Auswahl der wissenschaftlichen Literatur zum Thema „Quintettes“
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Zeitschriftenartikel zum Thema "Quintettes"
Costa, Adriana. „Tiger Rag na interpretação do Le Quintette du Hot Club de France: história, análise e práticas de performance“. Per Musi, Nr. 23 (Juni 2011): 82–88. http://dx.doi.org/10.1590/s1517-75992011000100009.
Der volle Inhalt der QuelleMarun, Nahim. „O modernismo no estilo musical tardio de Gabriel Fauré: aspectos estilísticos e formais do Primeiro Movimento do Deuxième Quintette pour Piano et Cordes Op.115“. Per Musi, Nr. 21 (2010): 34–42. http://dx.doi.org/10.1590/s1517-75992010000100005.
Der volle Inhalt der QuelleJohns, Donald, Alain Weber, Laszlo Dubrovay, Andre Ameller, Giovanni Zanetti, Ivan Jevtic und Yvonne Desportes. „Liminaire pour quintette de cuivres“. Notes 42, Nr. 3 (März 1986): 655. http://dx.doi.org/10.2307/897364.
Der volle Inhalt der QuelleO'Loughlin, Niall. „Wind Quintets“. Musical Times 126, Nr. 1714 (Dezember 1985): 738. http://dx.doi.org/10.2307/965213.
Der volle Inhalt der QuelleO'Loughlin, Niall. „Clarinet Quintets“. Musical Times 128, Nr. 1730 (April 1987): 214. http://dx.doi.org/10.2307/965437.
Der volle Inhalt der QuelleO'Loughlin, Niall. „Wind Quintets“. Musical Times 129, Nr. 1746 (August 1988): 411. http://dx.doi.org/10.2307/965984.
Der volle Inhalt der QuelleAnderson, Robert. „Quartets, Quintets“. Musical Times 126, Nr. 1706 (April 1985): 228. http://dx.doi.org/10.2307/962190.
Der volle Inhalt der QuelleO'Loughlin, Niall. „Modern Wind Quintets“. Musical Times 128, Nr. 1734 (August 1987): 443. http://dx.doi.org/10.2307/965020.
Der volle Inhalt der QuelleO'Loughlin, Niall. „Early Wind Quintets“. Musical Times 130, Nr. 1755 (Mai 1989): 288. http://dx.doi.org/10.2307/966329.
Der volle Inhalt der QuelleSwift, Richard G., und George Perle. „Complete Wind Quintets“. American Music 7, Nr. 2 (1989): 235. http://dx.doi.org/10.2307/3052219.
Der volle Inhalt der QuelleDissertationen zum Thema "Quintettes"
Chen, Han-Jin. „Les quintettes pour instruments à vent d'Antoine Reicha“. Paris 4, 1997. http://www.theses.fr/1997PA040326.
Der volle Inhalt der QuelleAntoine Reicha (1770-1836), composer, teacher and theorist, a naturalized French citizen, originated from Bohemia. After studying music with his uncle Joseph Reicha in the princely courts of Oettingen-Wallerstein in Swabia and Cologne in Bonn, where he was a friend and colleague of Beethoven, he moved first to Hamburg and then to Paris and Vienna to seek his fortune : he first turned to opera, but unsuccessfully. In 1808, he was in Paris where he settled permanently. He finally secured his reputation in Europe with his twenty-four woodwind quintets. Inherited from a tradition of emigration of musicians originating from bohemia, the eclectic character of Reicha's works was very European : through his teaching, treatises and compositions, he adapted German musical tradition to the expression of French instrumental music; this blending of German and French musical currents is embodied in his quintets in which he drew on German Harmoniemusik as well as on Viennese and Parisian chamber music. Moreover, Reicha took advantage of the rapid development of wind instruments and the growing virtuosity of wind instrument players at the beginning of the 19th century to promote his quintets which thereafter became the main genre of chamber music for woodwind
Shiraishi, Yuriko. „L'œuvre de chambre pour cordes et piano de Gabriel Fauré (quatuors, quintettes, trio) : essai de caractérisation de la dynamique formelle“. Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL179.
Der volle Inhalt der QuelleDespite the notoriety of Gabriel Fauré’s musical style, the particular style of his chamber music still remains difficult to comprehend by analysis. Formal construction is a real subject of question. While some analysts try to attest to his originality by examining how it departs from tradition, others offer analyses of the dynamic characteristic of its themes, whose continuous development leads to the realization of large form. The latter have so far relied on a limited corpus of works. This thesis proposes to expand the corpus to the five large chamber works for strings and piano - two Quartets op. 15 and 45, two Quintets op. 89 and 115 and the Trio op. 120 in order to define the “formal dynamics.” After the study of testimonies from the composer's time that highlights the formal originality in his work, the subsequent analysis deals with the internal arrangement of themes and the realization of large form from the study of scores. I conduct my analysis with the help of graphic representation created by a computer software that can visualize the enveloping dynamic and identify climaxes. By revealing the contents of this process, this thesis helps to better reflect the very personal style of Fauré and the way in which he creates music that gives the impression of continuous progression and development extending to the end of the work
Lotiron, Claire. „Le Quintette Instrumental de Paris et la pratique chambriste en France dans l'entre-deux guerres : carrière et répertoire (flûte, harpe et trio à cordes)“. Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL020.
