Dissertations / Theses: 'Berlioz'

7

Lensky, Miriam. "Characterization in the dramatic works of Hector Berlioz." Thesis, Wetherby : The British thesis service, 1997. http://catalogue.bnf.fr/ark:/12148/cb38861415g.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Rutherford, Sherry D., and Sherry D. Rutherford. "The Literary Influence on the Compositions of Hector Berlioz." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/626227.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Loisel, Gaëlle. "La Musique au défi du drame : Berlioz et Shakespeare." Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0747.

Full text

Abstract:

Dès 1770, Shakespeare est érigé en modèle par les artistes partisans d’une rupture avec l’esthétique classique, jusqu’à devenir une figure tutélaire des romantismes européens, en littérature comme en musique. Hector Berlioz, fondateur du romantisme musical français, est un cas emblématique de ce geste romantique qui consiste à s’emparer d’une figure littéraire pour bousculer les catégories esthétiques existantes et renouveler les formes musicales. Le dramaturge anglais est une référence constante dans son œuvre, depuis sa découverte de Shakespeare en 1827 jusqu’à son dernier opéra, Béatrice et Bénédict en 1862, adapté de la comédie Much ado about nothing. Berlioz s’inspire de Shakespeare tant dans ses œuvres musicales que dans ses écrits critiques et autobiographiques, où les références à l’auteur anglais sont multiples. La relation que l’œuvre de Berlioz entretient avec celle du dramaturge pose à la fois des questions de réception et de transferts culturels, et le problème du passage d’un système sémiotique à un autre. Elle invite tout d’abord à s’interroger sur le processus d’appropriation d’une œuvre littéraire par un compositeur et ses enjeux théoriques, et à situer sa démarche dans le cadre plus vaste de la réception européenne de Shakespeare au tournant du xixe siècle. La référence au dramaturge dans l’œuvre de Berlioz intervient plus précisément dans le cadre de l’élaboration d’une esthétique du sublime, comme le montre l’étude des rapports entre texte et musique. Il apparaît alors que le « système shakespearien » nourrit les réflexions du compositeur sur les formes et les genres musicaux As early as 1770, Shakespeare is set up as a model by the artists who consider it necessary to break away from classical aesthetics. His name is so high that he becomes a figurehead for the various forms of European romanticisms, in literature as well as in music. As the founder of the French musical romanticism, Hector Berlioz embodies the romantic approach which consists in seizing a literary figure to discard the existing aesthetical categories and thus bring about new musical forms. Right from 1827, the year the musician discovers Shakespeare, until his last opera in 1862, Béatrice et Bénédict, adapted from the comedy Much ado about nothing, Berlioz widely draws his inspiration from the English playwright and constantly refers to him in his musical, critical and even autobiographical works. The issues raised by this close relationship are threefold : the way Shakespeare’s plays were received, the problem of cultural transfer and the shift from one semiotics to another. First of all it brings forth questions about the process which leads a composer to make a literary works his own and the theoretical aspects at stake. Also, this relationship makes it necessary to see how Berlioz’s approach fits in with the way Europe received Shakespeare at the turn of the 19th century, in so far as the reference to the playwright takes place at a time when a new aesthetics of the sublime is in progress, as shows our study of the relationship between text and music. It so appears that the “Shakespearean system” enriches the composer’s reflexions on musical forms and genres

APA, Harvard, Vancouver, ISO, and other styles

10

Bartoli, Jean-Pierre. "L'Oeuvre symphonique de Berlioz : forme et principes de développement." Paris 4, 1991. http://www.theses.fr/1991PA040024.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

PERL, BENJAMIN. "L'orchestre dans les operas de berlioz et de ses contemporains." Université Marc Bloch (Strasbourg) (1971-2008), 1989. http://www.theses.fr/1989STR20032.

Full text

Abstract:

La these presente les particularites de la pratique orchestrale de berlioz dans ses trois operas, benvenuto cellini, les troyens et beatrice et benedict, vue dans le contexte de la production d'operas contemporaine de berlioz et immediatement precedente (oeuvres de weber, spontini, meyerbeer, halevy et du premier wagner). Dans sa 1ere partie la these cherche a definir le role de l'orchestre dans un opera en general, en etablissant des categories specifiques, sous lesquelles on peut capter les differentes fonctions d'un accompagnement orchestral d'un drame lyrique. Dans la 2eme partie l'utilisation de l'orchestre dans les oeuvres est analysee par instruments et groupes d'instruments. La these cherche a etablir le caractere special du langage orchestral berliozien, comme il s'exprime dans une oeuvre theatrale, en constatant un certain desequilibre entre une orchestration hautement variee, souple et imaginative, et une forme et pratique vocale archaisantes et parfois rigides, ce desequilibre expliquant en partie l'echec durable des operas de berlioz, figurant par leur valeur musicale parmi ses chefs-d'oeuvres The thesis presents the characteristics of berlioz' orchestration in his three operas, benvenuto cellini, the trojans and beatrice and benedict, in the context of contemporary operatic production (operas by weber, spontini, meyerbeer, halevy and early wagner). The first part of the thesis aims at defining the role of the orchestra in an opera, generally speaking, setting up specific categories by which the different functions of orchestral accompaniment to an opera may be captured. In the second part the employment of the orchestra in the operas is analysed, classified by instruments and groups of instruments. The thesis intends to outline the distinctive traits of berlioz' orchestral language as used in his theatrical works. A certain disproportion comes to light, between a most elaborate, flexible and imaginative orchestration and rather outdated and rigid forms and vocal usage. This disproportion may serve partly as an explanation for the lasting failure of berlioz' operas on stage, though by musical standards they may be regarded as masterpieces

APA, Harvard, Vancouver, ISO, and other styles

12

Jubault, Geoffrey. "Les éléments autobiographiques dans "La Damnation de Faust" d'Hector Berlioz." Thesis, Nancy 2, 2011. http://www.theses.fr/2011NAN21032.

Full text

Abstract:

La Damnation de Faust d'Hector Berlioz est une oeuvre inclassable parmi les genres musicaux usuels. A mi-chemin entre la pièce de concert et l'opéra, elle est inspirée du Faust de Goethe (dans la traduction de Nerval), mais semble-t-il également, de la vie du compositeur. Cette thèse décrit le processus de composition et met en lumière les éléments autobiographiques. Ces derniers ont été divisés en deux catégories. La première catégorie explore les éléments autobiographiques supposés, à savoir les anecdotes des Mémoires et de la correspondance concordant avec le scénario de La Damnation, l'analogie de certains personnages réels avec ceux du livret et enfin, les influences musicales et littéraires que le compositeur a pu recevoir. La seconde regroupe les éléments autobiographiques avérés englobant la réutilisation de certaines compositions du jeune Berlioz, l'application des préceptes du traité et leur insertion dans La Damnation Hector Berlioz's Damnation of Faust cannot be classified among the usual musical genres. Halfway between the piece of concert and the opera, it is not only inspired by Goethe's Faust (translated by Nerval), but apparently also, by the composer's life. This thesis describes the composition process and highlights the autobiographical elements. These were divided into two categories. The first category investigates the supposedly autobiographical elements, namely the anecdotes of Berlioz's memoirs and correspondence consistent with the synopsis of the Damnation, the analogy of some genuine persons with those of the libretto and finally, the musical and literary influences the composer may have received. The second category regroups the proven autobiographical elements, including the reuse of some of his early compositions, the application of the precepts of the treaty and their integration into La Damnation

APA, Harvard, Vancouver, ISO, and other styles

13

Gonnard, Henri. "La modalité harmonique en France de Berlioz à Debussy (1850-1918)." Lyon 2, 1988. http://www.theses.fr/1988LYO20005.

