Tesis sobre el tema "Critique musicale – France"
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Coronat-Faure, Raphaële. "Naissance de la critique musicale en France : 1750-1774". Paris 8, 1999. http://www.theses.fr/1999PA081597.
Texto completoFlynn, 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.
Texto completoContient 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.
Texto completoIn 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.
Texto completoThis 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.
Texto completoThis 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.
Texto completoPariot, 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.
Texto completoThe 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.
Texto completoPompidor, Henri. "Les maîtrises des cathédrales métropolitaines en France (1600-1789) : étude institutionnelle et musicale". Paris 4, 1996. http://www.theses.fr/1995PA040169.
Texto completoCapitular 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.
Texto completoLefebvre, Dominique. "La musique dans le texte, France, 1660-1750". Paris 3, 2003. http://www.theses.fr/2003PA030037.
Texto completoThe ultimate objective of this work is to analyse how to put together a dissertation on the development of music in France since the classical period (with the creation of the opera) until the seventeen-fifties (period before the Querelle des Bouffons). This thesis is a study of the founding and development of aesthetics in musical appreciation of that period and its connection to aesthetics in literature and painting. The explosion of music and the beginning of criticism in music are examined as a social event and an object of historiography. Our study of music has been limited to opera and instrumental music. The texts which have been studied concern scientific and technical treatises of the Royal Academy of Sciences, theoretical works, works on aesthetics, private correspondance, dictionaries and some specialist publications on music
Rudent, Catherine. "Le discours sur la musique dans la presse française : l'exemple des périodiques spécialisés en 1993". Paris 4, 2000. http://www.theses.paris-sorbonne.fr/these-%20Rudent.pdf.
Texto completoBarrera, Juan David. "La musique pour orgue en France à l'âge classique : une représentation du sacré". Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC003/document.
Texto completoThis study of French organ music during the “Classical period” focuses on its signifying dimension, and particularly on its representative function in the liturgy. Our interest springs from an observation: the most important works devoted to this repertoire neglect the question, whereas the genesis of this organ school coincides with one of the most remarkable historical moments of Catholic spirituality. From this point of view, and assuming that sacred music can be understood as an aesthetic-theological product shaped according to the symbolic and expressive topics of the liturgy (in the same way as other manifestations of sacred art), our research seeks to demonstrate the way in which the music of French organists can communicate the fundamental notions of Christian doctrine through a set of aesthetic categories and musical topics directed by rhetorical principles. In this way, our work is divided into four parts, successively highlighting the cultural and spiritual contexts of the seventeenth century in France, the elements of the signifying universe of these music, the stylistic organization of the repertoire, and finally, from a hermeneutic point of view, the analysis of three major composers of this musical tradition: Nicolas de Grigny, Jean-Adam Guilain and François Couperin
Kéraudren-Rességuier, Elvie. "Images de l'opéra à travers le Mercure Galant (1672-1748)". Toulouse 2, 2005. http://www.theses.fr/2005TOU20090.
Texto completoThe detailed study of the french periodical Mercure galant over 75 years reveals a variety of aspects of opera from J. B. Lully to J. P. Rameau. In a rich variety of articles accessible to the general public dealing with venues, authors, dramatic art forms and critical acclaim, the magazine reflects the history of music during this period and provides a valuable record for us today. While this study portrays a musical portrait of the period 1672-1748, an attempt has also been made to go beyond the "official" face which the magazine embodies through its generous critical acclaim and appreciate analogous and less apparent facets which illustrate the public's taste for Opera (royal Academy of music) and the Court. Data have been cross referenced to shed light on both the evolution of opera during this period as well as the magazine's standpoint on the major aesthetic debats of the day : the dissidence between Ancients and Moderns; the taste for Italian music; opera as literary or as musical genre. The Mercure galant had a number of different editors over this period, most of whom where men of theatre: it is of interest to read what they had to say and to bear in mind what they did not say in order to understand the magazine's editorial line and to judge its strengths and weaknesses
Duhamel, Jean-Marie. "Musique et sociabilité en France, de la Régence à la fin du règne de Louis XV : recherches sur l'histoire culturelle au siècle des lumières". Lille 3, 1991. http://www.theses.fr/1991LIL30015.
Texto completoIn the 18th century, music had a fundamental position in france. Present in all ancient regime society, especially in the heart of urban life, it was a driving element in social life, and in the evolution of thought. In the spirit of academies whose contemporaties and heirs they were, opera and concert societies, gradually opening to the public, start to revolutionize the whole of cultural life in the kingdom. As artistic places and social haunts, they quickly grew into genwine withesses or mirrors for an elite in search of its own identity. But, benind the polish of elegance and affected attitudes in social life, we discovered bitter quarrels and violent squables. From mid-century, music not only became a gamble, but also reveales the tensions and struggles that shook and disturbed the whole of society
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.
Texto completoHector 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
Reynaud, Cécile. "La notion de virtuosité dans les écrits critiques de Franz Liszt". Paris 3, 2001. http://www.theses.fr/2001PA030161.
Texto completoPianistic virtuosity is a highly significant element in the evolution of the flourishing art of European instrumental music during the first half of the 19th century. And yet, by dint of the very demands of execution and exhibition that it imposes, such virtuosity manifests some of the disadvantages of instrumental music (which, lacking words, may be said to lack "meaning") and some of the disadvantages of dramatic vocal music (which can suggest mere gesticualtion rather than true emotional expression). How then, in the historical context of late 18th-and early 19th century German romantic philosophy, and in particular that of E. T. A. Hoffman, did instrumental music in general and pianistic virtuosity in particular acquire in France a newly meaningful status ? Detractors of mere virtuosity found a platform for their ideas in the Revue musicale of F. -J. Fétis, who offers us our first primary source material. .