Der volle Inhalt der QuelleIn 1922, the flutist René Le Roy had the idea of creating a chamber ensemble with an atypical combination of instruments (flute, harp and string trio) which recalls Debussy's Sonate pour flute, alto et harpe that he was particularly fond of. The Quintette Instrumental de Paris had a well-filled musical career until 1940, thanks to the dedication and rigour of its founder members: Marcel Grandjany, and then Pierre Jamet on the harp, René Bas on the violin, Pierre Grout on the viola and Roger Boulmé on the cello. The ensemble was disbanded during the war, when René le Roy left for America, and Roger Boulmé was killed in action. In 1944, the harpist Pierre Jamet re- formed the quintet, which now bears his name. When the group finally split up in 1958, the Pierre Jamet Quintet was given a new lease of life by Marie-Claire Jamet, Pierre Jamet's daughter, and her husband, the flutist Christian Lardé. This thesis, which focusses on the ensemble's first period of activity (1922-1940), sets out to examine how the group managed to get established and sustain its activity, even though it did not belong to any chamber music tradition and had no pre-existing repertoire. The players turned to contemporary composers in order to gradually enrich their repertoire. The first part sets out to reconstruct the musical trajectory of the ensemble, in the light of documentary evidence scarcely used until now., and to assess its place in the musical life of its time. The ensemble benefited from a favourable historical context for the practice of chamber music, and it attracted composers who were interested in the expressive potential of this new combination of instruments. The second part looks at the career strategies implemented by the ensemble itself to promote its activities in France and abroad. This provides an opportunity to reconsider the figure of the impresario who, like Marcel de Valmalète, exerted an ever-growing influence on French musical life. In this period of great geopolitical upheaval, the Association Française d'Action Artistique (A.F.A.A.), which promoted French music abroad, greatly encouraged the Quintet's career in Europe and America. This is perfectly illustrated by the two American tours in 1934 and 1935. Nadia Boulanger, who was close to René Le Roy and more particularly to Pierre Jamet, acted as an intermediary to facilitate the Quintet's introduction into the New York musical milieu. The concert programme, which had also been restructured, was based on the principle of alternating pieces for different sized groups, endeavouring to give pride of place to little-known pages from the Baroque repertoire and to present the latest works by contemporary composers.In order to assess the particular nature of the Quintet's interpretative repertoire, it is compared with that of other groups from the same period, in particular the Trio Cortot-Thibaud-Casals, the Trio Pasquier and the Quatuor Calvet, which were also popular at the time. Finally, the third part deals specifically with the aesthetics of the quintet as it progressed between 1923 and 1938, including some thirty works composed for the Quintette Instrumental de Paris. A more restricted corpus comprising the ten quintets which best exemplify their repertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero and Françaix) is the focus of an in-depth analysis of the writing and management of this particular combination of instruments. We can hereby tackle the questions of sound homogeneity, exploration of timbre and instrumental configuration
Miller, Alisha Leighanne. „Three Quintets by and for Heinrich Joseph Baermann“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245270690.
Der volle Inhalt der QuelleMoore, Duncan Michael. „Toppling failure in the Marmot Vertical Limb at Quintette Coal Ltd., Tumbler Ridge, British Columbia“. Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27943.
Der volle Inhalt der QuelleApplied Science, Faculty of
Mining Engineering, Keevil Institute of
Graduate
Drude, Matthias. „Quintett für zwei Trompeten, zwei Posaunen und Klavier (1988-89)“. Matthias Drude, 1989. https://slub.qucosa.de/id/qucosa%3A72922.
Der volle Inhalt der QuelleWinterbach, Veranza. „Stylistic characteristics of Gabriel Fauré's piano quartets and piano quintets“. Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7979.
Der volle Inhalt der QuelleGabriel Fauré has been neglected as composer in terms of international recognition. It is indeed true that the art of his music is not revealed at first sight: one must take time to discover the beauty and authentic meaning concealed in the depths thereof. While it is relatively true that musicians recognize the originality of his melodies, there seems to be a lack of appreciation of his contributions in the field of chamber music.
Westerman, Kirsten M. „A Forgotten Founder: Franz Danzi and His Nine Woodwind Quintets“. University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1495807087574502.
Der volle Inhalt der QuellePak, Moon-Chung. „Sonata form in the six quintets, opus 11, by Johann Christian Bach“. Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026704.
Der volle Inhalt der QuelleZajkowski, Roberta. „The Piano and Wind Quintets of Mozart and Beethoven: Reception and Relationship“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275422871.
Der volle Inhalt der QuelleBücher zum Thema "Quintettes"
Françaix, Jean. Dixtuor pour quintette à vent et quintette à cordes. Mainz: Schott, 2000.
