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Books on the topic 'Musique de la Renaissance'

Author: Grafiati

Published: 25 May 2024

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1

Poésie et musique à la Renaissance. Paris: PUPS, 2015.

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2

Saulnier, Centre V. L., ed. Musique et humanisme à la Renaissance. Paris: Presses de l'Ecole normale supérieure, 1993.

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3

Guide de la musique de la renaissance. Paris: Fayard, 2011.

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4

Vendrix, Philippe. Vocabulaire de la musique de la Renaissance. [Paris]: Minerve, 1994.

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5

Vocabulaire de la musique de la Renaissance. 2nd ed. [Paris]: Minerve, 2016.

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6

Colloque de Nancy (2013 : Nancy, France), ed. Musique de la Renaissance, renaissance de la musique en Lorraine: Actes du Colloque de Nancy, 21 septembre 2013. [Nancy]: Ferraton, 2013.

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7

Renaissance, Centre d'études supérieures de la. La Renaissance et sa musique au XIXe siècle. Paris: Klincksieck, 2000.

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8

Philippe, Vendrix, ed. La Renaissance et sa musique au XIXe siècle. [Paris]: Klincksieck, 2000.

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9

Wanda Landowska et la renaissance de la musique ancienne. [Arles]: Actes sud, 2011.

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10

1943-, Viret Jacques, ed. Regards sur la musique vocale de la Renaissance italienne. [Strasbourg]: Presses universitaires de Strasbourg, 1992.

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11

1957-, Knighton Tess, and Fallows David, eds. Companion to medieval and renaissance music. New York: Schirmer Books, 1992.

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12

T, Kite-Powell Jeffery, ed. A Performer's guide to Renaissance music. New York: Schirmer Books, 1994.

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13

K, Stein Louise, ed. Music in the Renaissance. 2nd ed. Upper Saddle River, N.J: Prentice Hall, 1999.

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14

Jack, Ian Andrew Dylan, 1973- and Schneider Jason 1971-, eds. Have not been the same: The CanRock renaissance, 1985-95. Toronto: ECW Press, 2001.

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15

Music in Renaissance Lyons. Oxford: Clarendon Press, 1992.

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16

Barbier, Jacques. Une doulce parole: La prononciation française et latine dans la musique de la Renaissance. Fondettes: Van de Velde Musique, 2003.

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17

Une doulce parole--: La prononciation française et latine dans la musique de la Renaissance. Paris: Van de Velde, 2003.

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18

Musée des beaux-arts de Montréal and Portland Art Museum (Or.), eds. Splendore a Venezia: Art et musique de la Renaissance au baroque dans la Sérénissime. Montréal: Musée des beaux-arts de Montréal, 2013.

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19

Reading Renaissance music theory: Hearing with the eyes. Cambridge, UK: Cambridge University Press, 2000.

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20

Musée national de la Renaissance (France), ed. Un air de Renaissance: La musique au XVIe siècle : 11 septembre 2013-6 janvier 2014, Musée national de la Renaissance, château d'Écouen. Paris: Réunion des musées nationaux, 2013.

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21

Fiona, Kisby, ed. Music and musicians in Renaissance cities and towns. Cambridge, UK: Cambridge University Press, 2001.

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22

Musée du Louvre. Service culturel. La Jérusalem délivrée du Tasse: Poésie, peinture, musique, ballet : actes du colloque organisé au Musée du Louvre ... les 13 et 14 novembre 1996. Paris: Klincksieck, 1999.

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23

Saadi, Simawe, ed. Black Orpheus: Music in African American fiction from the Harlem Renaissance to Toni Morrison. New York: Garland Pub., 2000.

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24

Campos, Rémy. La Renaissance introuvable?: Entre curiosité et militantisme : La Société des concerts de musique vocale religieuse et classique du prince de la Moskowa, 1843-1846. [Paris]: Klincksieck, 2000.

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25

Late Renaissance music at the Habsburg Court: Polyphonic settings of the Mass Ordinary at the Court of Rudolf II, 1576-1612. New York: Gordon and Breach Science Publishers, 1987.

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26

Bouzar-Kasbadji, Nadya. L' émergence artistique algérienne au XXe siècle: Contribution de la musique et du théâtre algérois à la renaissance culturelle et à la prise de conscience nationaliste. Ben Aknoun, Alger: Office des publications universitaires, 1988.

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27

Ontario. Esquisse de cours 12e année: Musique amu4m cours préuniversitaire. Vanier, Ont: CFORP, 2002.