Diguerher-Mentelin, Nancy. "Rameau, du cas à la singularité : germination, éclosion, ramification d'une intellectualité musicale au temps des Lumières". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0069.
Texto completoThis work aims to reveal Rameau's musical reasons from his arrivaI in Paris in 1722, when he started to devote his career to writing. This thesis takes a chronological reading of all his texts to demonstrate how the composer -teaching and researching music -prepares to back his own music. The first part of the thesis emphasizes Rameau's early stages, focusing on the influence of Descartes, and examines his « entry » into music theory. On the one hand, this first part raises the reasons that make Rameau an interesting case to study, on the other hand it : shows the origins and stakes of this case, that is influenced by Rousseau 's awakening to aesthetics and further developed by D'Alembert's research on epistemology. A singular musician character emerges on the occasion of his first exchange with the Encyclopedists in 1749, when Rameau was preparing the Mémoire that triggered a range of important arguments. Rameau's musical intellectuality stands at the heart of his theoretical peregrinations and raises at the same time as worrying musical disappointments. Analyzing this original episode the second part of this work observes, on the basis of a detailed analysis, the closeness of Rameau’s principle later books; the same crisis case repeatedly forces him to revise his defence strategy and to seek new extra-theoretical resources in a critical and aesthetical field that considers history and metaphysics. His late writings evidence an intense branching-out that reveal a new type of musical re¬: searcher intended to refer to philosophy of the time, who plays a major role in Rameau's Nephew
Pfeiffer, Anne Claire. "La vie musicale dans les lieux de cultes à Strasbourg au XVIIIe siècle". Thesis, Université de Lorraine, 2014. http://www.theses.fr/2014LORR0364.
Texto completoThe Alsatian cultural landscape has always been marked by the region’s rich musical life. Jean-Luc Gester’s study La musique religieuse en Alsace au XVIIe siècle lays the foundations for a history of music in the religious sphere, but also of the diffusion and reception of Italian music, more particularly in Strasbourg. From 1681 onwards, with the attachment of Strasbourg to France, an intense musical activity began to develop and continued throughout the eighteenth century. At this period, a number of churches were restored to Catholic worship; nevertheless, the Protestants retained the rights guaranteed them by the Peace of Westphalia, namely freedom of worship and continued ownership of their possessions, with the exception of the cathedral. Roman Catholicism was in the process of reconstruction in a city with a strong Protestant presence. In a situation unique in France, the musical traditions of the two confessions were forced to coexist. Strasbourg was henceforth to enjoy moments of glory following its union with France, including the proxy marriage of Louis XV and Marie Leszcznska in the cathedral in 1725 and the visits of Louis XV in 1744 and Marie-Antoinette in 1770. A number of other events marked the city’s existence over the course of the century and thus also had an impact on musical life
Dias, Correia Filipe Elsa. "Les tendances de la musique mixte en France depuis 1981". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL005.
Texto completoWestern scholarly music has always benefited from the technological advancements available in each era. The influence such has proved to be, at the instrumental level, resulting initially in the broadening of the musical and compositional language and, subsequently, requiring the instrumentalist to adapt to new playing and interpretation techniques. The rapid technological development which marked the twentieth century pushed this situation to limits previously inconceivable. This is the origins of mixed music, which is a new kind of music that combining electro-acousitc music and acoustic instruments. Our thesis proposes a study on the trends of mixed music in France since 1981. First, we will analyze the main concepts inherent to the subject as well as their issues. Then, we will head towards the organization of the social, economic, political, cultural and musical environment existing in France which allowed the development of this musical genre. Lastly, we will focus on the idea of musical research to trace the main lines of mixed music trends in France since 1981. To do so, we will use musical works that are representative of this multidisciplinary work wich characterizing musical research
Marty, Laurent. "1805, la création de Don Giovanni à Paris". Paris 12, 2003. http://www.theses.fr/2003PA120007.
Texto completoFirst performance of Mozart’s Don Giovanni at the the Opera de Paris was one of the outstanding events of 1 805 season, because it was the flrst time that a truly coniplete work by this composer was played in France. After studying musical and aesthetic context of the tirne. This thesis recalls the history of this creation, with many documents and extracts of correspondence showing administration’s reserves and singers’ fear. The detailed study of French version booklet and score, in comparison with work by Mozart and Da Ponte. Reveals the very many differences between original and adaptation and makes it possible to understand better French musical aesthetics oftime. Lastly, study ofreception ofwork through French and foreign press highlights reluctance of French audience to Mozart’s style, and more generally to German music, seen to be an attack on classical “good taste’
Montagnier, Jean-Paul. "Charles-Hubert Gervais (1671-1744) : l'homme et son œuvre religieux". Paris 4, 1995. http://www.theses.fr/1994PA040359.
Texto completoCharles-Hubert Gervais (1671-1744) was surintendant of the music of duke Philippe II d'Orléans, and sous-maitre de musique of Louis XV's Chapelle Royale, along with Michel-Richard de Lalande, Nicolas Bernier and André Campra. Despite these two prestigious positions (which naturally lead one to suspect that his role in the history of French baroque music is particularly interesting), no studies have yet been devoted to his life and sacred music. Gervais made his musical debut at the Palais-Royal where the Italianate art was patronized by Philippe II d'Orléans, an ardent musical amateur and patron of the arts, who influenced not only the composer's career but more generally French musical history. While in his service (1671-1722), Gervais wrote several operas and an opera-ballet; Hypermnestre (1716) proved the most successful. His appointment as sous-maître in the Chapelle Royale of Louis XV (in January 1723) was a turning point: his attention shifted to sacred repertoires, as the position demanded. For the next 21 years, his output reflected the tastes of the court and fulfilled requirements for ceremonial music necessary to the grandeur of the monarchy. Finally, part I attempts to draw a picture of Gervais’s personality and relationship to other composers. Part II is devoted to an analysis of his church music. The grand motet was the most important genre at the Chapelle Royale. Gervais's contributions are significant and representative of his craftsmanship
Bonin-Livet, Déborah. "Salomé dans la France musicale au début du XXe siècle. Approche comparative de La Tragédie de Salomé de Florent Schmitt et de Salomé d’Antoine Mariotte". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040019.