Full text

Abstract:

Cette thèse donne successivement lieu à une étude externe puis interne de la modalité harmonique. L'étude externe commence par situer le contexte historique dans lequel ce langage a pris place, puis procède à l'examen systématique des écrits -des théoriciens et des compositeurs- qui l'ont entouré et qui ont pu le susciter. Il ressort que quatre grands jalons se détachent, à des titres différents et complémentaires, l'intérêt du premier et du dernier se situant surtout au plan technique, celui du deuxième et du troisième au plan de la diffusion de l'idée modale : le traité théorique et pratique de l'accompagnement du plain-chant, de d'Ortigue et Niedermeyer (1857), la conférence sur la modalité dans la musique grecque, de Bourgault-Ducoudray (1878), les mélodies grégoriennes de Dom Pothier (1880) et le traité de l'accompagnement modal des psaumes de Maurice Emmanuel (1913). L'étude interne analyse les oeuvres musicales concernees. Il s'en dégage que, de Berlioz à Debussy, la modalité harmonique présente deux grandes étapes -qui ne doivent pas être interprétées dans une perspective exclusivement chronologique : dans un premier temps, elle cherche à se démarquer de la tonalité en supprimant l'attraction sensible tonique ; mais, simultanément, la dominante tonale est toujours exploitée. Cette "premiere" modalité se définit donc essentiellement en "négatif" puisqu'elle s'oppose à la tonalité tout en n'en restant tributaire. Dans un deuxieme temps, elle obeit a des lois qui sont d'abord fonction des modes utilises, sans rejeter pour autant le principe de hierarchi- sation harmonique propre a la tonalite. Les oeuvres relevant de cette modalite "classique" nous conduisent à proposer l'emploi nouveau de la notion de "sensible et dominante harmonico-modales", ce critère d'analyse nous paraissant saisir à la fois la continuité dans laquelle s'inscrit ce langage et son irréductibilite à la modalité ancienne d'une part et la tonalité de l'autre An external study then an internal study of the harmonic modality are successicely to be found in this essay. The external study first sets the historical background in which this language has taken place, then proceeds to a thorough survey of the writing by the theoreticians and the composers that have surrounded it and that may have initiated it. It comes out first that four main landmarks stand out together different and complementary, the interest of the first one and the last one being of a technical type, that of the second and the third one being more related to the spreading of the "modal idea" : the traite theorique et pratique de l'accompagnement du plain-chant, by d'ortigue and niedermeyer (1857), the conference sur la modalite dans la musique grecque, by bourgault-ducoudray (1878), les melodies gregoriennes by dom pothier (1880) and the traite de l'accompagnement modal des psaumes by maurice emmanuel (1913). The internal study analyses the musical works concerned. It comes clear that, from berlioz to debussy, the harmonic modality presents two main steps -which are not to be read in an exclusively chronological outlook : first it tries to free itself from the tonality by suppressing the attraction "sensible"* tonic ; but simultaneously, the tonal dominant keeps being used. This "first" modality therefore defines itself essentially "negatively" since it opposes the tonality while remaining dependent upon it. In a second step, it obeys laws which are in the first place contingent upon the modes used without rejecting the principle of hierarchical system appropriate to the tonality. The works related to that "classical" modality leads us to advance the new use of the notion of "sensible et dominante harmonicomodales", this criterion seeming grosping both the continuity in which this language is planed and its irreducibility to the old modality on one hand and to the tonality on the other. (*) seventh note

APA, Harvard, Vancouver, ISO, and other styles

14

Gonnard, Henri. "La Modalité harmonique en France de Berlioz à Debussy, 1850-1918." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37614007z.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Heidlberger, Frank. "Carl Maria von Weber und Hector Berlioz : Studien zur französischen Weber-Rezeption /." Tutzing : H. Schneider, 1994. http://catalogue.bnf.fr/ark:/12148/cb356978465.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Lamotte, Frédéric-Georges. "Hector Berlioz : son activité de feuilletoniste au Journal des Débats et sa position dans la société parisienne (1834-1863)." Paris 1, 1999. http://www.theses.fr/1999PA010656.

Full text

Abstract:

La collaboration de Berlioz au journal des débats constitue le facteur essentiel de sa renommée auprès de ses contemporains. Après avoir découvert le journalisme à travers une collaboration à de nombreuses publications, le musicien intègre en 1834 le quotidien des Bertin. Son approche originale de la critique musicale lui permet alors de développer des concepts esthétiques à caractère normatif, définissant le bon goût absolu. De plus, le feuilletonisme se présente comme un élément de socialisation favorisant souvent son maintien au sein de son milieu et servant aisément de bouc émissaire aux nombreux échecs que rencontre notre musicien. Ainsi, tandis que le journalisme assure un certain niveau de vie à Berlioz (du fait de sa collusion avec les facteurs d'instruments et les éditeurs), il sert aussi d'excuse à une faiblesse sociale (difficulté à obtenir une fonction officielle, a être élu à l'institut) ou à des difficulées récurrentes dans la composition. Enfin, cette activité permet à Berlioz de contrôler les diverses représentations de son personnage. Faisant oublier son incapacité à jouer du piano ou du violon (à cause d'une syndactylie à la main gauche), le feuilletoniste se fabrique au journal une image de virtuose de la critique et de la direction d'orchestre, tout en s'appliquant à opposer la dereliction du journaliste et l'hyperesthesie du compositeur. Le feuilleton berliozien se présente comme une production transcendant les limites du travail journalistique et offrant à son auteur la possibilité de créer une image de lui-même conforme à celle dont il rêve, et que l'expérience acquise aux débats lui donne les moyens d'imposer à la posterité.

APA, Harvard, Vancouver, ISO, and other styles

17

Carenco, Céline. "L'influence des transcriptions d'œuvres d'Hector Berlioz sur l'écriture orchestrale de Franz Liszt." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2199.

Full text

Abstract:

L’objet de cette thèse est l’étude de la musique de Franz Liszt de 1830 à 1850 environ. Il s’agit de comprendre comment le musicien, qui garde Paris comme principal port d’attache de décembre 1823 à avril 1844, élabore peu à peu, lors de ses années d’apprentissage au cœur de la révolution romantique, une écriture orchestrale qu’il mettra en pratique à partir de 1848 à Weimar. En effet, pendant cette période parisienne, Liszt transcrit pour le piano de nombreuses partitions d’orchestre : il est probable qu’en plus de l’encourager à révolutionner l’écriture pianistique, et ainsi à inventer le piano moderne, cet exercice lui permet d’acquérir une certaine connaissance de l’écriture orchestrale de son temps. Ce postulat prend tout son sens lorsqu’on observe que parmi les auteurs que Liszt transcrit le plus et en premier se trouve Berlioz, habituellement considéré comme l’inventeur de l’orchestre moderne.L’approche adoptée s’inscrit dans deux champs de la musicologie traditionnelle, l’analyse et l’histoire, et dans une branche plus récente de la discipline, les études génétiques. Il est effectivement nécessaire de replacer tout d’abord chaque transcription dans son contexte, pour évaluer l’influence des réécritures lisztiennes d’œuvres de Berlioz sur l’élaboration de sa propre écriture orchestrale. Par ailleurs, le point de vue se place du côté de la création : l’analyse d’une grande quantité d’esquisses et de brouillons donne des informations sur la manière dont Liszt aboutit à l’écriture orchestrale qui est la sienne dans la décennie 1850, au cours de laquelle il produit la majeure partie de ses œuvres symphoniques The object of the present thesis is Franz Liszt’s production from the years 1830-1850. Liszt is mostly based in Paris between December 1823 and April 1844 and during this training at the very heart of the Romantic revolution, he gradually develops a writing style for his orchestral pieces that he will put into practice in Weimar after 1848. During these Parisian years, Liszt writes many piano arrangements of orchestral scores, and here we propose that it provided the basis for his revolution of piano music, but also made him quite familiar with the orchestral writing of his time. It is indeed of particular significance that Berlioz – often considered the father of modern orchestra – is one of the composers Liszt transcribed most often, from very early on.We use two complementary approaches from the field of musicology, traditional historical analysis and more recent techniques of sketch studies. To understand if and how Liszt’s rewritings of Berlioz’ work influenced his own orchestral style we first studied each arrangement in its context. We then focused on the genesis of these pieces by analysing a great amount of sketches and drafts in order to shed light on the maturation process that led to Liszt’s fully-fledged orchestral style from the 1850’s (the decade in which he produced most his symphonic works)

APA, Harvard, Vancouver, ISO, and other styles

18

Shomo, Michael F. "An Aesthetic of Eccentricity: A Narrative Analysis of Two Early Berlioz Overtures." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1447955824.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Syreishchikova, Anastasiia. "Les voyages d’Hector Berlioz en Russie : histoire d’un dialogue musical franco-russe (1833-1869)." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP040.

