Literatura académica sobre el tema "Maîtres de chapelle – France – 18e siècle"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Índice
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Maîtres de chapelle – France – 18e siècle".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Tesis sobre el tema "Maîtres de chapelle – France – 18e siècle"
Deyris, Edith. "La vie et l'oeuvre de Charles Levens maître de chapelle à la cathédrale Saint-André de Bordeaux : contribution à l'étude du milieu musical bordelais au XVIIIe siècle". Bordeaux 3, 1990. http://www.theses.fr/1990BOR30042.
Texto completoBorn in marseilles in 1689, charles levens was, in turn, choirmaster at st-pierre cathedral in vannes and at st-etienne in toulouse before he was established as a talented composer and theoretician in bordeaux a witness of the first topographic and architectural alterations which turned bordeaux into a classical city, levens occupied the post of music master at st-andre cathedral from 1738 until his death in 1764. The renown he enjoyed proves the importance of artistic life in the provinces in the days of the undisputed rule of versailles and paris. Levens, who wrote a cantate for the toulouse academy in 1724, is first and foremost a composer of sacred music. His creative activity is revealed by the masses, requiem, magnificat, christmas hymns and grands motets he left us. His te deum was played in bordeaux for the entry of the duc de richelieu in 1756 and on august 12th 1789 for a "revolutionary" celebration. Levens's style combines the natural quality of classicism "a la francaise" with the baroque charm of italian music in whose concerted virtuosity he sometimes indulges together with ormamental lightness. The stylistic and comparative study of the manuscripts allowed the authentification. .
Mignogna, Francesca. "Écriture(s) et réécriture(s) dans l'œuvre pour les défunts de Pierre-Louis Pollio (1724-1796) : un exemple d'œuvre ouverte au XVIIIe siècle. Étude et édition critique". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL016.
Texto completoPierre-Louis Pollio (1724-1796) was maître de chapelle in various ecclesiastical establishments in France and the former Austrian Netherlands, including the cathedral of Saint-Pierre in Beauvais and the collegiate of Saint-Vincent in Soignies. Pollio's corpus of funereal compositions stands out for its exceptional quantity and diversity. In particular, his eight requiem masses make Pollio the composer with the largest number of such masses surviving. The richness and coherence of this corpus make it an object that sheds light on aspects of Ancien Régime funeral music that have yet to be fully explored. In this study, we seek to demonstrate the adaptive and functional character of this repertoire, through different angles of approach all stemming from the observation of sources carried out for the realization of the modern edition of Pollio's funereal corpus. By observing the way in which he appropriates musical elements inherited from tradition, and by analyzing the recasting operations carried out by Pollio on his own compositions, we highlight how his compositional choices are governed by the imperatives specific to the various liturgical occurrences. The result of these observations leads us to highlight a virtuality of the work that can be observed at different levels, particularly from a compositional point of view. The editorial issues raised by such a reading lead us, with the support of concepts aimed at dissociating the materiality of the text and document from the metaphysics of the work to the formulation of an editorial strategy that reflects and perpetuates the openness specific to this repertoire
Marchand, Patrick. "Les maîtres de poste et le transport public en France : 1700-1850". Paris 1, 2004. http://www.theses.fr/2004PA010520.
Texto completoHenry, Christophe. "Aux sources du style : l'imitation et le culte des grands maîtres dans la peinture française de 1708 à 1799". Paris 1, 2002. http://www.theses.fr/2002PA010597.
Texto completoLetiembre, isabelle. "Maîtres d'oeuvre et commanditaires de la demeure privée en Bretagne au XVIIIe siècle : les constructions du bassin rennais et de l'arrière-pays malouin". Rennes 2, 2000. http://www.theses.fr/2000REN20015.
Texto completoIn the 18th century in Brittany a good number of private residences were erected mainly initiated by members of Parliament and merchants. First it was necessary to wonder about the initiators of the project -civil engineers and local architects- in charge of giving plans and of building these edifices ; it clear y appears that these persons where gathered within a socioprofessional group unrecognized until then : training, tools, financial conditions ; professionnal relationships ; social life ; family links. . . The Breton members of Parliament -who moreover belonged essentially to the old nobility of Brittany- and the freshly ennobled merchants of Saint-Malo where the main owners of these private edifices- country et private mansions. The fact that they belong to the same social category and friendly relations favoured the awareness of a cast within these groups. However the part of their fortune that they devoted to this realisations was not necessarily important. It is telling of the architecture of the Age of the Enlightment in Brittany : we are not faced with real architectural programms in the province. The edifices of the actual region of Ille-et-Vilaine certainly show the general characteristics of the French architecture of the 18th century but don't particularly distinguished themselves
Decobert, Laurence. "Henry du Mont (1610-1684), sous-maître de la chapelle de Louis XIV : contribution à l'histoire de la musique religieuse au Grand Siècle". Paris 4, 1989. http://www.theses.fr/1989PA040120.
