourgeois (1676-1750). The many facets of his career are explored (he was notably a “maître de chapelle”, singer, composer, “maître de musique”, professor and theatre director); his works are presented and analysed at once, so as to place them in the context of their creation (place, offices held by the musician, literary environment, patrons etc. ). The second volume consists in a reasoned catalogue of Bourgeois’ works, sorted following first musical genre, then chronological order. Preserved works as well as lost ones are included, printed editions as well as manuscripts. Each work, collection or fragment of work has been analysed according to the same criteria, among which the bibliographical description of the sources, the musical forces, some dating elements and the places where the copies can be found. We have added the edition of the grand motet Beatus vir
Geneste, Olivier. „Vie artistique et Réforme catholique en Périgord : mobilier et décors des XVIIe et XVIIIe siècles dans les églises de Dordogne“. Bordeaux 3, 2009. http://www.theses.fr/2009BOR30005.
Der volle Inhalt der QuelleThe subject of this thesis is to study the artistic life in the dioceses of Périgueux and Sarlat during the Ancien Regime, through the production of church furniture, in the context of the Catholic Reformation. It is therefore possible to understand the specific role of every social group in the restoration of the sanctuaries and in the different processes to order pieces of art. The documentation coming from the local archives provides us a lot of information about many artists and craftsmen who worked in the construction of altarpieces and tabernacles during this period, raising questions about the modes of production, structure and functioning of the workshops, but also the professional status of the provincial masters at a time when the concepts of art and craft are taking different ways. On the other hand, the study of the relations with major urban centers around, such as Bordeaux or Toulouse, and the mobility of artists working in Périgord, help us to determine the place of this province in the “artistic geography” of France. The analysis of forms and styles, and their evolution throughout the seventeenth and eighteenth centuries, based on a catalog of works preserved in the churches of Dordogne, highlights the influence of engraved models on the local productions. This asks the question of the own ability of creation of these artists and how, on the basis of images and forms used as models, each of them develops its own manner, with a surprising talent for interpretation. Finally, the comparison between productions visible in Périgord and the regions of the south-west and the centre of France, such as Limousin, Auvergne and Quercy, leads to the identification of common characteristics, both in the initiation and development of a “baroque art”, certainly local but whose authors have not ignored the great European art
Vernet, Thomas. „"Que leurs plaisirs ne finissent jamais" : spectacles de cour, divertissements et mécénat musical du Grand Siècle aux Lumières : l'exemple des princes de Bourbon-Conti“. Paris, EPHE, 2010. http://www.theses.fr/2010EPHE4036.
Der volle Inhalt der QuelleSince the early twentieth century, the interest of the French aristocracy in the musical life has ceased to hold the attention of music historians. But the historiography on the subject based mainly on research around a personality or clamped between chronological boundaries close. Our project was different because it was to be a comprehensive look at more than two centuries of family history of the princes of Conti, and question their taste and artistic practices. We have tried to highlight, from literary sources, musical and pictorial material that provided this broad summary, the continued interest of these princes malcontents for visual art but also for dance, theater and music, the arts, which were likely to meet the requirement imposed by their magnificence row to establish their legitimacy, but also to satisfy their passion and curiosity. Inspired by the monarchical model, the patronage of Conti participated in the movement for emancipation of progressive elites from Versailles to Paris and helps to qualify the traditionally assumed dichotomy between these two poles of creation. Beyond the family environment is thus the evolution of musical patronage of the aristocracy in the seventeenth and eighteenth centuries it has been allowed to approach. Let us hope that this study will arise and disappear artistic heritage family can contribute to a better definition of "climate sensitivity" and would better understand the place occupied by music and the arts in the elite culture in the modern era
Charles, Olivier. „Les nobles dignités, chanoines et chapitres de Bretagne : chanoines et chapitres cathédraux de Bretagne au siècle des Lumières“. Rennes 2, 2002. http://books.openedition.org/pur/17414.
Der volle Inhalt der Quelle@At the heart of a well-documented secular Breton clergy, the 752 Canons of the nine Breton cathedrals of the Age of the Enlightenment, remain very much in the shadows. For, situated between the bishops and rectors, they led independent careers, as more than half of them occupied only on benefice : that of Canon. For the most part Breton, priests, university graduates and descended from the upper classes, they formed relatively homogenous chapters. Being clerics modelled by the rigours of Tridentine law, they carried out their duties in a serious manner. The Canons, who belonged to the poorer chapters of the kingdom, contributed towards the modernization of the Breton towns of the 18th century. Indeed, even if the revenues incurred by their holdings only guaranteed them a modest income, they gradually adopted the habits of the elite town-dwellers as far as housing, comfort and consumption were concerned. Their intellectual culture in itself bears by no means oblivious to changes taking place in the world in which they lived
Servant, Isabelle. „Les Transformations de la temporalité dans les pièces pour clavecin en France à l'époque baroque (1660-1750)“. Aix-Marseille 1, 1994. http://www.theses.fr/1994AIX10076.