Full text

Abstract:

Hector Berlioz (1803-1869) a effectué deux séries de concerts en Russie (en 1847 et 1867-1868, à Moscou et Saint-Pétersbourg). Le compositeur français lui-même considérait ces tournées comme les plus grands triomphes de sa carrière. Cette image d’un accueil massivement positif de Berlioz en Russie, fondée principalement sur les témoignages du compositeur lui-même, reste encore peu étudiée car les sources russes sont difficilement accessibles. La présente thèse a donc pour objectif de reconstituer l’histoire des relations entre Berlioz et la Russie, du vivant du compositeur, pour mieux comprendre les raisons de son succès. Grâce à des documents conservés dans les archives russes et jusqu’alors inédits – des articles de presse, des affiches, des dossiers administratifs, de la correspondance (dont trois nouvelles lettres de Berlioz) – nous présentons un récit plus nuancé des rapports entre Berlioz et la Russie. Ce travail est présenté sous trois angles : 1. La réception critique de Berlioz par la presse russe (environ 360 articles, publiés entre 1833 et 1869) et le rôle de cette dernière dans la formation de l’image de Berlioz ; 2. La pratique d’exécution des œuvres de Berlioz en Russie, aussi bien lors de ses visites qu’en son absence (y compris de nouveaux détails sur l’organisation de ses tournées) ; 3. Les contacts de Berlioz avec différents musiciens russes, comme M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov et M. Balakirev ; la dédicace de la Symphonie fantastique au tsar Nicolas Ier ; les arrangements par Berlioz de deux œuvres de D. Bortnânskij. Cette étude permet de mieux comprendre les relations artistiques entre la France et la Russie au XIXe siècle, mais également l’importance de Berlioz pour la culture et la musique russes French composer Hector Berlioz (1803-1869) organized two series of concerts in Russia (in 1847 and 1867-1868, in both Moscow and St. Petersburg). The musician himself considered these tours as the greatest triumphs of his career. This image of a massively positive reception of Berlioz in Russia – based primarily on his own accounts – has been little studied due to the inaccessibility of Russian sources. The goal of the present thesis is therefore to reconstruct the history of the relationship between Berlioz and Russia during the composer's lifetime, in order to better understand the reasons for his success. Drawing on unpublished documents from the Russian archives – press, posters, administrative files, correspondence (including three new letters from Berlioz) – we present a more nuanced account of the relationship between Berlioz and Russia. This theme is approached from three perspectives: 1. The critical reception of Berlioz in the Russian press (about 360 articles, published between 1833 and 1869) and the role of the press in the formation of Berlioz's image; 2. The performance of Berlioz's works in Russia, both during his visits and in his absence (with new details about the organization of his concert tours); 3. Berlioz's contacts with several Russian musicians, including M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov and M. Balakirev; his dedication of the Symphonie fantastique to tsar Nicholas I; his arrangements of two works by D. Bortnanskij. This study helps to better understand artistic relations between France and Russia in the 19th century, but also Berlioz's importance for Russian culture and music

APA, Harvard, Vancouver, ISO, and other styles

20

Thomas, Christopher Buerkle. "Antonín Reicha's Missa Pro Defunctis and the Nineteenth-Century Concert Requiem." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/203482.

Full text

Abstract:

Missa pro defunctis (1802-1808) by Antonín Reicha (1770-1836) is a unique work. Situated in time and in style between the monumental requiem settings of Mozart and Berlioz, it establishes the concert requiem as a sub-genre of requiem composition. Missa pro defunctis incorporates attributes from both liturgical and concertized genres and co-exists within both church and dramatic composition realms. As seen in his copious theory writings, Reicha’s ideas concerning melody, harmony, counterpoint, fugue, and dramatic composition inform his compositional preferences. In this study I demonstrate how a modern performance of Antonín Reicha's Missa pro defunctis can be informed by consideration of his major theoretical writings, by an understanding of the nineteenth-century concert requiem sub-genre, and by other writings on nineteenth-century performance practice. In producing an historically informed performance of Missa pro defunctis, I analyzed the four major theoretical treatises by Reicha for content, and relevancy, to the Requiem. I next analyzed the Missa pro defunctis itself in light of these treatises. I discovered that the work sometimes aligns with Reicha’s theoretical writings and sometimes departs from their principles, in large part, because of the inherent contradiction resulting when a sacred text is set in a dramatic fashion. I further incorporated conclusions about the implications for performance revealed through the study of Reicha’s theoretical writings and my own experience in preparing the work for performance. It is my hope that this recently published nineteenth-century work will receive more frequent performance than has been the case since its composition. This study contains resources to provide conductors a means of producing a performance that is in consonance with Reicha’s philosophies as a theorist and composer.

APA, Harvard, Vancouver, ISO, and other styles

21

Valenti, Paolo <1977&gt. "Formazione e pratica del pensiero orchestrale di Hector Berlioz. Caratteri poetici e strategie del suono." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6722/4/valenti_paolo_tesi.pdf.

Full text

Abstract:

Lo scopo della dissertazione “Formazione e pratica del pensiero orchestrale di Hector Berlioz. Caratteri poetici e strategie del suono” è quello di indagare i tratti essenziali del pensiero di Berlioz in merito all’orchestra riprendendo in considerazione gli elementi della sua educazione giovanile. In particolare, le nozioni ricavate dai suoi insegnanti di composizione Le Sueur e Reicha e dai corsi di medicina brevemente frequentati a Parigi sono indagate con approccio rinnovato, alla luce di nuovi filoni di studio indagati dalla musicologia negli anni più recenti. Sono analizzate anche le recensioni di Berlioz, alla ricerca di elementi che aiutino a comprendere la sua musica con le argomentazioni destinate a quella altrui. È analizzato anche il percorso della trattatistica che da un iniziale approccio di tipo pratico tipico del XVIII secolo, giunge con il trattato di Berlioz a una forte connotazione poetica delle risorse strumentali e orchestrali. Nella seconda parte della dissertazione sono analizzate invece alcune opere di Berlioz e alcune questioni generali concernenti il suo modo di scrivere per l’orchestra, specialmente in relazione ad altri parametri musicali. Nella dissertazione notevole attenzione è data al rapporto fra questioni tecniche e poetiche, proponendo un approccio leggermente rinnovato. The purpose of the dissertation “Development and practice of Hector Berlioz’s orchestral thought. Poetical features and sound strategies” is to investigate the main traits of Berlioz’s thinking about orchestra by reconsidering the elements of his early education. In particular, the notions acquired from his composition teachers Le Sueur and Reicha and from the medicine courses he briefly attended are examined with a renovated approach, in the light of new lines of study explored by musicology in recent years. Berlioz’s reviews are also analyzed, in the search of elements useful to understand his music through the arguments addressed to others’ music. The dissertation also examines the itinerary of theoretic music literature which, from an initial approach connoted by practice as it was typical in the 18th century, reaches with Berlioz’s treaty a strong poetical connotation of instrumental and orchestral resources. The second part of the dissertation deals with some of Berlioz’s works and with some general issues related to his way of writing for the orchestra, especially in relation to other musical parameters. In the whole discussion, sensible attention is put on the relation between technical and poetical issues, suggesting a quite renovated approach.

APA, Harvard, Vancouver, ISO, and other styles

22

Valenti, Paolo <1977&gt. "Formazione e pratica del pensiero orchestrale di Hector Berlioz. Caratteri poetici e strategie del suono." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6722/.