Texto completoThe biblical story of Salome is a vast subject that has inspired artists and writers alike for years. In music however, the story was evoked the most at the beginning of the twentieth century. To this day, the work of reference on the subject remains Richard Strauss’s opera composed in Dresden in 1905. And yet, numerous composers of the same era were to use the legend of Salome, namely Florent Schmitt with his ballet ‘The Tragedy of Salome’ and Antoine Mariotte. The latter, like Richard Strauss, sought inspiration for his opera from the play of the same name by Oscar Wilde.Bearing in mind the date of conception of Mariotte’s work (1908) and the existence of Schmitt’s ballet composed in 1907, our aim is to understand why these two composers, both in France, became interested in the same subject at practically the same time. To this end, we will concentrate on historical, social, artistic and musical accounts that link Salome to symbolism. Our work will then explore other trends of the time, such as orientalism and even the psychoanalytical nature of the subject. The final part of our study will deal with the premières and major performances of the work. Through this comparative study of the conception, organisation and reception of ‘The Tragedy of Salome’ by Florent Schmitt and of ‘Salome’ by Antoine Mariotte, we can not only conclude that the subject was a source of great fascination, but also that it had a strong influence on music in France at the beginning of the twentieth century
Cohen, Bezerra Letierce Claudia. "Le violon dans les œuvres orchestrales de Maurice Ravel : Les techniques orchestrales et instrumentales au service de l’expression musicale". Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL041.pdf.
Texto completoThis thesis proposes an analysis of instrumental and orchestral techniques related to violin in thirteen Maurice Ravel's scores. In the framework of the symphony orchestra, various observations are presented on the treatment of this instrument as well as a comparative approach of its modes of play in the works of this composer. These observations lead us to reflect on the way in which the numerous violinist possibilities are put at the service of the constitution of a style and of characteristic modes of expression, particularly through the specific timbre and instrumental color. By exposing the techniques and the expressive possibilities of the violin, this study contributes to highlight the importance of this instrument in the field of the orchestration of the beginning of the 20th century, through the Ravelian writing, its constancies, its evolution, his innovations and his posterity
Collin, Florence. "Le parallélisme de la musique et des arts plastiques dans les écrits de Francis Poulenc : une approche originale de la conception et de la perception musicale". Paris 4, 2006. http://www.theses.fr/2006PA040141.
Texto completoAs composer, interpreter, musical critic and listener, Francis Poulenc (1899-1963) produced lots of writings, interviews and broadcastings, in which he evoqued many parallels between music and fine arts. The first part of this work studies connects between composers' works and fine arts works Poulenc has mentionned. The same study, with his own compositions, constitutes the second part. In the third part, we study pictural works from artists inspired by the composer. After these connects, we tempted to find why the parallels evoqued by Poulenc allow to show his esthetics cares about conception and perception of musical works
Iordanou, Charis. "La théorie de la basse fondamentale en France. Étude de sa diffusion et de sa didactisation au XVIIIe siècle". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040012/document.
Texto completoThis work is concerned with the analysis of the integration, didactisation and modification of Rameau’s theory, as well as of its status and definiteness in the second half of the XVIIIth century in France, via the study of the didactic treatises on music. This thesis aims in understanding and explaining, first, the substitution of the theoretical works of Rameau by the studies of its interpreters, and second, the rejection of the fundamental bass theory in the beginning of the XIXth century. More specifically, the first part of the thesis presents the theoretical work of Rameau, in particular, the reception, interpretation and transmission of his system by his contemporaries. In the second part of the thesis, the practice of Rameau’s supporters is put into context (scientific, socio-cultural, educational, philosophical and didactic), in order to investigate the reasoning of these authors, to outline the typology of their treatises and to determine the significance of their work in the second half of the XVIIIth century. Finally, the third part of this thesis deals with the analysis of the didactic works on music and attempts to bring out the role of Rameau propagators to the paradoxical fate of Rameau’s theory in order to remove its theoretical and didactic transformations as well as to reveal and eliminate the positive or negative influential factors of its interpretation and diffusion
Ji, Eun Min. "Echanges culturels dans une économie mondialisée. La réception du spectacle de langue française en Corée, 1960-2012". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030036.
Texto completoThe history of cultural relations in the international arena, carried out through circulations andtransfers, has come to be a subject emerging more and more frequently in the context of globalization. It hasbecome apparent that actions of interchange in and from cultural domains respond to the states’ interestwhile countries allows others to acknowledge their social, political, economic, scientific and technical reality,in order for their realizations to be exchanged better. As for the context of Korea in the midst of its 20thcentury development, performances in French have been well perceived mainly through their academicapproach. They tend to be understood as technical, as well as critical and political maneuvers, whereasKorean performing arts exhibit the tendency of focusing on gaining popularity from a large public. On theother hand, musical theatre in French, readily present in Korean stages but perceived predominantly in thelight of academic approach, is starting to shift to the popular entertainment realm. Some of the principalfactors to its success can be studied through an aesthetic approach and methods oriented on marketing. Interms of international flow of cultural products, with the recognition of globalized economies, the essentialquestion is to grasp to what extent one culture can be assimilated into and influence the development ofanother. The efforts directed towards the Korean reception of musical theatre in French will have to give riseto a system in which the point of convergence or the differences between two radically distinct cultures notonly in geographical, but also in historical, social and genealogic respect should be duly noted. Our analysisof the role of the process of globalization lies on the inflow of one culture into a foreign territory, with thereciprocal influences arising from the relationship between the two
D'Eredità, Raffaele. "Le dernier Massenet : Esthétique dramaturgique et analyse musicale des oeuvres ultimes du compositeur". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040048.
