Academic literature on the topic 'Critique musicale – France'
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Journal articles on the topic "Critique musicale – France":
Marcoux-Gendron, Caroline. "« Panel sur la critique musicale », dans le cadre du colloque international Qu’en est-il du goût musical dans le monde au XXIe siècle ?, 28 février 2013, Faculté de musique, Université de Montréal, salle Serge-Garant." Revue musicale OICRM 3, no. 1 (June 6, 2019): 137–46. http://dx.doi.org/10.7202/1060125ar.
Lavoie, Marie-Noëlle. "Discours sur la danse dans La Revue musicale : autour de Serge Lifar." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (September 21, 2012): 69–75. http://dx.doi.org/10.7202/1012352ar.
Terrien, Pascal. "Des logiciels audio-vidéo à l’enseignement de l’éducation musicale dans l’enseignement secondaire français." Les Cahiers de la Société québécoise de recherche en musique 17, no. 1 (April 17, 2018): 25–37. http://dx.doi.org/10.7202/1044667ar.
White, Kimberly. "Les débuts et les débutantes à l’Opéra de Paris sous la monarchie de Juillet (1830-1848)." Les Cahiers de la Société québécoise de recherche en musique 12, no. 1-2 (December 3, 2018): 9–18. http://dx.doi.org/10.7202/1054196ar.
Mayaud, Isabelle. "Sauver la critique, défendre les critiques. Les stratégies d’un porte-parole : l’Association syndicale professionnelle et mutuelle de la critique dramatique et musicale (France, 1877-1914)." Sociétés & Représentations 40, no. 2 (2015): 75. http://dx.doi.org/10.3917/sr.040.0075.
Rollet, Stella. "Les multiples enjeux de la critique musicale : l'accueil de l'?uvre de Gaetano Donizetti en France (années 1830-1850)." Le Temps des médias 22, no. 1 (2014): 35. http://dx.doi.org/10.3917/tdm.022.0035.
Marcoline, Anne. "George Sand and Music Ethnography in Nineteenth-Century France." Nineteenth-Century Music Review 12, no. 2 (September 10, 2015): 205–25. http://dx.doi.org/10.1017/s1479409815000300.
Milo, Daniel. "Le musical et le social : variations sur quatre textes de William Weber (Note critique)." Annales. Histoire, Sciences Sociales 42, no. 1 (February 1987): 27–40. http://dx.doi.org/10.3406/ahess.1987.283366.
Marchant, Alexandre. "Un manifeste du mouvement punk : extrait de L’Aventure punk de Patrick Eudeline (1977)." Parlement[s], Revue d'histoire politique N° 29, no. 1 (April 5, 2019): 199–210. http://dx.doi.org/10.3917/parl2.029.0199.
Haine, Malou. "Le magazine américain Vanity Fair (1913-1936) : vitrine de la modernité musicale à Paris et à New York." Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no. 1-2 (April 25, 2017): 23–37. http://dx.doi.org/10.7202/1039610ar.
Dissertations / Theses on the topic "Critique musicale – France":
Coronat-Faure, Raphaële. "Naissance de la critique musicale en France : 1750-1774." Paris 8, 1999. http://www.theses.fr/1999PA081597.
Flynn, Timothy Scott. "A study in music criticism and historiography : sacred music : journals in France, 1848 to 1870 /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371033947.
Contient des analyses d'articles parus dans les périodiques suivants : Revue de musique ancienne et moderne, Le Plain-chant, Revue de musique sacrée ancienne et moderne, le choeur, la Maîtrise. Bibliogr. p. 518-535.
Reibel, Emmanuel. "L'écriture de la critique musicale dans la presse française : 1820-1870." Paris 4, 2002. http://www.theses.fr/2002PA040094.
In spite of a slow process of specialisation, music criticism remained polymorphous throughout the 19th century. Writers or musicians, dilettantes or journalists - all reflected on an activity which was threatened by numerous obstacles. As a form of reaction, they invested this activity with a utopian mission and attempted to define unbiased, even scientific methods of judgement. Actually, along with a rational approach based on the different national "schools", judgements always resulted from a sensitive approach which was rooted in the aesthetics of effect. Hence, three modes of writing that musical reviews ceaselessly blended : a powerful rhetorical model (due to their " judicial " purposes), softened by the frame of their publication in instalments, a frame which was itself open to a metaphorical form of poetics (resulting from the aesthetics of effect, which encouraged people to tell rather than analyse music)
Arden, Charles. "Vers une critique musicale créatrice : une redéfinition du concept de critique comme rapport entre le discours sur l’œuvre et la poétique musicale." Paris 8, 2013. http://www.theses.fr/2013PA083939.
This research starts from an historical adequacy in the nineteenth century between the development of the press as a medium of expression including music, the advent of a method with the disciplines related to art discourse, and a particular artistic production: programmatic music and the symphonic poem that reveal a new link between the sound and the verb. Our choice of music criticism as subject is therefore oriented towards a place of revelation of all these issues. The critical text is in fact based on a method of judgement that respects its own object classes and provides an awareness of the context of his speech: critical discourse then becomes meta-discourse, enhancing the analysis and understanding of the work by all that can be said, all that is offered as a way of working with linguistic expression of a feeling. In order to enable this work to better understand the music that finds its inspiration and explanation of literary criticism to inspire the pen, we start from the knowledge acquired of a musical work and observe how this knowledge evolves progressively with the concepts that we present in out historical course of the discipline. Hermeneutics, heuristics, epistemology, structuralism, formalism, linguistic tools are used to focus on musicology and demonstrate that, leaving the musical, we come back after the text's critical study with more evidences, details, strengths. This, according to the same logic based on which critique reinforces musicology by multidisciplinary scopes. Our contribution is intended as a review and prospective ways that have been found in the speech to understand the musical: giving the listener the tools to build a language that reinforces his artistic experience, giving the creator a material discursive aesthetic that it can compare his work with to deepen its aesthetic, amend its production, continue to produce; giving the mediator a list of criteria which will enhance his speech tools corresponding to the identity of the work and those it links
Simon, Yannick. "Etude historique et critique de l'esthétique de la musique en France de 1968 à 1991." Paris, EHESS, 1996. http://www.theses.fr/1996EHES0321.