Full text

Abstract:

Lo scopo della dissertazione “Formazione e pratica del pensiero orchestrale di Hector Berlioz. Caratteri poetici e strategie del suono” è quello di indagare i tratti essenziali del pensiero di Berlioz in merito all’orchestra riprendendo in considerazione gli elementi della sua educazione giovanile. In particolare, le nozioni ricavate dai suoi insegnanti di composizione Le Sueur e Reicha e dai corsi di medicina brevemente frequentati a Parigi sono indagate con approccio rinnovato, alla luce di nuovi filoni di studio indagati dalla musicologia negli anni più recenti. Sono analizzate anche le recensioni di Berlioz, alla ricerca di elementi che aiutino a comprendere la sua musica con le argomentazioni destinate a quella altrui. È analizzato anche il percorso della trattatistica che da un iniziale approccio di tipo pratico tipico del XVIII secolo, giunge con il trattato di Berlioz a una forte connotazione poetica delle risorse strumentali e orchestrali. Nella seconda parte della dissertazione sono analizzate invece alcune opere di Berlioz e alcune questioni generali concernenti il suo modo di scrivere per l’orchestra, specialmente in relazione ad altri parametri musicali. Nella dissertazione notevole attenzione è data al rapporto fra questioni tecniche e poetiche, proponendo un approccio leggermente rinnovato. The purpose of the dissertation “Development and practice of Hector Berlioz’s orchestral thought. Poetical features and sound strategies” is to investigate the main traits of Berlioz’s thinking about orchestra by reconsidering the elements of his early education. In particular, the notions acquired from his composition teachers Le Sueur and Reicha and from the medicine courses he briefly attended are examined with a renovated approach, in the light of new lines of study explored by musicology in recent years. Berlioz’s reviews are also analyzed, in the search of elements useful to understand his music through the arguments addressed to others’ music. The dissertation also examines the itinerary of theoretic music literature which, from an initial approach connoted by practice as it was typical in the 18th century, reaches with Berlioz’s treaty a strong poetical connotation of instrumental and orchestral resources. The second part of the dissertation deals with some of Berlioz’s works and with some general issues related to his way of writing for the orchestra, especially in relation to other musical parameters. In the whole discussion, sensible attention is put on the relation between technical and poetical issues, suggesting a quite renovated approach.

APA, Harvard, Vancouver, ISO, and other styles

23

Gill, Sarah M. "The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2249/.

Full text

Abstract:

Hector Berlioz's Messe solennelle, his first publicly performed work, was important to his establishment in Paris as a composer. Although he later destroyed the Mass, he reused parts of the Resurrexit movement in three of his later works: Benvenuto Cellini (1836), the Grand messe des morts (1837), and the Te Deum (1849). This study examines the Resurrexit and its subsequent borrowings. In each instance that Berlioz borrowed from the Resurrexit, he extracted large sections and placed them in the context of later works. Each time that borrowing occurred, Berlioz constructed the surrounding music so that portions from the Resurrexit would fit stylistically and a seamlessly into the texture. In each borrowing, he left the melody unaltered, changing harmony and orchestration instead. This pattern of borrowing demonstrates that Berlioz developed his concept of melody early in his career, and that his method of self-borrowing was consistent in each subsequent use of the Resurrexit.

APA, Harvard, Vancouver, ISO, and other styles

24

Kiuchi, Mariko. "La Grande Messe des morts de Hector Berlioz (1837) : son langage musical et sa stratégie rhétorique." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL040.

Full text

Abstract:

La Grande Messe des morts d’Hector Berlioz se remarque entre autres choses par la variété de styles et le changement rapide de climats expressifs. Son écriture novatrice éveille l’émotion du public en cultivant de nombreux effets d’inattendus que la presse de l’époque a soulignés lors de la création. Comment caractériser les différents styles musicaux sur lesquels le Requiem s’articule ? Comment le compositeur captive et éveille-t-il l’émotion de l’auditeur ? Comment l’auditeur perçoit-il la stratégie déployée par le compositeur ? La présente thèse a pour but d’éclaircir le fonctionnement des matériaux musicaux variés chez Berlioz, le mécanisme de la communication compositeur-auditeur et sa conception de la musique « sacrée ». L’étude de la rhétoricité du Requiem est fondée sur quatre enquêtes successives fondées sur la théorie de la communication musicale de Jean Molino et Jean-Jacques Nattiez et l’analyse de la rhétoricité selon Jean-Pierre Bartoli : 1. étude du processus génétique de la composition (analyse de la poïétique externe) ; 2. étude de la critique de la presse musicale (analyse de l’esthésique externe) ; 3. étude des principes du développement et forme narrative (analyse de la poïétique inductive) ; 4. étude des jeux sur l’attente ménagés par le compositeur (analyse de l’esthésique inductive). De cette recherche, on conclut que Berlioz réussit à concilier l’intensité dramatique et la religiosité à travers un certain art du discours, qui maintient l’unité de l’œuvre dans la variété de ses climats, des topiques exploités et des styles d’écriture Hector Berlioz’s Grande Messe des morts has been particularly recognized by its variety of styles and the rapid change of expressive atmospheres. His innovative style arouses public’s emotion by cultivating a great number of unexpected effects that the music press in time of its first performance emphasized. How can be characterized various musical styles which connect with one another in this Requiem? How does the composer behave to attract the audience and to arouse their emotion? How did the audience feel composer’s strategy which was deployed in this work? This thesis aims to make clear the function of various musical materials in his composition, a communication mechanism established between composer and audience, and his conception of the “sacred” music. A study of rhetoric in his Requiem is founded on four successive analyses, inspired by Jean Molino and Jean-Jacques Nattiez’s musical communication theory and Jean-Pierre Bartoli’s rhetoric analysis: 1. study of the creative process of the composition (analysis of the external poïétique); 2. study of the music criticism of press articles (analysis of the external esthésique); 3. study of the principal of the music’s development and its formal narrativity (analysis of the inductive poïétique); 4. study of the tactics on audience’s expectation handled by the composer (analysis of the inductive poïétique). This study concluded that Berlioz succeeded in managing the dramatic intensity and the religiousness through a certain art of discourse, which maintains the work’s unity with a variety of atmospheres, musical topics and styles

APA, Harvard, Vancouver, ISO, and other styles

25

Chong, Corrinne. "Musically vague in the art, writings, and critical reception of Henri Fantin-Latour." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25891.

Full text

Abstract:

This thesis chronicles the development of Henri Fantin-Latour’s identity as a peintre-mélomane. Its purpose is to investigate how his multi-sensory impressions of music, particularly during performances of Richard Wagner’s operas and Hector Berlioz’s musical-dramatic works, would materialize into an aesthetic of vagueness. I examine the manner in which the scenic, acoustic, and acousmatic conditions in his physical environment heightened his awareness of a poetic and palpable sense of vagueness. I postulate that he aspired to simulate the sensorial aspects of his musical experiences in his operatic interpretations, lieder-inspired images, and allegorical fantasies. Through his inventive experimentation with lithography and his adaptation of painting techniques by his favorite old masters (most notably Eugène Delacroix), he developed a distinct facture that imbued his atmospheric prints, pastels, and paintings with an ineffable quality of vagueness. The correspondence between the auditory sensation, visual perception, and formal expression of the vague is also reflected in the picturesque language and musical nomenclature invoked by the contemporary criticism. The elusive sense of the musically vague in Fantin’s imaginative genre was a conspicuous leitmotif in the Salon reviews. An intertextual comparison between the musical discourse of the time and the critical reception of his artworks reveals absolute music to be a model of emulation. In light of music’s centrality in Fantin’s artistic enterprise, the conclusion explores the extent of Berlioz’s and Wagner’s aesthetic influence on his theory and practice.

APA, Harvard, Vancouver, ISO, and other styles

26

Morgan, Richard S. "The serpent and ophicleide as instruments of romantic color in selected works by Mendelssohn, Berlioz and Wagner." connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/morgan_richard_sanborn/index.htm.

Full text

Abstract:

Thesis (D.M.A.)--University of North Texas, 2006. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 3, 2000, Sept. 17, 2001, Oct. 13, 2003, and Oct. 24, 2006. Includes bibliographical references (p. 84-89).

APA, Harvard, Vancouver, ISO, and other styles

27

Duffy, Paul. "A balanced orchestra program: analyses and rehearsal techniques for Haydn, Berlioz, Ravel, Bryce Craig, and Casey Cangelosi." Kansas State University, 2014. http://hdl.handle.net/2097/17595.

Full text

Abstract:

Master of Music, Theater, and Dance Department of Music, Theatre, and Dance. David Littrell This report provides detailed analyses of several orchestral works. Current orchestras have striven to rejuvenate their programs by balancing canonical literature with newer or less familiar works; such a practice has become especially important in an age when audiences are dwindling and orchestras are disbanding. The works included in this report follow that balanced blueprint, including staples such as Haydn’s Symphony No. 103 in E-flat Major (the “Drumroll”) and Berlioz’s “Hungarian March” from The Damnation of Faust to new orchestrations of 20th century works, such as Bryce Craig’s arrangement of the toccata from Ravel’s Le Tombeau de Couperin, as well as works composed within the last six years, such as Casey Cangelosi’s Concerto for Marimba and Orchestra No. 2. Each work’s formal design is straightforward, and the technical skills required are not virtuosic. The chapters below explore each work from a historical, theoretical, and performance perspective.