Texto completoBiography of the composer (birth and youth in the diocese of Liege until 1640, Parisian racecourse as organist of saint-Paul’s church, and from 1660, at the court of Louis XIV), followed by an analysis of his 26 grands motets, including : description, dating, investigation of vocal and instrumental parts, structural and stylistic analysis, transcription of five grands motets
Michel, Benoît. "Le noël à grand choeur : une pratique musicale à Toulouse et en terres méridionales (XVIIe-XIXe siècles) : étude historique, institutionnelle, liturgique et esthétique". Paris, EPHE, 2012. http://www.theses.fr/2012EPHE4009.
Texto completoDuring the feasts of Christmas and the Epiphany, the French southern choirmasters composed the music of Christmas in French, more rarely in Occitan, sung by soloists, chorus and accompanied by a more or less enriched instrumental staff. The poems put in music told various episodes of the birth of the Christ, sometimes mixed with other religious themes. The denomination «noël à grand chœur» used on two musical sources is the one which describes best the repertoire and its major characteristic, the presence of a chorus. This study entails us in diverse roads and sometimes little marked out: the religious and spiritual music in French, the music in province, music chapels and their re-creation in XIXth century, the music of the brotherhoods and the corporate associations. At the beginning of this research, about ten pieces of music were known; today it is a set of more than 91 anonymous pieces of music and 198 pieces of music of 55 composers from 1692 till 1852. The thesis investigates the poetic corpus in its various components: sources (in particular the printed libretti), texts and their construction, the music (when this one is preserved), the role of the repertoire in the liturgy, without forgetting the context which saw starting and developing such a practice, capitular choir of the South of France, brotherhoods and corporate associations
Buvron, Jean-Marcel. "Le renouveau musical dans les cathédrales en France de 1801 à 1860 - Le Mans -". Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2003.
Texto completoIn 1857, Joseph d’Ortigue saw that the music schools attached to French cathedrals in the first half of the 19th century could never play the part they had had for centuries, until they were closed in 1791. Though they were at first officially aided, all the cathedrals failed when they tried to revive their musical activity : the catholic church did not succeed in giving back to their celebrations the brilliance of music and song that had been theirs before the Revolution. Studying the Le Mans music school from 1801 to 1860 – it was « one of the first to be re-estblished and one of the most flourishing » –, this thesis analyses the main causes of this inevitable failure: the uncertainty of financial resources, the evolution of habits of thought as regarded religion, the incomplete training of the new generation of church musicians, as well as the changes in musical tastes. In the years 1830-1840, the liturgy and its music are hotly argued about by those in favour of an expressive music and those advocating a restoration of plain chant. The musical revival in cathedrals – notably in Le Mans – was eventually achieved only after a reform of the liturgy defining which music is most suitable for divine worship. With the return of the Roman liturgy and Gregorian chant, over fifty years were necessary for religious ceremonies to gain in coherency what they had lost in brilliance
Simien, Côme. "Des maîtres d’école aux instituteurs : une histoire de communautés rurales, de République et d’éducation, entre Lumières et Révolution (années 1760-1802)". Thesis, Université Clermont Auvergne (2017-2020), 2017. http://www.theses.fr/2017CLFAL029.
Texto completo[No summary]
Kim, Hangyul. "L'usage des maîtres anciens dans le discours de l'art national en France, 1780-1850". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H054.
Texto completoThis thesis problematises in historical context the identity of the ‘Old Masters’ in the literature on art and practices of museums in France from the time of the French Revolution until the mid-nineteenth century. Since the end of the Old Regime, the definition of the ‘Old Masters’ was transformed: a transition of principal elements, from the classical Greek artists to the founders of the National School, took place. This transition reflected the anxiety of the newborn French Republic facing an international rivalry in art history and myriad obstacles to its social and political goals. To meet the concerns of competition and emulation, the names as well as the artistic and moral qualities of ‘Masters’ were recognised, with emphasis, as being closely linked to public instruction and national history. The thesis analyses the texts and museum theories of Alexandre Lenoir and Toussaint-Bernard Émeric-David and the discussion of ‘Old Masters’ in the republican journal La Décade. Also analysed in this context are the displays of the Old Masters in the museums, catalogues (with a focus of Landon’s Annales) and works of art during the Revolution and the first half of the nineteenth century recreating the images of the Old Masters as national heroes or fathers of French art. This consciously performed reconstruction of the ‘Old Masters’ during the French Revolution made a crucial contribution to the formation of the cultural identity of France