This study describes the circumstances in which the musical creation expanded in france between 1968 and 1991. It observes particularly the evolution of relations between the institutionalization of music in france (1968-1991). The period 1968-1991 is characterized by institutions and the avant-garde. It could be subtitled : the avant-garde and the institutionalization of music in france (1968-1991). The period 1968-1991 is characterized by the completion of a process of institutionalization,yet old, of the french musical world of which the creation of the "direction de la musique" is the base. But, paradoxically, this organization of the state the elaboration of which is concomitant of the development of the musical avant-garde, will become one of the means of the rise of what it wanted to thwart. From that time onwards, the connexion between the institution and the musical aesthetics is embodied by technology. The belief in surrounding innovation and the general requirement of organization and control influence the aesthetic dispute. The question of the integration of electroacoustic technologies in the musical creation represents the principal centre of interest. At the same time, the musical technology becomes the means of an aesthetic correction and takes its critical function from the avant-garde. Evolving in an environment less and less favourable, the french musical creation is the object of many criticisms. But it remains long-lived and searches, without the tonal language, for the means to expand aesthetic strategies capable of favouring the comprehension of musical discourse
Gaucher, Pierre. "De la spirale au groupe Jeune France (1935-1945) : les tourments d'une avant-garde musicale." Tours, 2001. http://www.theses.fr/2001TOUR2046.
Pariot, Christian. "Le Monde et la musique : du pluralisme musical à l'écoute plurielle ; champ critique et postmodernité." Toulouse 2, 2005. http://www.theses.fr/2005TOU20068.
The evolutions of Le Monde musical criticism, under postmodern influence, from 1985 to 2000. Study of musical pluralism and of musical cross over. Rephasing the concept of unheard, at the core of postmodern aesthetic. Topology of a plural listening and essay of definition of an interbred listening
Gislason, Donald Garth. "Castil-Blaze, De l'opéra en France and the feuilletons of the Journal des débats (1820-1832) /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370597819.
Pompidor, Henri. "Les maîtrises des cathédrales métropolitaines en France (1600-1789) : étude institutionnelle et musicale." Paris 4, 1996. http://www.theses.fr/1995PA040169.
Capitular choir schools remained the main music schools in France until the (French) Revolution. At their peak during the seventeenth and eighteenth centuries, they enjoyed a long period of prosperity. Several principles ruled the organization and functioning of these schools. The pupils, whose number ranged from four to twelve, entered the school at about seven or eight years old and left it aged seventeen or eighteen. During their school years, they attended a double education, which was musical and general that education aimed at preparing them for common services and religious celebrations. The teaching staff was composed of a music master, a grammar one and several teachers. Pupils and masters lived under the same roof, inside the choir school. They spent their time attending musical services in the cathedral and school lessons. Choir schools were broken up during the French revolution. They have never been fully replaced by the academies of music that reveal different characteristics. Thus, this institutional and musical study of choir schools aims and emphasizing how important the role they played is and informing our readers about the conditions which have to be fulfilled to restore them nowadays
Anglade, Sandrine. "Les journalistes, critiques de théâtre : émergence et construction d'une identité professionnelle : histoire de l'Association de la critique dramatique, 1899-1937 /." Lille : ANRT, 1998. http://catalogue.bnf.fr/ark:/12148/cb40045102g.
Books on the topic "Critique musicale – France":
Pyee, Doris. La revue musicale, 1901-1912. Baltimore: NISC, 2002.
Waters, Robert. Déodat de Séverac: Musical identity in fin de siècle France. Burlington, VT: Ashgate, 2008.
Page, Christopher. The owl and the nightingale: Musical life and ideas in France 1100-1300. London: Dent, 1989.
Morin, Elisabeth. Le livre d'orgue de Montreal: Un manuscrit de musique francaise classique : Etude critique et historique (Collection La Vie musicale en Nouvelle France). Presses de l'Universite de Montreal, 1988.
Orzech, Rachel. Claiming Wagner for France: Music and Politics in the Parisian Press, 1933-1944. University of Rochester Press, 2022.
Orzech, Rachel. Claiming Wagner for France: Music and Politics in the Parisian Press, 1933-1944. University of Rochester Press, 2022.
Aguila, Jésus. Le Domaine musical. Fayard, 1992.
Zecher, Carla. Sounding Objects: Musical Instruments, Poetry, and Art in Renaissance France. University of Toronto Press, 2007.
Zecher, Carla. Sounding Objects: Musical Instruments, Poetry, and Art in Renaissance France. University of Toronto Press, 2016.
P, Urquhart. Sound and Sense in Franco-Flemish Music of the Renaissance: Sharps, Flats, and the Problem of 'Musica Ficta'. Peeters Publishers & Booksellers, 2021.