APA, Harvard, Vancouver, ISO, and other styles

28

Morgan, Richard Sanborn. "The Serpent and Ophicleide as Instruments of Romantic Color in Selected Works by Mendelssohn, Berlioz and Wagner." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5495/.

Full text

Abstract:

Traditional scholarship has stated that the serpent and ophicleide (as well as their successor, the tuba) were developed and added to the standard orchestra to add a bass voice to the brass, allowing a tonal compass to match a similar downward expansion in the strings and woodwinds. A closer reading of the earliest scores calling for these instruments reveals a more coloristic purpose, related to timbre as much as to compass. Indeed, the fact that composers rarely wrote for serpent and ophicleide makes two points: it proves them to be inadequate choices as a brass bass, and when they were called for, they had an expressive, often descriptive purpose. Despite his conservative musical education supervised by Carl Friedrich Zelter, the seventeen-year-old Mendelssohn, under the influence of A. B. Marx, used the Corno inglese di basso, an upright version of the serpent, in his Overture to A Midsummer Night's Dream to give a more rustic flavor to Bottom's ass-braying. Even when the English bass horn functioned as a bass voice, it was playing in contexts that were descriptive, where it often demonstrated its musical inadequacy. Berlioz's descriptive writing for the serpent and ophicleide are well known. A remarkable feature which Symphonie fantastique shares with works by the other composers is the confidence Berlioz showed in the ophicleide's functional independence by occasionally giving it an arpeggiated figure while the rest of the orchestra sustains the chord. Wagner's writing for the serpent and ophicleide in Rienzi follows the less imaginative conventions of French grand opera. In Der fliegende Holländer the ophicleide, while not used as descriptively as Mendelssohn and Berlioz, nevertheless contributes significantly to Wagner's emerging focus on the inner lives of his characters and expressive commentary on the stage action. Tubists should consider the expressive implications and the unique timbre of these instruments when performing works originally written for the forerunners of the tuba.

APA, Harvard, Vancouver, ISO, and other styles

29

Langford, Jeffrey Alan. "The operas of Hector Berlioz : their relationship to the French operatic tradition of the early nineteenth century /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598431.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Nolan, Shanna. "Extended Program Notes for Thesis Voice Recital." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/646.

Full text

Abstract:

This thesis presents extended program notes for a sixty-minute vocal graduate recital consisting of the following repertoire for soprano: “How Beautiful are the Feet of Them” and “He Shall Feed His Flock” from Messiah and “Lascia ch’io pianga” from Rinaldo by George Frederick Handel; “La morte d’Ophélie” by Hector Berlioz; the Swedish art songs “Vingar i natten” by Ture Rangström and “Jung fru Blond och jung fru Brunette” by Wilhelm Stenhammar; the contemporary art song “Animal Passion” by Jake Heggie; and the following arias and duets by Wolfgang Amadeus Mozart: “Mi tradi quell ‘alma ingrata” from Don Giovanni, “Bei Männern, welche liebe fuhlen” and “Papageno, Papagena” from Die Zauberflöte, “Deh vieni, non tardar o gioja bella,” “Venite inginochiatevi,” and “Via resti servita” from Le nozze di Figaro, and the Concert Aria “Ch’io mi scordi di te?...non temer, amato bene,” K.505. These works encompass a variety of styles, musical periods and forms spanning over four centuries. The recital itself is documented on the accompanying compact disc, while these program notes contain discuss historical context, musical analysis, and performance practice for this repertoire.

APA, Harvard, Vancouver, ISO, and other styles

31

Loriot, Charlotte. "La pratique des interprètes de Berlioz et la construction du comique sur la scène lyrique au XIXe siècle." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040238.

Full text

Abstract:

La pratique des interprètes de Berlioz qui créèrent Benvenuto Cellini, La Damnation de Faust et Béatrice et Bénédict gagne à être mieux connue : ils observaient d’autres traditions que les nôtres, et saisir leurs usages et leur contexte artistique offre un autre regard sur les œuvres. La présente thèse examine le cadre de travail de ces artistes, c’est-à-dire leurs formations, leurs carrières, le déroulement des répétitions d’une œuvre et les corps de métier convoqués, mais aussi les écoles de jeu, de chant, et les étapes de préparation d’un rôle. Ces artistes seront aussi présentés, en particulier ceux qui jouèrent dans les scènes comiques des œuvres concernées. Les derniers chapitres, qui explorent la manière dont les œuvres du corpus furent interprétées sur les scènes de l’Opéra et du théâtre de Bade, ainsi qu’à l’Opéra-Comique et au théâtre de Weimar, mêlent l’ensemble de ces sources et croisent aspect scéniques et musicaux The practices of the performers who first produced Berlioz’s Benvenuto Cellini, La Damnation de Faust and Béatrice et Bénédict deserves to be better known: they followed other traditions than ours, and to understand their habits, practices and artistic context offers another way of conceiving these musical works. The present thesis considers the framework in which these artists worked, that is to say their training, their careers, the progress of the rehearsal of an opera and the trades involved, as well as the schools of acting, of singing, and the preparation of a role. The individual artists will also be introduced, in particular those who played in the comic scenes of the concerned works. The last chapters, which explore the way in which the corpus’ works were performed on the stage of the Paris Opera and the theater of Bade, as well as at the Paris Opera-Comic and the theater of Weimar, mix all these sources and documents and combine musical and scenic elements

APA, Harvard, Vancouver, ISO, and other styles

32

Bickley, Diana Frances. "A critical edition of the concert overtures of Hector Berlioz, with particular reference to the historical and literary background." Thesis, Goldsmiths College (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392098.

Full text

Abstract:

This thesis is presented in two volumes, the second being an appendix to the first. Volume I contains detailed entries on the compositional history of each of the five overtures, showing which primary source has been chosen as the foundation of each edition. It examines literary and other influences which prevailed in Paris during this period, including that of Berlioz's two teachers; but the main thrust of the historical content lies with each overture. It also takes a close look at an organological issue, involving the trompette a pistons in Paris in the 1820s and 1830s. Volume II presents the five overtures in the manner of a critical edition, complete with full critical apparatus, but without a Foreword per se, since that would constitute a precis of what is found in volume 1.

APA, Harvard, Vancouver, ISO, and other styles

33

Southon, Nicolas. "L'émergence de la figure du chef d'orchestre et ses composantes socio-artistiques : françois-Antoine Habeneck (1781-1849). La naissance du professionnalisme musical." Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2024.

Full text

Abstract:

