Literatura académica sobre el tema "Musique religieuse – France – 18e siècle"
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Artículos de revistas sobre el tema "Musique religieuse – France – 18e siècle"
Stove, Robert James. "La Musique religieuse en France au XIXe siècle. Le sentiment religieux entre profane et sacré (1830–1914)". Musicology Australia, 12 de julio de 2023, 1–7. http://dx.doi.org/10.1080/08145857.2023.2216481.
Texto completoTesis sobre el tema "Musique religieuse – France – 18e siècle"
Laurenti, Jean-Noël. "Valeurs morales et religieuses sur la scène de l'Académie royale de musique (1669-1737) : étude du Recueil général des opéras". Paris 4, 2000. http://www.theses.fr/2000PA040104.
Texto completoKrucker, Jérôme. "Sébastien de Brossard (1655-1730) et sa musique religieuse". Paris 4, 1989. http://www.theses.fr/1989PA040303.
Texto completoSébastien de Brossard's life is marqued by his entirely self-taught education and by the settlement, that he carried on untiringly, of an impressive series of scores and theoritical works, which he bequeathed to the king's library and which constitutes the most important funds of ancient music of the present Paris National Library. Sébastien de Brossard is the author of a famous dictionnary of music, and until recently, he was known only as a theorician. Still, his contemporaries and the succeeding generations also appreciated his religious music, which contents about sixty motets, described in the present study, Brossard's work thorough analysis shows that he tried to paint each word particularly; in doing that, he followed the italian influence under which he came strongly. Although Brossard's work is closer to the models of a recent past than to his contemporaries'. Some of his pages can bear the comparison with the king choir master's motets
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
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
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
Dubois, Paul-André. "Naissance et évolution de la musique religieuse en langue vernaculaire dans les missions amérindiennes de Nouvelle-France au cours de la première moitié du XVIIième siècle". Master's thesis, Université Laval, 1996. http://hdl.handle.net/20.500.11794/28409.
Texto completoDennery, Vaisman Anna. "La musique liturgique en l'abbaye de Saint Evroult d'après le Tropaire-prosaire ms. Paris, B. N. Lat. 10508". Paris 4, 1987. http://www.theses.fr/1987PA040201.
Texto completoThe manuscript listed as lat. 10508 in the Paris Bibliotheque Nationale, is made up of two different works bound together in one volume : 1) a cantatorium troper-proser, written for the use of saint Évroult abbey, in Normandy, dating from the early twelfth century, and 2) a musical treatise, from the same abbey, but very probably written at one of the foundations of saint Évroult in Italy, at about the same time. The historical and codicological survey of the manuscript is followed by an introduction to the proper of saint Évroult, which attests the presence of a few ancient liturgical forms that are gradually dying out. It enables us to observe uses peculiar to Normandy, particularly, concerning the introits. The following section is devoted to the genesis, development, and appearance in Normandy, and especially in abbey, of the tropes of ordinary and of sequentias. Analysis of their prosody shows that the Kírie eléison are not the result of laying a text under already existing melismas, as in the case with the sequentias. Rather they are a form of chant in which text and music were composed at the same time. The troper-sequentiary, of undoubted Norman origin, nevertheless contains chants from various other sources, for the works of the composers and poets of the North West make up only about one - third of saint Évroult repertory. The musical notations used in the manuscript run the gamut from neumes in campo aperto to guidonian notation, from alphabetical notation to the dasian. Additions show the evolution of notation on stave. A report on the interpretation, meaning, and liturgical use of the tropes and sequentias brings the survey to a close. It might just as well have been entitled: "musical and liturgical life at the saint Évroult abbey"
Mesplé, Pierre. "Les musiciens d’Église au XVIIIe siècle : acteurs, circulations, réseaux (diocèses de Blois, Chartres, Évreux, Orléans, Rouen)". Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2023. http://www.theses.fr/2023UCFA0135.
Texto completoThis research defines a social group, the musicians of cathedral and collegiate churches, in a circumscribed space (five dioceses, Blois, Chartres, Évreux, Orléans, Rouen) from the end of the 17th century to the Revolution. We will endeavor to identify their living conditions (by questioning in particular the notions of employment and itinerancy), but also the networks that they can form in relation to the canons who employ them and the rest of society. Finally, we will seek to describe and understand the place that society grants them in the functioning of worship
Noailly, Jean-Michel. "Claude Goudimel, Adrian Le Roy et les CL psaumes, Paris 1562-1567". Saint-Etienne, 1988. http://www.theses.fr/1988STET2006.
Texto completoThe late rediscovery (1983) of "Pseaumes de David. . . A quatre parties » par Cl. Goudimel. Nouvellement mis en tablature sur le Leut par Adrian Le Roy-Paris, Le Roy-Ballard, 1567" has enabled us to study the melodies of calvinist psalms in three aspects. Part I is a modal analysis of these melodies coming after a description of the stages of their composition. Part II deals with Claude Goudimel's activity, suggests a method to analyze harmonizations "nota contra nota" and applies it to those of psalms made by Goudimel. Part III presents printer-lute-player : Adrian Le Roy, psalms "set in tablatures" for the lute and the influence of Goudimel's harmonizations on Le Roy's tablatures. This study tackles problems of musical typography : mutual influences of printers while composing the 1562 monodic psalter ; Le Roy's role in page-setting the lute tablatures and the musical alterations entailed. Those reflections on typography are to be found in the form of appendices gathered in a second volume presenting also a list of musical characters used in Paris in the sixteenth century as well as part of the material in Le Roy and Ballard's workshop. Tables, indexes and documents related to the huguenot psalter, its harmonizations, both in four parts "nota contra notam" and for the lute, complete this volume. The third volume gives the modern transcription of Le Roy's psalms of 1567. The principles of transcription respect the norms of the "corpus des luthistes français"
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
Libros sobre el tema "Musique religieuse – France – 18e siècle"
Dufetel, Nicolas. La musique religieuse en France au XIXe siècle: Le sentiment religieux entre profane et sacré (1830-1914). Turnhout, Belgium: Brepols, 2021.
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