Texto completoThe study of the works of Jules Massenet (1842-1912) created in the last five years of his life, during the artisticand philosophical context of the Belle-Époque, wants to highlight the traces of the evolution of musicallanguage of the composer. In the three sections of our research we propose a dramaturgical and musical analysisof a selection including five last works, which are considered Bacchus (1909) as a key transitional work in thelatest stylistic shift the composer, represented by the two diptychs: Don Quichotte/Panurge andRoma/Cléopâtre. Also, through the systematic observation of comic and tragic languages of these works andtheir continuous comparison among the composer’s antecedent production, we propose a definition of thisextreme evolution of Massenet writing. A writing that is complex to analyse because of its extraordinaryeclecticism – an effective balance between tradition and modernity – although inserted into an expressive andessential stylistic context. Our study – carried out through the analysis of original manuscripts and printedscores, as well as an extensive bibliography including monographs, essays, correspondence, articles, stagingdocuments – will cover different aspects of the composer's late style: historical design and literary narratologycomparative analysis of librettos, dramatic appropriateness of musical style, melodic design, use of harmoniesand musical forms, constants and innovations in orchestration
Théoleyre, Malcolm. "Musique arabe, folklore de France ? : musique, politique et communautés musiciennes en contact à Alger durant la période coloniale (1862-1962)". Thesis, Paris, Institut d'études politiques, 2016. http://www.theses.fr/2016IEPP0038/document.
Texto completoIn this dissertation, we seek to demonstrate that the history of music in Algiers from the 1860s to independence must be apprehended in terms of meeting and transfers between European and indigenous musical expressions. Characterized by live performance and being a point of contact, musical practice has been understood, as early as the beginning of the 20th century, as a means to create and tighten ties between communities; a purpose to which many actors of civil society have worked, increasingly supported by public authorities. Rubbed together, the different musical genres were modelled and consolidated, so that the Algiers’s so-called “Andalusian” musical tradition was, in fact, shaped by the dialogue between Europeans and indigenes. Thus, from 1862 to 1962, one can speak of Algerian music’s “franco-muslim” path; a path which reveals that the historical significance of Algerian independence in the field of music is as limited as its memorial weight is overwhelming in contemporary nationalist narratives on Algerian music. However, the Algiers musical case might be more telling from a cultural history of modern France point of view: it shows – surprisingly? – that in France, multiculturalism is not tied to imperialism. If one considers for a moment that Algiers, from 1862 to 1962, is not fundamentally “colonial”, admits that it has for a time shared a common destiny with the hexagone, and yields to the fact that it hosted a genuine cultural policy aimed at the promotion of diversity, one is led to wonder if Jacobinism, as is often said, is consubstantial to France
Rollin, Vincent. "Rendre les derniers devoirs en musique : Rituels, chants et pompe musicale des cérémonies funèbres catholiques à Paris sous le régime concordataire". Thesis, Saint-Etienne, 2015. http://www.theses.fr/2015STET2210/document.
Texto completoThis thesis studies the motivations, practices and repertories of chant and music used in catholic funeral ceremonies at Paris under the Concordat (1802-1905). The singing and musical solemnization of, added to and during the Mass of the Dead (plain chant, false bourdon, counterpoint, music) is analyzed for its scopes of organization and production : on the one hand the texts and rubrics of the rituals, ceremonies, prayers and chants of the liturgical books (roman and parisian rites) ; on the other hand the legislation, economy and administration of the funeral mass the official fees regulation of “pompes funèbres” fees and parishes. Then the making of the extraordinary musical “pompe” is studied by means of four particular cases : the involvement of the soldiers in and ex ecclesia (military honours and music) ; official and national funeral ceremonies, with their financing, symbolic system, places and official musical repertories ; the mournings of the musical community, involving not only a voluntary summoning up of musicians, singular choices for the musical program, but also a funeral discourse through music
Fryberger, Annelies. "De l'évaluation en musique contemporaine en France et aux Etats-Unis : jurys de pairs, commandes d'œuvres et médias sociaux". Paris, EHESS, 2016. http://www.theses.fr/2016EHES0110.
Texto completoPeers are responsible for evaluating contemporary music, or new music as it is often called in the American context. This dissertation looks at this evaluation at three distinct moments: during evaluation committees appointed to select composers for commissions or grants, in the commissioner-composer relationship, and in position-takings by composers in social media. This research is based primarily on fieldwork with two funding bodies for contemporary music: New Music USA in the United States and public subsidies distributed directly to composers by the Ministry for Culture in France. This Franco-American comparison of evaluative practices reveals contrasting understandings of peer review, which has a number of effects: different voting systems, divergent ways of categorizing the different sub-genres of contemporary music, and distinct views of the role of the composer in society. Judgment in the contemporary arts is often qualified as uncertain (Menger 2009), but the present research shows that this uncertainty is the result of indifference toward certain works or people - often found in the middle of ranked lists - rather than fundamental doubts regarding their quality. In the case of a commission, the bi-directional evaluation conducted by the composer and the commissioner has a profound impact on the work produced, which goes against the vision of the self-determined composer (more present in France than in the US). These different moments of valuation (Antal etal. 2015), including informal ones, are opportunities for the composer to position him- or herself, which helps him/her formulate or impose an interpretative framework favorable to his/her creative work
Aubert, Eduardo Henrik. "Ecrire, chanter, agir : les graduels et missels notes en notation aquitaine avant 1100". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0078.