Personnage musical parfaitement identifié aujourd'hui, le chef d'orchestre apparaît au début du XIXe siècle dans le contexte d'un bouleversement du paysage symphonique (accroissement des effectifs de l'orchestre, virtuosité nouvelle des instrumentistes, œuvres à l'orchestration plus élaborée et exigeante). Issu des formes de direction multiples du XVIIIe siècle, le chef prend peu à peu son autonomie par rapport à la collectivité orchestrale, à l'instrumentiste et au compositeur. Doté d'une formation très complète, de dons particuliers, d'une autorité et d'un magnétisme hors du commun, il s'impose comme une figure centale de la musique, tandis que son métier, aux procédures de plus en plus précises, se trouve progressivement formalisé dans une littérature théorique spécifique (Fétis, Kastner, Berlioz, Deldevez). A l'instar du violoniste jouant son violon, le chef « joue de l’orchestre » (selon l'expression de Berlioz), et en cela fonde cet orchestre comme une entité réifiée. Seul entre tous après le créateur à accéder au détail et à la totalité de l'œuvre, il la façonne et la résume dans sa pantomime expressive, point de mire du regard des musiciens mais également du public, incarnation gestuelle et spatiale du sens de la musique - surtout lorsqu'elle est purement instrumentale. De ces phénomènes découle son affirmation comme figure d'un héros en musique : le chef d'orchestre, par qui l'œuvre est révélée au monde, est devenu le porte-parole voire même l'alter ego du compositeur, à la fois responsable de l'exécution dans ce qu'elle a de plus concret et dialoguant avec le sublime, dont il se fait le médiateur. Paris est l'un des creusets de ces évolutions, en particulier à travers la personnalité de François-Antoine Habeneck (1781-1849). Mieux que quiconque en France, et peut-être en Europe, Habeneck incarne le premier « chef d'orchestre » au sens moderne, exclusivement dévolu à sa tâche d'exécutant ; il forge ainsi sa propre personnalité musicale en même temps que la stature d'un nouveau type de musicien. Dans les cinq décennies qui suivent ses débuts en 1803 à la tête de l'orchestre d'élèves du Conservatoire, Habeneck devient l'un des acteurs centraux de la vie symphonique française. Il dirige l'orchestre de l'Opéra d'une main de fer, créant les partitions des maîtres du grand opéra (Auber, Rossini, Meyerbeer, Halévy), officie dans maints « concerts-monstres » (ces événements rituels qui consacrent la grandeur et la puissance du chef), et fonde en 1828 l'orchestre de la Société des Concerts du Conservatoire. Avec cette phalange, glorieuse s'il en fut, Habeneck révèle l'œuvre de Beethoven à la France. Dans la fameuse salle de la rue Bergère, lieu d'une écoute et d'une conception changées de la musique, de nouveaux liens s'instaurent entre le chef, son orchestre, les œuvres et leur public - avec les symphonies du Maître de Bonn pour évangile et Habeneck comme grand-prêtre Although an identified musical figure today, the orchestral conductor appeared at the dawn of the 19th c. in the context of major upheavals in the symphonic world. A product of the 18th c.'s conducting modes, the conductor gradually acquired autonomy in relation to the orchestra, the instrumentalists and the composer. He emerged as a central figure in music-making, whilst the rules of his profession were documented in a theoretical literature. Like the violonist playing his violin, the conductor "plays the orchestra", and as such creates the orchestra as an entity. The sole person other than the composer to confront the detail and the totality of a work, he resumes it through his expressive pantomime, the focal point of musicians' and audience's gaze alike, the gestural incarnation of the music's meaning. The conductor has become the spokesman and the very "alter ego" of the composer, both responsible for the work's performance, in concrete terms, and dialoguing with the sublime. Paris is a crucible of these transformations, in particular through F.-A. Habeneck. The first in Europe, Habeneck embodies the modern "orchestral conductor", devoted exclusively to his role as performer. Following his debut at the head of the students of the Conservatoire, he directed the Opera orchestra with supreme control, officiating at any number of "concert-monstres" and foundig the "Societé des Concerts du Conservatoire". In the rue Bergère's auditorium, where the very way music was listened to and apprehended was to change, new links were established between the conductor, his orchestra, works and their audiences - with the symphonies of Beethoven for gospel and Habeneck for high priest

APA, Harvard, Vancouver, ISO, and other styles

34

Bordry, Guillaume. ""La musique est un texte" : histoire, typologie, et fonctions de la description littéraire de la musique, en particulier dans l'oeuvre d'Hector Berlioz (1803-1869)." Paris 3, 2005. http://www.theses.fr/2005PA030068.

Full text

Abstract:

Partant d'une formule de Balzac, " la musique est un texte ", cette thèse définit une pratique textuelle, la description littéraire de la musique, qui consiste à restituer l'art musical par des moyens autres que techniques, centrés sur les émotions et l'imagination de l'auditeur ; ce dernier retranscrit ses impressions au moyen de procédés littéraires. L'expérience musicale trouve en effet à se dire, à se construire, sur le modèle d'une pratique littéraire : la lecture. Les compositeurs, et Berlioz le premier, utilisent le pouvoir évocateur de ces textes dans leur propre création musicale. La première partie de cette thèse propose ainsi une histoire, puis une typologie de la description littéraire de la musique. La deuxième partie est une illustration de la première à travers l'étude d'un cas particulier, celui de Berlioz, dont elle éclaire les manipulations conjointes du texte et de la musique. Berlioz est à la fois compositeur, écrivain, auditeur et lecteur, ce qui permet à ses descriptions musicales de tenir un rôle particulier, dans ses textes comme dans sa musique : nous cherchons à en définir les modalités et le sens Starting from a phrase by Honoré de Balzac, " music is a text ", this work attempts to define a specific kind of textual practice : the literary description of music, which consists in recreating musical art by other means than technical ones. This kind of description focuses on the emotions and the imagination of the listener, who transcribes his impressions thanks to literary processes. Musical experience thus takes the shape of a literary practice : reading. Composers, Berlioz first, use the evocative power of these texts in their own musical creation. The first part of this work outlines a history and a typology of the literary description of music. The second part illustrates the first, focusing on a specific case, Hector Berlioz's, and enlightens both his manipulations of text and music. Berlioz is at the same time a composer, a writer, a listener and a reader, which allows his musical descriptions to play a specific role in his writings as well as in his music. This work attempts to define the forms and the sense of it

APA, Harvard, Vancouver, ISO, and other styles

35

Le, Hir Sabine. "Wagner et la France (1830-1861) : Nouvelle approche des relations de Wagner avec la France à la lumière de son rapport à l'Allemagne et de la réception française de son oeuvre." Thesis, Tours, 2016. http://www.theses.fr/2016TOUR2004.

Full text

Abstract:

Paris, et plus largement la France, ont préoccupé Wagner tout au long de sa vie. Entre 1830 et 1861, il ne séjourne pas moins de sept fois en France et même lorsqu’il se trouve en Allemagne, puis exilé en Suisse, il garde toujours Paris à l’esprit. Bien que Wagner se soit toujours présenté avant tout comme un Allemand et qu’il se soit toujours défini comme un compositeur allemand, la France, sorte de miroir dans lequel il ne cesse de considérer sa patrie, lui sert de référence pour définir une nouvelle Allemagne essentiellement artistique et appelée à devenir sur ce plan le modèle de l’Europe. Cette thèse se propose d’analyser les relations de Wagner et de la France entre 1830 et 1861 sous ce nouvel éclairage et d’étudier la réception française des œuvres wagnériennes. Cette dernière repose avant tout sur un malentendu et trouve son origine non pas dans la musique ou les écrits du compositeur, mais dans les différents articles de Liszt qui paraissent à partir de 1849 Throughout his lifetime, Richard Wagner was preoccupied by Paris, in particular, and by France, in general. Between 1830 and 1861 — the period upon which this thesis concentrates — he went to Paris on no fewer than seven occasions. Although Wagner always introduced himself as above all a German, and although he always considered himself to be a German composer, still, France—as a kind of mirror in which he never ceased to see the reflection of his homeland—always served him as a crucial point of reference as he attempted to define a new and essentially artistic Germany that was destined in this sense to become a model for all of Europe. It is in this new light, then, that I propose, in this thesis, to analyze the relations between Wagner and France and to study French reception of Wagner’s creations. That reception, based above all on a kind of misunderstanding, finds its beginnings neither in the composer’s music nor in the composer’s writings, but rather in Franz Liszt’s various articles on Wagner that began to appear in 1849

APA, Harvard, Vancouver, ISO, and other styles

36

Ramaut, Alban. "Berlioz et le théâtre de son temps : une nouvelle forme d'expression lyrique? : contribution à l'étude de "Benvenuto Cellini", "Les Troyens", "Béatrice et Benedict /." Paris : [A. Ramaut], 1986. http://catalogue.bnf.fr/ark:/12148/cb35849607h.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Ramaut, Alban. "Berlioz et le théâtre de son temps une nouvelle forme d'expression lyrique? : contribution à l'étude de "Benvenuto Cellini", "Les Troyens", "Béatrice et Benedict /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376091584.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Woodward, Patricia Jovanna. "Jean-Georges Kastner's Traité general d'instrumentation: A Translation and Commentary." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4165/.

Full text

Abstract:

Georges Kastner's (b Strasbourg 9 March 1810; d Paris 19 December 1867) Traite général d'instrumentation (1837), an important contribution to instrumentation study, is often overlooked because of its chronological proximity to Berlioz's Grand traité d'instrumentation (1843). Kastner's complete and concise treatise discusses the standard orchestral instruments and several obscure and ancient instruments. Intended principally for young composers, it provides the most detailed descriptions of the standard wind instruments of his day and discusses recent developments like the ophicleide and valved brass instruments. After the publication of the Traité, Kastner released a supplement including Aldophe Sax's newest innovations, entitled Cours d'instrumentation, which included musical examples of principals discussed in the Traité. Both the Traité and the Cours were accepted by the Academy and adopted by the Paris Conservatoire.