Der volle Inhalt der QuelleMartin, Marie-Pauline. „Juger des arts en musicien : un aspect de la pensée artistique du siècle des Lumières en France (1741-1803)“. Paris 1, 2006. http://www.theses.fr/2006PA010708.
Der volle Inhalt der QuelleMaurange, Xavier. „L' épiscopat bordelais à l'époque de Louis XV : la poursuite de la Réforme catholique à l'épreuve des Lumières (1719-1781)“. Bordeaux 3, 2011. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2011BOR30069.
Der volle Inhalt der QuelleAfter a first period of catholic Reformation in Bordeaux epitomized through a vivid spiritual breath and great archbishops, catholic Reformation was challenged by Bordeaux commercial development and by the uprising of philosophers' ideas. At that time, four great archbishops (Argenson, Maniban, Lussan, Rohan) proved to be respectful to their episcopal duties. Moreover, they shew how much they werre in charge of continuing catholic Reformation. Through years, they acquired a sharp knowledge of these new challenges - rising incredulity, growth of Protestantism, wealth and decay in the city. They kept up with a strong action all through the eighteenth century and particularly during the period from 1730 to 1769
Guth, Jean-Georges. „Les protestants de strasbourg, sous la monarchie francaise : de 1681 a la veille de la revolution : une communaute religieuse distincte ?“ Université Marc Bloch (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR20050.
Der volle Inhalt der QuelleAfter strasbourg was attached to france, the protestant community suffered at the hands of both the royal and catholic authorities who wanted to curb their freedom of conscience which had been guaranteed by the capitulation of 1681. Resistance manifested itself first of all demographically. Numbers stagnated but immigration was a constant phenomenon which was greater in some parishes (temple-neuf, st. Nicolas) than in others (st. Thomas, ste aurelie) this compensated for sporadic but genuine emigration under religious grounds, especially between 1681 and 1697. After 1770, this movement, coinciding with a rise in the birthrate, led to a renewal of the lutherian community. Intermixing between the native and immigrant population was greater than that between the various socio-legal categories of the town. Intermarriage was a characteristic of the parishes on the outskirts of the town where the social and professional structure was specific (market-gardeners in the parish of ste aurelie, boatmen and gardeners in the parish of st. Guillaume). Resistance to dogma especially between 1682 and 1688 was also to be observed, where lutherian theologians had to react to the jesuit onslaught. Observance of a well defined doctrine, repression of any deviation to the doctrine, for example, the pietists, resistance to the enlightened ("lumieres"). Orthodoxy was perpetuated in the church in strasbourg far longer than anywhere else. The supervisory body of the church was reliable thus preventing any challenge to the rules governing the faith. The "oberkirchenpfleger" (representing the doctors of the church and effectively in charge of the church) and the "kirchenpfleger" (secular commissioners in charge of the parishes) controlled beliefs, the lives of the faithful, and kept a close watch on the pastoral body which was recruited locally among cultivated and disciplined people. They overshadowed the "convent ecclesiastique" (the ecclesiastic assemblies). Religious practice is genuine, delinquency is uncommon, and there are no illegitimate births. On the other hand, the lutherians are wary of the reformed church, hardly tolerating their members and obliging them to practise their religion in wolfisheim. Although mixed marriages between lutherians and members of the reformed church are allowed, the children must be brought up in the lutherian faith. Conversions to catholicism are
Poyer, Alex. „Devenir curé dans le diocèse du Mans au dix-huitième siècle“. Rennes 2, 1986. http://www.theses.fr/1986REN20007.
Der volle Inhalt der QuelleFirst, the study of the conditions which lead to the orders, from tonsure to priesthood, shows a good observance of the statutes. Then the attendance at school from primary school to divinity classes in seminaries or universities is evoked. The quantification of the recruitment leads to a mitigated evaluation: the diocese provides for itself during the whole period but with an unfavourable evolution (fall of 35 percent). The geography of the recruitment leads to the same mitigated inference: two ecclesiastical "reservoirs" (city of Le Mans and deanery of Domfront) are opposed to ecclesiastical "deserts" in the south west and above all in the south east. The clergy originated in towns is always preponderant. There is no increase in the rural recruitment. The social origins of the secular clergy have nothing exceptional for the eighteenth century: large proportion of merchants' sons, lower proportion in peasantry, coming in of people belonging to lower social categories (sons of artisans, small peasants and day labourers) in the place of the notables. After the priesthood, that not even a quarter of the tonsured reach, the "cure" is difficult to gain: around 1780, the best period, only half of the priests succeed. The probationary period is of about ten years for the "elus", who during that time occupy minor charges such as chaplains, "habitués" or "vicarious" for most of them. The priests born in Le Mans, the graduates, the "prieurs-cures" are favoured: they are appointed faster and more often. The social origin has an influence but not systematically, because the very intricate benefice system allows avoiding this drawback, through permutation and resignation, which are more and more used. At last the clergy is very mobile because of the high percentage of young clerics going away for their studies, the great distance between the place of birth
Valois, Pascal. „Les guitaristes français entre 1770 et 1830 : pratiques d'exécution et catalogue des méthodes“. Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26743/26743.pdf.