Texto completoMy dissertation concems the GraduaIs and Missals written in Southem France between the ninth and the eleventh centuries. Its main focus is the transformation in musical literacy from the Carolingian Renaissance to the Gregorian Reform (c. 880-c. 1090). My contention is that the leap from exclusively oral transmission to the widespread use of notated books was not an inexorable development limited to an independent realm of 'music' , but rather an index and an active agent in the radical transformation that led society to become progressively dominated by hierarchical, well defined and efficient ecclesiastical structures -part of the creation of Christendom as an over arching, all-encompassing 'cadre de vie'. The dissertation proceeds in two parts. In the first, I define the nature of this musical literacy in relation to musical practices by providing a comprehensive catalogue of sources (chapter 1), a semiological study of their notation (chapter 2) and an analysis of musical variants (chapter 3). The second part deals specific manuscripts that can explored as windows relevant contexts: the functions notation the oldest extant Gradual-Antiphonary Southern France (MS Bibliothèque Municipale, 44, chapter a scribe' s negotiation between literacy and predominantly oral experience Florence, Biblioteca Medicea-Laurenziana, Ashburnham chapter and the attempt to introduce Church reform in Toulouse London, British Library, Harley 4951, chapter 6)
Fautereau, Vassel Émilie de. "Émergence de la figure historique de Claude Debussy dans la presse et la littérature de son temps". Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL005.pdf.
Texto completoTo highlight the role of critics in the constitution of the historical figure of Claude Debussy, it could suffice to note that his career, which starts around 1884 and ends at his death in 1918, precisely overlaps the golden age of the French press. Though, his revolutionary musical conceptions also generated numerous analysis and debates, in a sometimes controversial context. And the première of Pelléas et Mélisande spurred, in 1902, what we may call the critical controversy of the century. Our research project aimed to gather critical articles in sufficient numbers so that, through the confrontation of the texts, could emerge the most faithful representation of Debussy, such as his time perceived him. Our appendixes present near 800 excerpts, transcribed and sorted. The discourse on Debussy evolves, but does present some constants; for example, critics often call upon categories coming from painting (impressionism) or literature (symbolism) in order to attempt — with little actual success — to categorize among familiar movements the works of a composer, keen on pictorial arts and poetry. Another dimension emerges from the corpus: its remarkable formal richness. Lexical and rhetorical invention, pastiche, caricature, apologues, portraits… As the literary spills into the field of the critic, the works and the composer are conversely integrated in the literary field, and become fictional matter. Portraits and novel extracts have completed the corpus, shedding light on the way literature has contributed to the imprint of the figure of the composer in our collective memory
Peslerbes, Céline. "La musique française à Londres sous le règne de la reine Victoria 1ère". Rennes 2, 1998. http://www.theses.fr/1998REN20024.
Texto completoMusical life in London in the reign of queen Victoria was important. Attracted by the sovereign's presence, the splendours of the season and financial advantages, many artists gave public performances in the great number of the west end theatres. During the start of her reign there were a lot of Italian singers amongst them because Italian opera - or at least opera sung in Italian - was fashionable. Instrumental music was mostly German and oratorio was very well appreciated in England. In this musical background, not very encouraged by the establishment which carried on traditions in a society governed by conservative principles, French music had quite a modest place. At Covent Garden, the royal Italian opera, French works by Meyerbeer - and the other composers - were subjected to translation with the drawbacks involved, mainly the danger of modifications. Towards the end of Queen Victoria’s reign there was a decrease in Italianism due to a political and social evolution, which made it possible to introduce changes in the repertoires. These gradual changes were all the easier to carry out as many members of the musical establishment, who now came from Germany and no longer from Italy, were in favour of new ideas. Furthermore, a musical revival took place in France and more French artists and composers appeared in London. They furthered the development of French music and were its best representatives as far as opera, instrumental and choral music are concerned. From now on it was not uncommon to hear a concerto by Saint-Saens, a melody by Massenet, a symphony by Berlioz, Bizet's Carmen and especially Gounod's Faust, running at Covent Garden each season since 1863, when it was created in London. It is also thanks to Gounod's oratorios that he won a particular place in the audience's heart. . . And Victoria's
Quesney, Cécile. "Compositeurs français à l’heure allemande (1940-1944) : le cas de Marcel Delannoy". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040029.
Texto completoAlthough the French musical life during the Occupation is now a familiar field of research, no detailed study has been made of Marcel Delannoy (1898-1962), one of the most important composers of the period. Supported by a wide range of sources, including the large collection of Delannoy’s papers conserved at the BnF, the present work aims to fill this gap by situating Delannoy in the larger context of a generation of musicians that were especially visible during the Vichy years. In this context, both coercive and favorable to musical creation, several composers (notably Poulenc and Honegger) were indeed involved in a number of activities that reveal their commitments and the degree of adaptation in the face of the Occupation. To account for Delannoy’s activities under Vichy, it was necessary to extend the period under study: his principal project and success of the period, Ginevra (an opera premiered in 1942 at the Opéra-Comique), was the result of a 1938 State commission; more generally, his musical and extra-musical choices, much like those of his contemporaries, cannot be understood if they are restricted to the four years of the Occupation
Robert, Alexandre. "Une approche sociomusicologique de la création musicale : la pratique de la composition pianistique de Déodat de Séverac". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040165.