APA, Harvard, Vancouver, ISO, and other styles

39

Broderick, Amber E. "Grande messe des morts: Hector Berlioz's Romantic Interpretation of the Roman Catholic Requiem Tradition." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1345136918.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Gebhardt, Lars. "„… eine Abgeburt, welche aus gräulichem Inceste entsteht …“." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23515.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Streletski, Gérard. "Hector Berlioz et Edme-Marie-Ernest Deldevez : étude comparée de leur formation et de leur insertion dans la société du XIXe siècle (1803-1897) : contribution à l'histoire sociale de la musique en France." Paris 4, 1996. http://www.theses.fr/1995PA040197.

Full text

Abstract:

Sous le titre Hector Berlioz et Edme-Marie-Ernest Deldevez : étude comparée de leur formation et de leur insertion dans la société du XIXe siècle (1803-1897), c'est, en France, l'une des premières tentatives de biographies comparées qu'on trace. Elle touche deux compositeurs et chefs d'orchestre du siècle romantique. A travers cette contribution à l'histoire sociale de la musique en France qui s'appuie fermement sur la chronologie historique, on rend compte des éléments constitutifs de la formation et de l'insertion de deux musiciens éminents dans le cadre même de la société où ils évoluèrent. En outre, pour le second d'entre eux, de nos jours à peu près inconnu, il s'agit de la première monographie d'importance qui lui ait jamais été consacrée. Pour l'autre, reflet presqu'a lui seul du romantisme musical français, c'est une révision, parfois non sans surprise, quant aux clichés dont il est, le plus souvent, l'objet. L'un éclaire l'autre. De la naissance de Berlioz (1803) à la mort de Deldevez (1897), pratiquement un siècle s'écoule durant lequel la société française née de la révolution se construit, s'organise et se déchire tour à tour. C'est dans ce contexte, fondamental pour eux, que Berlioz, nouveau Cellini, façonne un œuvre où son génie volcanique se saisit de toute opportunité pour édifier un destin dont témoigne la postérité. C'est là aussi que Deldevez, élève de Berton, Habeneck et Halévy, en même temps qu'ami de Gounod et Ambroise Thomas, bâtit une carrière qui le voit diriger la Société des concerts, inaugurer le Palais-Garnier et, plus encore, devenir le premier pédagogue officiel de la direction d'orchestre, prosélyte de la musique de son ainé. Celui-ci demeure, celui-là était oublié. Le catalogue raisonne de son œuvre musical est joint à l'ouvrage principal Under the title Hector Berlioz and Edme-Marie-Ernest Deldevez : compared study of their training and of their insertion in the 19th century society (1803-1897), this is in France one of the first attempts that can be found of compared biographies. It concerns two composers and conductors from the romantic century. Through this contribution to the social history of music in France which leans firmly on historical chronology, it reports the constructive elements of the training and insertion of two outstanding musicians in the true setting of the society that they moved in. Furthermore for the second one of them, who is today almost unknown, this is the first important monograph that has ever been dedicated to him. The other musician, who is almost the only reflect of the romanticism of French music, this is a revision, sometimes not without surprises, as for the clichés that he is more often the subject of. One enlightens the other. From the birth of Berlioz (1803) to the death of Deldevez (1897) nearly a century passes during which the French society born of the revolution is built, organized and torn apart turn and turn about. It is in this context, that was fundamental for them, that Berlioz, the new Cellini, creates a works in which his volcanic genius seizes every opportunity to construct a destiny which is shown by posterity. It is here also that Deldevez, pupil of Berton, Habeneck and Halevy, as well as being a friend of Gounod and Ambroise Thomas, builds a career in which he can be seen conducting the Société des concerts, inaugurating the Palais-Garnier and, what is more, becoming the first official pedagogue of orchestral conducting, proselyte of his elder's music. One remains; the other one has been forgotten. The descriptive catalogue of his musical works is attached to de principal book

APA, Harvard, Vancouver, ISO, and other styles

42

Röhricht, Wieland. "Zur Pflanzenwelt der Neubaugebiete Ost-Berlins : Flora und Vegetation der Wohngebiete in den Plattenbau-Großsiedlungen Berlin-Marzahn, Berlin-Hohenschönhausen und Berlin-Hellersdorf ; mit 95 Tabellen /." Berlin [u.a.] : Cramer in der Gebr.-Borntraeger-Verl.-Buchh, 2003. http://www.gbv.de/dms/bs/toc/365063207.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Vial-Henninger, Mireille. "Essai de mythe-analyse du processus de création musicale : justification, méthode, application. Beethoven, la 23e sonate dite Appassionata (exposition) ; Berlioz, Episode de la vie d'un artiste : la Symphonie fantastique suivie de Lélio ou le retour à la vie." Paris 4, 1996. http://www.theses.fr/1996PA040092.

Full text

Abstract:

L'auteur essaie de faire apparaitre, à travers l'analyse de deux œuvres : l'exposition du 1er mouvement de la sonate Appassionata de L. Van Beethoven et La symphonie fantastique suivie de Lélio ou le retour à la vie de Berlioz, la fécondité et la fiabilité de ce qui pourrait devenir une nouvelle forme - ou application - d'analyse musicale. Son outil dominant est l'usage rationnel du raisonnement par analogie, appliqué à la logique du vivant, binaire et polarisée (sur le modèle du biologiste S. Lupasco), alliée au mythe. Cette approche n'envisage que l'œuvre musicale elle-même et non l'investigation dans la vie du compositeur comme pourrait le faire la psychanalyse. Par une voie sensiblement analogue - l'utilisation du mythe - elle parvient à l'explication des œuvres. Après une analyse musicale rigoureusement classique (factorielle, structurelle et dynamique) cet outil redonne leur sens aux structures et aspects remarquables mis en évidence. Il les coordonne et montre, par le parallèle avec le mythe, que le compositeur - consciemment ou non - suit un processus personnel de création qui s'inscrit dans le plan général du déroulement du mythe. Cet expose méthodique est né de la nécessité pédagogique d'expliquer rationnellement l'emploi d'un vocabulaire issu du sentiment. L'auteur serait satisfait de voir ce travail ne pas rester du domaine de la seule recherche et se diffuser vers l'enseignement Through the analysis of two pieces - the exposition of the 1st movement of L. Van Beethoven’s sonata Appassionata, and Berlioz's Symphonie fantastique followed by Lelio ou le retour a la vie - the author tries to bring out the fertility and feasibility of what could become a new form (or application) of musical analysis. The author primarily uses a rational approach, reasoning through analogies applied to the logic of living things, binary and polarized (following the model of biologist S. Lupasco) linked to myth. This method only takes account of the musical piece itself and does not investigate the composers’ lives as a psychoanalytical approach could do. In a somewhat analogues fashion - the use of myth - the author is able to explain the pieces. Once analyzed in a strictly classical way (factorial, structural and dynamic), the use of myth not only gives meaning to the structures, but brings out remarkable aspects that demonstrate that the composer - be it consciously or not - has followed a personal creative process that inscribes itself in the general plan of the development of a myth. This methodical expose came about from the pedagogical necessity to explain rationally the use of vocabulary coming from sentiment. The author would be satisfied to see this work go beyond the field of research and into that of education

APA, Harvard, Vancouver, ISO, and other styles

44

FORMENTI, CARLOTTA. "Il colore verde di Berlino Giorgio Grassi e l'idea di città rurale." Doctoral thesis, Università IUAV di Venezia, 2020. http://hdl.handle.net/11578/286416.