Der volle Inhalt der QuelleRoffidal-Motte, Émilie. „Un siècle de sculpture et de mobilier religieux: les églises marseillaises et aixoises au XVIIIe siècle“. Paris 4, 2004. http://www.theses.fr/2004PA040050.
Der volle Inhalt der QuelleThis thesis adresses the questions concerning the history of sculpture and form wythin the clear geographic and temporel framework of Marseille and Aix during the XVIIIth century. The works examine primerily the principal aspects of the commission, thereby determining the legal obligations, the types of needs of the clients. The frequent search for funds by way of loans,financial investements, exchanges , loteries and especially the intervention of municipalities, influences the uniquness of the creation of each work. As in the discussion of commission, the study of the various means of fundraising , help to clarify the relationship between the different participants as well as the status of the artist, wether a woodworker, sculptor, marble-worker or architect, all while influencing the process of the creation (drawing, model, final work). The definition of their artistic mediums allows the viewer to clarify the transference of the information and the mechanisms, as well as to draw the displacement of the formation, and the work practices, towards the new organisations (school, académy), that renew and expand the existing relationships amongst the sculptors. The study of the materials, the forms and the selected location reveals the internal reasoning of the works as well as the consistency in wich the works are represented. While regarding the theological and aesthetic aspects, this thesis equally allows to determine the attempt of reorganization of ecclesial space as well as the produced responses
Garnier-Butel, Michelle. „Les quatuors à cordes publiés en France dans la seconde moitié du XVIIIe siècle“. Paris 4, 1992. http://www.theses.fr/1992PA040073.
Der volle Inhalt der QuelleIn order to revive the string quartet in France, a much appreciated genre during the second half of the age of enlightment, two projects have been carried out. Firstly a thematic catalogue of the literature of the genre published between 1750 and 1800 by forty-nine publishers, together with sixteen composers who published their own work. This catalogue allows an assessment of the quantitative importance and an evaluation of the musical interest of that literature inspired by the works of one hundred and ninety three composers. (cf. Repertoire thematique, vol. II, III, IV, V, and documents, vol. VII). The second project consists in a historical study centered on the musical milieu of the aristocratic salons, the various European schools, the prominent composers, the publishing activity and repertoire of the time. (cf. Etude historique, vol. I ; annexes, vol. VI ; partitions reconstituees, vol. VIII). The conclusions prove the existence and specificity of a string quartet French school, whose influence was to favor a growing appreciation of instrumental music on the eve of romanticism. They also lead to an understanding of the mutually enriching influences of the diverse European schools published in France, which participated in the shaping of an international style. Therefore, does the string quartet in France during the second half of the age of enlightment correspond to a French or a to a cosmopolitan art?
Krumenacker, Yves. „Les protestants du Poitou au XVIIIe siècle (1681-1789)“. Paris 1, 1993. http://www.theses.fr/1993PA010612.
Der volle Inhalt der QuelleFollowing a brief introduction to the geography of the area and to the reofrmation during the 16th and 17th centuries, this piece of work presents : detailed study of the years 1681-1685 ; the policy of persecution from 1686 to 1789, and the coming of religious tolerance. Catholic attemps to convert protestants are also presented. A demographic study shaws that the majority of the population remained protestant. Regular worship was successfully established by 1730, whereas churches were re-established from around 1739. Doctrine was propogated via schools, religious instruction, books, prayers, and sermons. God was presented as severe, demanding conversion, but forgiving his choses ones. An evolution towards a more sanctimonious religion, possibly influenced by pietism. Protestant identity is noticable by analysis of population trends (non observance of catholic practices e. G. Marriage and child-conception); in anti-catholic stories of persecutions: provocative attitudes (desecrations) : the (partial) use of old testatment Christian names; and the greater literacy of protestants. On the whole, the co-existence of the two communities remained peaceful - a common culture united the Poitevins the application of the edict of tolerance in 1788 especially satisfied the richer sections of the population (bourgeois, ploughmen)