Texto completoHow does Déodat de Séverac develop his piano works? This thesis purpose is to understand and explain the composer’s singular ways of writing for the piano through the various dispositions (that is to say the various tendencies to act, to think, to feel, etc.) forged within the frames of socialization he is led to frequent all along his trajectory. To restore the Déodat de Séverac’s “compositional doing” (his dispositions, his practical logics, his aesthetic schemes, etc.) and its possible transformations, the author articulates three analytical operations : a reconstruction of the successive frames of socialization crossed by the composer (such as the familial sphere, the regionalist literary circles, or the two opposing poles of the avant-garde of the French musical field that are the Schola Cantorum and the group of the “Apaches”) ; an analysis of the actions and the speeches of the composer ; an analysis of his whole piano production. This sociomusicological investigation is based on a work on archives and on an exploitation of several types of sources, from the writings of the composer – such as his correspondence or his music criticisms – to the various musical tracks of his works – original edited scores, manuscripts or sketches – via the numerous indications of his interactions with his contemporaries – particularly the writings on Séverac and the letters that are addressed to him
Gaboriaud, Marie. "« Ce maître mystérieux » : la construction littéraire du mythe de Beethoven sous la Troisième République". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040159.
Texto completoThe Third Republic « mystified » Beethoven. It turned him into a fictional character, and integrated him into the French republican canon, endowing him with all the moral and ideological values that then were at the root of the construction of national identity. This work aims to highlight a specific corpus, which contributed to the creation of the myth, which partly draws on Romanticism but is also eminently modern. Music criticism, biographies, novels, drama, popularization and educational works about Beethoven constitute an organic group of works, aiming at the glorification of the musician from Bonn. His image thus becomes a literary material, and contributes to building a beethovenian literature, and a beethovenian poetics, which borrows its aesthetics in particular from the epic, hagiography, serialized novels, picaresque novels and bourgeois drama. However this heterogeneous corpus tends towards standardization insofar as the narrative patterns somehow froze as commonplaces. All this leads to Beethoven being turned into the “hero of modern consciousness”. The republican ideology raised him to the rank of an icon both for identification and moral edification, in the same way as the “classics”. To the intellectuals of the interwar period he embodied humanist values and was a symbolic weapon against the rise of totalitarianism
Turbé, Sophie. "Observation de trois scènes locales de musique métal en France : pratiques amateurs, réseaux et territoire". Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0391/document.
Texto completoA multisited ethnography of three local metal scenes in France. Amateurs practices, networks and territory. How a musical passion can be connected to the territory or, in other words, what links a musical "scene" — in the sense of a local world of art — to its location ? The world of metal inform the manifestations of the musical passion of its fans through a continuum of practices, which are the supports of the sphere of consumption and production of local metal scenes. To reach a better understanding of this local anchoring of the world of metal, we have implemented an ethnographic study of the coordination mechanisms of musical expression and production in the context of local scenes, through the observation of three local metal scenes in France. This ethnographic study shows that the collective agency of music amateurs is always attached to a territory, as well as depending of the musical objects — local and translocation — that guide their practices and their trajectories. The observation of the forms of anchoring and of the mobilities, both of objects and humans, that contribute to the production of these scenes, reminds us that music amateurs always operate within the frame of a local territory. Their collective action is always caught in an entanglements of scales and networks actors, meaning that we cannot reduce the observation of a musical world to practice operated alone and behindclosed doors
Soret, Marie-Gabrielle. "Camille Saint-Saëns, journaliste et critique musical (1870-1921)". Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2023.
Texto completoComposer, pianist and organist, founder of the Société nationale de musique, Camille Saint-Saëns (1835-1921) is essential in French music. He was renowned for his forthright pronouncements, Saint-Saëns expressed his opinions profusely in newspapers and magazines (from 1870 to 1921) on topics as diverse as his range of interests. Although some of these articles were published as collections, many others have fallen into obscurity. By revealing the tastes, the aesthetic choices of their author, these texts reveals also those of his contemporaries and the artistic debates in which they were involved. They also light the hidden part of the life of the composer and contribute to enrich history of French musical life under Third Republic
Gribenski, Fanny. "L'église comme lieu de concert : pratiques musicales et usages de l'espace ecclésial dans les paroisses parisiennes (1830-1905)". Paris, EHESS, 2015. http://www.theses.fr/2015EHES0131.
Texto completoWhile numerous works have highlighted the central role of Paris in nineteenth-century French musical life, the history of some of its most important musical spaces remains relatively unknown. Marked by the topos of France's secularization at this time, the historiography about the period has tended to systematically ignore the importance of churches as spaces of musical innovation and practice. Throughout the century, the « musical celebrations » organized in both the wealthiest and the poorest parishes of the city counted amongst the most important events of the musical season. Some highlights of the parishes' calendar (main religious celebrations of the year, patron-saint feasts, devotional exercises, political ceremonies, organ inaugurations. . . ) provided opportunities for an exceptional "musicalization" of the sanctuaries. Based on the hiring of musicians and singers who were not themselves members of the parishes, these events—announced and commented on at length in local periodicals—attracted crowds of music lovers, even though they were almost always articulated with a liturgical action as well. At the crossroads of musicology, cultural and religious history, and sociology of space, this study shows how the mutations characterizing nineteenth century musical life were not only carried by the creation of new urban spaces dedicated specifically to the performance of music, but were also translated through the transformation of churches into ephemeral concert halls
Gaudin-Naslin, Christine. "Sociabilités musicales et sociabilités maçonniques en France au XIXe siècle". Paris 4, 1994. http://www.theses.fr/1993PA040279.
Texto completoThe history of the masonic music is a field of investigations that fortifies itself in the contact of wider sciences : the history of the music societies, the economical and social history, the history of moral attitudes. From this interdisciplinary view point are studied the contributions of the artists to the masonic ceremonies, the speech value of musical productions, and the social development of the musicians. This study leads to the building-up of a conceptual frame adapted to the analysis of information brought forward by archives, such as biographic reviews, works inventory, and facts studies. In the mineteenth century, the lodges repertory is caracterized by a thematic evolution (dealing with subjects such as morals, charities, and work), and by the influence of non masonic music. The biographic reviews reveal the progressive integration of amateurs, the substantial contribution of the military, and the meaningful concentration of famous artists and influential people. The very practices show that music takes on the different functions according to the aspirations and the ambitions of the freemasons
Vittu, Mathilde. "Les airs de Sébastien et Charles Le Camus (1653-1708) : catalogue, édition, analyse et interprétation". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL013.