Den vollen Inhalt der Quelle findenLurie, Toby. Quintets. Lewiston, N.Y: Mellen Poetry Press, 1993.
Den vollen Inhalt der Quelle findenJBX. Quintette en sols quinteux! [Allauch]: Clair de lune, 2011.
Den vollen Inhalt der Quelle findenSecrist-Schmedes, Barbera. Wind chamber music: Winds with piano and woodwind quintets : an annotated guide. Lanham, MD: Scarecrow Press, 1996.
Den vollen Inhalt der Quelle findenReicha, Anton. Woodwind quintets. Camas, Wash: Crystal Records, 2009.
Den vollen Inhalt der Quelle findenMontalbán, Manuel Vázquez. Quintetto di Buenos Aires. Milano: Feltrinelli, 2001.
Den vollen Inhalt der Quelle findenTavernier, Bertrand. Quintette au bord de l'Oise, Antoine Duhamel. Saint-Ouen-l'Aumône: Editions du Valhermeil, 2006.
Den vollen Inhalt der Quelle findenSecrist-Schmedes, Barbera. Wind chamber music: For two to sixteen winds : an annotated guide. Lanham, MD: Scarecrow Press, 2003.
Den vollen Inhalt der Quelle findenNicoletta, Zanardi, und Totaro Mariella, Hrsg. Quintetto italiano: Approccio tematico multimediale. 2. Aufl. Roma: Bonacci, 1991.
Den vollen Inhalt der Quelle findenAlain, Jehan. Sarabande pour orgue, quintette à cordes et timbales. Paris: A. Leduc, 1993.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Quintettes"
Teichner, Christoph. „Werkgruppe V.C: Kammermusik ohne Klavier: Quartette und Quintett mit Bläsern“. In Musik in Baden-Württemberg | Quellen und Studien, 205–16. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-662-62579-8_11.
Der volle Inhalt der QuelleKuchenbuch, Ludolf. „Opus, labor, ars, merces, servitium, ou un quintette sur le banc d’essai. À propos de la sémantique du « travail » dans la Schedula diversarum artium (vers 1122-1123)“. In Labeur, production et économie monastique dans l’Occident médiéval, 159–84. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.cem-eb.5.123779.
Der volle Inhalt der QuelleWhitman, Walt. „A Quintette“. In Specimen Days. Oxford University Press, 2023. http://dx.doi.org/10.1093/owc/9780198861386.003.0135.
Der volle Inhalt der Quelle„quintetto, n.“ In Oxford English Dictionary. 3. Aufl. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1064574141.
Der volle Inhalt der QuelleEberl, Anton. „Two Quintets“. In Recent Researches in the Music of the Classical Era, 91. A-R Editions, 2013. http://dx.doi.org/10.31022/c091.
Der volle Inhalt der Quelle„Les quintettes pour clarinette et quatuor à cordes en si bémol majeur, op. 89 et en fa majeur, op. 107 d’Antoine Reicha“. In Antoine Reicha, 269–86. Georg Olms Verlag, 2023. http://dx.doi.org/10.5771/9783487423586-269.
Der volle Inhalt der QuelleLachner, Franz. „Two Woodwind Quintets“. In Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, 39. A-R Editions, 2004. http://dx.doi.org/10.31022/n039.
Der volle Inhalt der QuelleBrod, Henri. „Three Woodwind Quintets“. In Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, 50. A-R Editions, 2008. http://dx.doi.org/10.31022/n050.
Der volle Inhalt der Quelle„Preliminary Material“. In Trio, Quartett, Quintett, 1–6. Wilhelm Fink Verlag, 2007. http://dx.doi.org/10.30965/9783846744352_001.
Der volle Inhalt der Quelle„Vorwort“. In Trio, Quartett, Quintett, 7. Wilhelm Fink Verlag, 2007. http://dx.doi.org/10.30965/9783846744352_002.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Quintettes"
Liu, Haoguang, Yixiang Sun, Yusong Liu, Siyun Huang, Zhuang Wu, Lisong Yan, Yiyang Luo, Qizhen Sun und Perry Ping Shum. „Full-field spectral-temporal analysis unveils isomeric dynamics of soliton quintet complexes“. In CLEO: Applications and Technology. Washington, D.C.: Optica Publishing Group, 2023. http://dx.doi.org/10.1364/cleo_at.2023.jth2a.123.
Der volle Inhalt der QuelleMylonas, Kostas. „Reducing Bias in Cross-Cultural Factor Analysis through a Statistical Technique for Metric Adjustment: Factor Solutions for Quintets and Quartets of Countries“. In International Association of Cross Cultural Psychology Congress. International Association for Cross-Cultural Psychology, 2009. http://dx.doi.org/10.4087/lshz1541.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Quintettes"
Mintz, K. J. The explosibility of three canadian coal dusts. Natural Resources Canada/CMSS/Information Management, 1989. http://dx.doi.org/10.4095/331786.
Der volle Inhalt der QuelleMikhail, M. W., A. I. A. Salama, N. E. Andersen, D. Woo und A. Fung. Performance evaluation of Quintette preparation plant. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/305316.
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