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28

Wintz, Cary D. The Harlem Renaissance in the American West: The new Negro's western experience. New York: Routledge, 2011.

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29

Royaumont, Fondation, Association pour la recherche et l'interprétation des musiques médiévales., and Centre national de la recherche scientifique., eds. L' enseignement de la musique au Moyen Age et à la Renaissance: Colloque organisé par la Fondation Royaumont en coproduction avec l'A.R.I.M.M. (Asssociation pour la Recherche et l'Interprétation des Musiques Médiévales) et le C.N.R.S. (Centre National de la Recherche Scientifique). [Paris]: Editions Royaumont, 1987.

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30

Biaggini, Claudia Bertling. Giorgione pictor et musicus amatus: Vom Klang seiner Bilder : eine musikalische Kompositionsästhetik in der Malerei gegen die Aporie der Norm um 1500. Hildesheim: Olms, 2011.

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31

Musique populaire, musique savante. Aix-en-Provence: Edisud, 2003.

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32

Jean-François, Perret, Mili Isabelle, and Groupe de travail "Recherches en éducation musicale", eds. Musique vécue, musique apprise. Cousset: Del Val, 1993.

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33

Scarnecchia, Paolo. Musique populaire, musique savante. Paris: Edisud, 2003.

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34

Manca, Massimo, and Martina Venuti. Paulo maiora canamus Raccolta di studi per Paolo Mastandrea. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-557-5.

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Abstract:

This miscellaneous volume in honour of Paolo Mastandrea includes contributions by colleagues and friends dealing with some of the main topics of his scientific interests: intertextuality, late Latin studies, philological problems, the legacy of Classics in Renaissance, digital humanities. The first section, «Literary History and Intertextuality», focuses on special patterns in Latin literature within a very wide chronological range, from Vergil to Optatianus. Specific attention is dedicated to elegy and to mythological characters in elegy and tragedy. The section named «Philological Notes» deals with critical problems within texts by Sallustius, Macrobius and Historia Augusta. The following section, «Late Latin studies», is dedicated to several authors and topics: Simphosius’ Aenigmata, Sidonius, Historia Augusta, Claudianus, Epigrammata Bobiensia, Johannes Lydus and literary topoi used in late Latin texts. The final one, «Classical Reception Studies», examines a few examples of the legacy of Latin authors in the Italian Renaissance. A history of the database Musisque Deoque, along with the future perspectives of this crucial project designed in 2005 by Paolo Mastandrea, are provided in a specific «Appendix».

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35

Guidobaldi, Nicoletta. La musica di Federico: Immagini e suoni alla corte di Urbino. Firenze: L.S. Olschki, 1995.

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36

Denise, Millet, and Millet Claude, eds. Musique! [Paris]: [Gallimard], 1988.

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37

Musique. Paris: Pommier, 2011.

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38

Beaufils, Marcel. Musique du son, musique du verbe. Paris: Klincksieck, 1994.

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39

Musique de scène, musique en scène. Paris: Orizons, 2012.

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40

Musique de la Renaissance, Renaissance de la musique en Lorraine. Association Le Parnasse français, Paris, 2013.

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41

Renaissance music =: Musique de la Renaissance. Arles: Harmonia Mundi, 1998.

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42

sais-je?, Que, and Philippe Vendrix. La Musique à la Renaissance. Presses Universitaires de France - PUF, 1999.

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43

Thieffry, Sandrine, Camilla Cavicchi, and Marie-Alexis Colin. Hainaut et la Musique de la Renaissance. Brepols Publishers, 2017.

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44

Musique de la Renaissance, Renaissance de la musique en Lorraine: Actes du colloque de Nancy, 21 septembre 2013. Paris, France: Association Le Parnasse français. ISBN 978-2-9545388-1-5, 2013.

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45

Musique de la Renaissance en Europe, 1400-1600. Brepols Publishers, 2012.

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46

Instruments of the Middle Ages and Renaissance. Oxford: Oxford University Press, 1986.

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47

Musique Et Lexique a La Renaissance: Une Approche De La Musique Ancienne Par Ses Mots. Classiques Garnier Multimedia, 2022.

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48

Renaissance Counterpoint with Medieval Preliminaries. AuthorHouse, 2007.

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49

Music and the Renaissance: Renaissance, reformation and counter-reformation. Burlington, VT: Ashgate, 2011.

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50

Vendrix, Philippe. Music and the Renaissance: Renaissance, Reformation and Counter-Reformation. Taylor & Francis Group, 2017.

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