Texto completoThe main goal of this study is to unveil the work of Sébastien Le Camus († 1677), behind whose name one also finds that of his son, Charles Le Camus († 1717), himself a composer. A collection of the father’s 32 known airs was published posthumously in 1678 upon the son’s initiative. By means of a metaphor, where that collection is at the centre of a circle, we navigate on the circle’s periphery through the set of written sources that allowed for diffusion of the genre of the French air, both secular and sacred, in the second half of the 17th century and at the beginning of the 18th century: The collections of airs and song-texts published by Ballard, the manuscripts kept in France and abroad, a novel – Clélie by Madeleine de Scudéry – and a periodical, the Mercure galant. The 211 airs by Sébastien and Charles Le Camus collected to date, extracted from those sources, are now gathered in a catalogue (vol.3) and in a modern music edition (vol.4). The miniature dynasty leads to explore the « score » as an object as well as the notion of author, first questioned and then set at the core of our study (vol.1 and 2). By subtle handling of that flexible notion, we offer to musicians and musicologists an analysis of both the airs’ creation context and the music material itself. This analysis, based on a constant dialogue between the theory and the practice of our authors’ time, leads to viewing the air as a dynamic genre whose life depends on its success within social milieus as much as on its ability to be composed, decomposed and recomposed according to the requirements of its performance context
Lagarde, Benjamin. "Réunion maloya : La créolisation réunionnaise telle qu'entendue depuis sa musique traditionnelle". Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3118.
Texto completoWhereas a reflexive chapter, focused on the progressive immersion we realised among the actors of possessions cults from afro-malagasy origins living in Reunion Island, had been primarly thought to join this thesis, the main effort consists here in the documentation of the maloya. Effectively, an overlook to what's been said of this traditionnal music requiered such a missing work attached to an element recently inscribed on the UNESCO patrimonial list. Resuming the available knowledge about the maloya, which is considered since the early moment of the colonization as the reunionese « Black music », the purpose was to reach the modern era and then underlying the importance of this esthetical practice in the definition of what could be called, under certain conditions, this « kréol identity ». The post-colonial role that played maloya during the years 1960-1970 appears newly as we emphasize his historical implications. We've also been able to relocate the common point of vue already existing of the maloya in scientifical field as well as on the public scene from the musicians and their cultual significations. Analyzing, for example, his four distincts repertories, we open to an original understanding of the past and the present of a creolized culture that had always took music as a fundement of its existence. This work makes also possible the reflexion about the place of the « Kaf » (Reunionneses of black origins) in this cultural construction, and maybe, the one of the afro-descendents and their so-called « black music » in the invention of our new globalized world
Mathis, Thierry. "Le clavecin en France aux XVIIe et XVIIIe siècles : découvertes organologiques et nouvelles techniques de l’interprétation". Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC011.
Texto completoIs French harpsichord music of the 17th and 18th centuries played today as it should be ? What sources can help musicologists and musicians to reproduce the authentic harpsichord sound and playing techniques of that epoch, and understand its repertoire, as faithfully and fully as possible ? The mere fact that this music went unplayed for so long prompts that question. In fact, the harpsichord was forgotten overnight. The favoured instrument of court and fashionable society under the ancien régime, it had aristocratic associations which doomed it when the Revolution came. A century later, in June 1889, the noble, silvery sound of its plucked strings made a first, hesitant comeback, thanks to Louis Diémer. But it was only in the 20th century, between the two world wars, that Wanda Landowska’s tireless enthusiasm gave this baroque keyboard instrument a new lease of life. Interest in building “old-style” harpsichords, using traditional techniques, first developed in the late 1950s, and their popularity has grown steadily ever since. Today’s enthusiasts want to go back to the origins, and revive old ideas and techniques, but they still have a long way to go. At an earlier stage, techniques used in making pianos were extended to harpsichords - and some of these “alien” elements and additions are still present. We felt the time had come to clarify the picture by consulting certain contemporary texts, which had been unduly neglected. We found indeed that these were at odds with twentieth- century improvements, had been mistranslated or misunderstood, or were, quite simply, hard to find.Anyone wishing to form an idea of the original harpsichord sound must start with organology, and the various instruments used by French musicians in the 17th and 18th centuries offer valuable clues. X-ray examination reveals their design and shows how they were regulated (keys, jacks, plectra).Thanks to this approach, we have identified nine essential factors which illuminate the design and construction of these instruments. French manuals of the time had a narrower octave span than those of instruments made in neighbouring countries - or today. Span, of course, determines the distance between thumb and little finger, which itself affects playing. The smaller the gap, the closer the fingers, and the more relaxed the hand. From the beginning, the French sound was also distinguished by its highly flexible harmonies,low-tension strings and low pitch (A3 at 392-406 Hz.). We also found that some harpsichords had three manuals, that some (particularly Alsatian instruments) had 16 foot stops and a lute stop, and that the S-shaped bentside was a French innovation. Musicologists and musicians already know in general terms how manuals evolved from the early 17th to the late 18th century, but no specific research has been done on the process by which they became wider, between 1670, when the first book, Chambonnière’s Pièces de clavecin, was published, and 1741, when Rameau’s Pièces de clavecin en concerts made five octaves the norm.We have also studied strings, their thickness and the materials of which they were made. We have found that string diameter was smaller than it is now, and that bass strings were never made of copper. Only brass with high copper content was thought to give the deeper strings a satisfactory sound. Strings on the upper three-fifths of the manual were made of soft iron, which had little tension. Steel, which is used today, was obviously unknown.Finally, harpsichords, once their temperament is established, are today tuned in pure octaves –which, as a text by Corrette has shown us, was far from being the case in the 18th century
Neymarck, Emmanuelle. "Maurice Ravel : une poétique de l’orchestration". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040192.
Texto completoMaurice Ravel, a reference among the 20th century composers, has always led his audience into unexpected musical fields with works such as the Rapsodie espagnole, Daphnis et Chloé, Ma Mère l’Oye, La Valse or the orchestration of the Tableaux d’une exposition. While writing piano reductions, while studying at the Conservatoire de Paris and reading treatises on instrumentation and orchestration, Maurice Ravel learned, tamed and gave his orchestra a unique tint, the tint that has made him one of the greatest composer of his time. Based on the study of fifteen of his symphonic works, a thorough analysis of the aspects of Ravelian orchestration has highlighted his main stylistic features. However defining Ravel’s poetical orchestration cannot be restricted to a mere listing of technical elements; it is also trying to understand the role and impact of his orchestra transcriptions on his language and on his work. Are Ravelian orchestrations simply an ornament of the piano version or the creation of a new work?
Cadalanu, Marie. "Le film musical français dans les années trenteconstitution d’un genre ?" Caen, 2016. http://www.theses.fr/2016CAEN1037.
Texto completoWhile the vast majority of musical film critics consider only the Hollywood paradigm, there are other national traditions of musical cinema, to which critics often turn a blind eye because of incompatibility with this model. Indeed, French cinema of the thirties develops, for historical, cultural and technical reasons, a wealth of musical and singing films which do not fit with the Hollywood codes of the genre and which are characterized by outstanding inventiveness and richness. The present study aims to do justice to the specificity and the diversity of this corpus, by exploring the possibility of a generic approach analogous to that which the critical doxa applies to the Hollywood musical. The first part establishes the theoretical bases for the genre of French musical film, before offering a typology of the various trends in this national musical cinematography. The second part focuses on the importance of international exchanges in these productions, particularly through the practice of creating multiple versions. The third part focuses on the contemporary reception of these films, in order to assess the importance of a generic approach in the various discourses emanating from the production companies, critics and the public. Finally, the fourth part proposes how to go beyond the generic constraints in order to tackle to the unprecedented abundance of singing productions made during the decade
Gross, Guillaume. "L'Organum à Notre-Dame de Paris au XIIIe siècle : étude sur les modes d'élaboration d'un genre musical". Tours, 2004. http://www.theses.fr/2004TOUR2018.
Texto completoBy the end of the 12th century, organum was sung at the cathedral of Notre-Dame of Paris. This study discusses the cultural context in which the tripla and quadrupla came to be composed and the conditions which brought into effect the elaboration of such virtuoso compositions. In the second half of the thirteenh century, the music theorists Johannes of Garlandia and Anonymous IV discuss some of the ornamental processes (colores) used in the great organa. These authors employ the vocabulary used for didactic poetry contemporary with the Parisian polyphonic practice. The artes poeticae offer a wide range of ornamental techniques and some them, relating tot the phenomenon of repetition, are used in the organum. This study shows how the clerics used these rhetorical processes to elaborate a complex musical elocution, and aims to comprehend under which circumstances and to what purpose the cantors were able to create by memory such noble manifestations of the sung word
Hodant, Jean-Philippe. "Rhétorique et dramaturgie musicales dans l'oeuvre de Jean Guillou". Paris 4, 1993. http://www.theses.fr/1993PA040120.
Texto completoThrough the prism of three of the works of Jean Guillou, La chapelle des abimes, Judith-symphonie, Hyperion ou la rhétorique du feu, these experimental pieces attempt to demonstrate and bring out the aesthetic light of the composer. Each one of the works retained presents a different problem which is related to the literary text, a latent text, a text which is present in the musical tissue, a text absent or virtually issue of the musical discourse. These three examples bring to light a musical rhetoric which is comparable with a literary discourse which contains dramatic stylized gestures
Vaillant, Anaïs. ""La batucada des gringos" : Appropriations européennes de pratiques musicales brésiliennes". Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3109.
Texto completoUsing the example of the batucada phenomenon in France and Europe, this thesis explores the processes of cultural appropriation of Brazilian musical models, in particular those of Rio's samba enredo, Bahia's samba-reggae and Recife's maracatu. The ethnographic fieldwork, conducted during the first decade of 2000, is composed of: numerous life stories and semi-structured interviews with French and Brazilian amateur percussionists and professional musicians, observations of musical practices in Europe and Brazil, and participating observations in the framework of artistic projects in the South of France. Rather than taking a historical approach of the diffusion of objects, this work analyzes the trajectories of the appropriations of batucada in France, from its emergence to its spread. Several fields of musical appropriation are broached: the instrumental form of the batucada, the Brazilian musical models, and the artistic positions taken regarding these models which reveal a common quest for a “popular”, lively and festive cultural practice. Idealized representations of Brazil, its music and its carnivals seem to respond to this quest. Travels to the musical sources in Brazil appear as an important step in the Europeans’ musical appropriation. Observation of these travels allows underscoring the social and cultural stakes of musical transmissions between Brazilians and foreigners. Lastly, the appropriation of batucada enables enlarging a general debate on cultural appropriation in a context of globalization
Montersino, Isabella. "Saint-Eustache des Halles au XIXe siècle : portrait musical d'une église parisienne d'après les archives du conseil de fabrique". Paris 4, 1994. http://www.theses.fr/1994PA040338.
Texto completoThe church of Saint-Eustache was built in late Gothic style during the reign of Francis I in one of the oldest quarters of Paris. Its unusual size,fascinating beauty and particulary clear acoustics have made it a significant centre for music-making in France. .