Full text

Abstract:

Berlino ha da sempre offerto lo scenario ideale per imbastire nuove e differenti riflessioni d’architettura. Nel respiro di questa tesi, si presta a rappresentare un certo tipo di rapporto tra la città e il territorio che la circonda. Fin dal XIX secolo, Berlino ha fatto del paesaggio un tema determinante all’interno del dibattito circa il proprio sviluppo urbano: questo si è svolto al principio attraverso la difesa del suolo pubblico e dello spazio aperto in un’epoca di massiccia speculazione edilizia, durante il Movimento Moderno ha portato all’elaborazione di una proporzione che legasse il costruito con le aree destinate a verde e, vista la storia particolare della capitale tedesca, nel secondo dopoguerra ha fornito ad architetti e urbanisti lo spunto per suggerire una diversa idea di città, immersa nel verde, secondo i principi dello Stadtlandschaft e della gegliederte und aufgelockerte Stadt (città articolata e diffusa). L’attenzione a un progetto integrato tra natura e architettura diventa un carattere identitario di Berlino, mettendo in crisi la forzosa distinzione tra la sfera urbana e quella rurale, tra città e campagna. Gli studi condotti sul tema hanno portato a evidenziare come i due termini si influenzino reciprocamente: come l’urbano sempre più invada il mondo rurale, ma anche come certi caratteri del rurale siano presenti storicamente all’interno della città e come questi determinino una vera e propria “vocazione”, in senso collettivistico, dell’architettura della città. In futuro si tenderà sempre più ad una commistione tra l’urbano e il rurale, ma ancora rimane da stabilire secondo quali modalità questo potrebbe verificarsi: la città-rurale è una delle alternative possibili. Giorgio Grassi, nei suoi scritti come nelle sue opere, tanto nell’attività didattica come in quella professionale, ha dedicato ampio spazio allo studio della relazione tra città e campagna, facendone uno dei temi ricorrenti del proprio progetto d’architettura. Il suo incontro con Berlino si è risolto nell’elaborazione di proposte che raccolte insieme sembrerebbero quasi suggerire un piano – o un indirizzo – per lo sviluppo della città; tuttavia è nel progetto di ricostruzione dell’area dell’ex Prinz-Albrecht Palais che si riconosce un esempio probante di come sia possibile declinare il carattere rurale all’interno della città, fornendo al tempo stesso la dimostrazione di come l’elemento naturale acquisti valore formale all’interno della composizione architettonica.

APA, Harvard, Vancouver, ISO, and other styles

45

Larsen, Nils. "Radweg Berlin-Dresden: Radroute Berlin-Dresden." Allgemeiner Deutscher Fahrrad-Club Sachsen e.V, 2014. https://slub.qucosa.de/id/qucosa%3A4926.

Full text

Abstract:

Der Radweg Berlin–Dresden ist ein Routenvorschlag für Fahrradtouren zwischen Berlin und Dresden, der seit 2012 von Mitgliedern des Allgemeinen Deutschen Fahrrad-Clubs (ADFC) ausgearbeitet wird. Die Route streckt sich über 251km zwischen der Frauenkirche in Dresden und dem Brandenburger Tor in Berlin. Eine Beschilderung der Route wird langfristig angestrebt. Obwohl die Strecke heute nur „auf dem Papier“ existiert, ist sie schon gut befahrbar: Alle Wege (bis auf kleine unvermeidbare Lücken) sind asphaltiert oder gut verdichtet und frei oder wenig belastet vom motorisierten Verkehr. Auf www.radweg-berlin-dresden.de finden Sie aktuelle Informationen zur Route und es steht eine GPX-Datei für GPS-Geräte kostenlos zur Verfügung.:Der Radweg Berlin–Dresden Übersichtskarte der ganzen Route Anfang — Detail Berlin Detail Berlin/Schulzendorf Detail Zeuthen Detail Königs Wusterhausen Dahmeradweg Dahmeradweg/Hofjagdweg Gurkenradweg Detail Lübben Niederlausitzer Bergbautour und andere Detail Vetschau Niederlausitzer Bergbautour und Fürst-Pückler-Radweg Niederlausitzer Bergbautour und Niederlausitzer Kreisel Detail Ruhland und Schwarzheide Übersicht mit Radeburg Detail Radeburg Übersicht Dresden Detail Dresden-Hellerau Detail Dresden

APA, Harvard, Vancouver, ISO, and other styles

46

Cunin, Maurice. "Faust à l'Opéra." Paris 4, 1993. http://www.theses.fr/1994PA040062.

Full text

Abstract:

Cette these se propose de comparer trois livrets d'opera traitant le mythe de faust : faust de gounod, la damnation de faust de berlioz et mefistofele de boito. Apres un rappel du scenario de ces oeuvres, et de leurs points communs ou de leurs differences avec le poeme de goethe, les personnages des operas sont etudies. Dans une seconde partie, les grands themes evoques par les livrets sont abordes. Une troisieme partie etudie le style et la verification des textes In this thesis i propose to compare three libretti which deal with the myth of faust : gounod's faust, berlioz's damnation de faust and boito's mefistofele. After a reminder of the scenarios of these works and of their similarities on differences compared to goethe's poem, the dramatics personae are studied. In the second part the main themes of the libretti are examined. The third part analyses style and versification

APA, Harvard, Vancouver, ISO, and other styles

47

Hinterkeuser, Guido. "Das Berliner Schloss : der Umbau durch Andreas Schlüter /." Berlin : Siedler, 2003. http://www.gbv.de/dms/bs/toc/358059593.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Kaiser, Katrin. "Graffiti in der gesellschaftlichen Kontroverse : unter Berücksichtigung der "Demokratie von unten" /." Hamburg : Diplomica, 2007. http://www.diplom.de/db/diplomarbeiten10114.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Pratschke, Anja. "Configurações do vazio: arquitetura e não-lugar." Universidade de São Paulo, 1996. http://www.teses.usp.br/teses/disponiveis/18/18131/tde-17102008-151441/.

Full text

Abstract:

Encontramos-nos em um momento histórico que privilegia a rediscussão de certos conceitos referentes a diversas áreas do conhecimento, indo da arte à biologia, da filosofia à matemática, passando pela arquitetura. Entre estas diversas questões atuais, este trabalho escolhe a do vazio como assunto central, tratado em duas instâncias: uma, as suas configurações urbanas; a outra, seu papel como elemento conceitual na arquitetura contemporânea. Escolhendo projetos de arquitetura que incluem tais questionamentos entre suas preocupações centrais, quer-se evidenciar a relação de interdependência e de enriquecimento mútuo entre dois tipos de vazio: os resultantes da dinâmica urbana tipicamente metropolitana, e aqueles concebidos no processo projetual de arquitetura. Através de cinco projetos, assinados por cinco arquitetos contemporâneos em quatro diferentes metrópoles, mostra-se o papel específico de cada um destes vazios. Além disso, a primeira parte aborda a questão da memória e da temporalidade, em São Paulo. A segunda parte trata do fim da história única, em Berlim, segundo a definição hegeliana. Finalmente, a terceira parte, relativa às cidades japonesas de Osaka e Tokyo, procura discutir a concepção japonesa do vazio, ligada a noção da efemeridade, e o conceito japonês de superposição de tempo e espaço.O trabalho é apresentado sob forma de uma narrativa interrompida, resultante do percurso pessoal da autora, e ligada por uma trama invisivél que seria, em última instância, o próprio vazio. O trabalho porcura também entender os elementos específicos de nossa época, atraves da arquitetura e do urbanismo, em relação com a literatura, a filosofia e a arte. Busca ainda, esboçar representações da situação selvagem das metrópoles contemporâneas com a ajuda de projetos emblemáticas. We are living today a moment that favours the rediscussion of some concepts concerning several domains of knowledge, ranging from art to biology, from philosophy to mathematics, to architecture. Amidst these questions, this work chooses that of the void´s role as its central one, which will be treated in two instances: as an urban configuration, and as a conceptual contemporary architectural element. Selecting architectural projects, in which one of the basic criteria is the void´s problematic, this work wants to make clear the relationship in a form of interdependence and mutual enrichment between voids, either ebing a result of an urbain metropolitain dynamic, or those architecturaly conceived. Throughout five projects, signed by five contemporary architects within four metropolises, we try to show the specific role of each void. Furthermore, the first part will approach the questions of memory and temporality at São Paulo. The second part treats the end of the unique history as defined by Hegel, in Berlin. Finaly the third part, concerning the cities of Osaka and Tokyo aimes the discussion on the japanese conception of void, related to the notion of ephemerality in the metropolis, and presents the japanese concept of superposition of time and space. This work is presented as an interrupted narrative, as a result of the author´s own journey and connected by an unvisible frame, which is eventually the void itself. It tries to understand the elements specific to architetcure and urbanism, related to literature, philosophy and art. At the same time, it aims sketching representations of the selvage situation of contemporary metropolises through emblematic architectural projects.

APA, Harvard, Vancouver, ISO, and other styles

50

Zips, Yvonne [Verfasser], and Tobias [Akademischer Betreuer] Döring. "Berlin-Fiktionen : das andere Berlin – Das Berlin der Anderen / Yvonne Zips ; Betreuer: Tobias Döring." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2016. http://d-nb.info/1115144634/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Berlioz'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles