Littérature scientifique sur le sujet « Quintette Instrumental de Paris »
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Articles de revues sur le sujet "Quintette Instrumental de Paris"
Franková, Jana. « Instrumental Works of Carl Ditters von Dittersdorf at Paris Publishers ». Musicologica Olomucensia 30, no 1 (11 décembre 2019) : 95–115. http://dx.doi.org/10.5507/mo.2019.016.
Texte intégralBasso, Marcus, et Márcia Rodrigues Notare. « Gênese Instrumental do GeoGebra na Formação de Professores ». Zetetike 25, no 2 (31 août 2017) : 324. http://dx.doi.org/10.20396/zet.v25i2.8647864.
Texte intégralMORDEY, DELPHINE. « Moments musicaux : high culture in the Paris Commune ». Cambridge Opera Journal 22, no 1 (mars 2010) : 1–31. http://dx.doi.org/10.1017/s0954586711000012.
Texte intégralGinouvès, Véronique, Florence Descamps et Florence Gétreau. « Du musée instrumental du Conservatoire de Paris au musée des Arts et Traditions populaires ». Bulletin de l’AFAS, no 46 (4 mai 2020) : 154–65. http://dx.doi.org/10.4000/afas.4196.
Texte intégralDe Oliveira, Robespierre. « Globalização, contrarrevolução e nova sensibilidade : leitura das palestras de Paris de 74 de Marcuse ». Comunicações 24, no 2 (11 septembre 2017) : 127. http://dx.doi.org/10.15600/2238-121x/comunicacoes.v24n2p127-136.
Texte intégralSlonosky, V. C., P. D. Jones et T. D. Davies. « Instrumental pressure observations and atmospheric circulation from the 17th and 18th centuries : London and Paris ». International Journal of Climatology 21, no 3 (2001) : 285–98. http://dx.doi.org/10.1002/joc.611.
Texte intégralBougeard, M. L. « Perturbing Effects in Past Optical Astrometric Data. Statistical Modelisation and Separation ». Symposium - International Astronomical Union 156 (1993) : 101–6. http://dx.doi.org/10.1017/s0074180900173012.
Texte intégralRuswinarsih, Sigit. « Solidaritas Sosial Kelompok Waria Paris Barantai Di Banjarmasin ». PADARINGAN (Jurnal Pendidikan Sosiologi Antropologi) 2, no 3 (11 octobre 2020) : 303. http://dx.doi.org/10.20527/padaringan.v2i3.2438.
Texte intégralMalherbe, Jean-Marie. « 130 years of spectroheliograms at Paris-Meudon observatories (1893–2023) ». Journal for the History of Astronomy 54, no 3 (août 2023) : 274–315. http://dx.doi.org/10.1177/00218286231184193.
Texte intégralMorabito, Fabio. « Theatrical Marginalia : Pierre Baillot and the Prototype of the Modern Performer ». Music and Letters 101, no 2 (3 février 2020) : 270–99. http://dx.doi.org/10.1093/ml/gcz110.
Texte intégralThèses sur le sujet "Quintette Instrumental de Paris"
Lotiron, Claire. « Le Quintette Instrumental de Paris et la pratique chambriste en France dans l'entre-deux guerres : carrière et répertoire (flûte, harpe et trio à cordes) ». Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL020.
Texte intégralIn 1922, the flutist René Le Roy had the idea of creating a chamber ensemble with an atypical combination of instruments (flute, harp and string trio) which recalls Debussy's Sonate pour flute, alto et harpe that he was particularly fond of. The Quintette Instrumental de Paris had a well-filled musical career until 1940, thanks to the dedication and rigour of its founder members: Marcel Grandjany, and then Pierre Jamet on the harp, René Bas on the violin, Pierre Grout on the viola and Roger Boulmé on the cello. The ensemble was disbanded during the war, when René le Roy left for America, and Roger Boulmé was killed in action. In 1944, the harpist Pierre Jamet re- formed the quintet, which now bears his name. When the group finally split up in 1958, the Pierre Jamet Quintet was given a new lease of life by Marie-Claire Jamet, Pierre Jamet's daughter, and her husband, the flutist Christian Lardé. This thesis, which focusses on the ensemble's first period of activity (1922-1940), sets out to examine how the group managed to get established and sustain its activity, even though it did not belong to any chamber music tradition and had no pre-existing repertoire. The players turned to contemporary composers in order to gradually enrich their repertoire. The first part sets out to reconstruct the musical trajectory of the ensemble, in the light of documentary evidence scarcely used until now., and to assess its place in the musical life of its time. The ensemble benefited from a favourable historical context for the practice of chamber music, and it attracted composers who were interested in the expressive potential of this new combination of instruments. The second part looks at the career strategies implemented by the ensemble itself to promote its activities in France and abroad. This provides an opportunity to reconsider the figure of the impresario who, like Marcel de Valmalète, exerted an ever-growing influence on French musical life. In this period of great geopolitical upheaval, the Association Française d'Action Artistique (A.F.A.A.), which promoted French music abroad, greatly encouraged the Quintet's career in Europe and America. This is perfectly illustrated by the two American tours in 1934 and 1935. Nadia Boulanger, who was close to René Le Roy and more particularly to Pierre Jamet, acted as an intermediary to facilitate the Quintet's introduction into the New York musical milieu. The concert programme, which had also been restructured, was based on the principle of alternating pieces for different sized groups, endeavouring to give pride of place to little-known pages from the Baroque repertoire and to present the latest works by contemporary composers.In order to assess the particular nature of the Quintet's interpretative repertoire, it is compared with that of other groups from the same period, in particular the Trio Cortot-Thibaud-Casals, the Trio Pasquier and the Quatuor Calvet, which were also popular at the time. Finally, the third part deals specifically with the aesthetics of the quintet as it progressed between 1923 and 1938, including some thirty works composed for the Quintette Instrumental de Paris. A more restricted corpus comprising the ten quintets which best exemplify their repertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero and Françaix) is the focus of an in-depth analysis of the writing and management of this particular combination of instruments. We can hereby tackle the questions of sound homogeneity, exploration of timbre and instrumental configuration
Gétreau, Florence. « Le Musée instrumental du Conservatoire de Musique de Paris : Histoire et formation des collections ». Paris 4, 1990. http://www.theses.fr/1990PA040405.
Texte intégralZomegnan, Elisabet. « Traduire un portrait de Paris : Une étude sur les problèmes de traduction d’un récit de voyage du français au suédois ». Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-78063.
Texte intégralYang, Ya-Ting, et 楊雅婷. « Gershwin''s Melodic Strategies in Instrumental Music:A Stylistic Study of "Rhapsody in Blue," “Concerto in F for Piano and Orchestra," and "An American in Paris" ». Thesis, 2006. http://ndltd.ncl.edu.tw/handle/97724603830614291665.
Texte intégral國立臺灣大學
音樂學研究所
94
“Implication-realization” is the foundation of Leonard B. Meyer’s theory of tonal music. Based on Meyer’s theory, this paper introduces George Gershwin’s musical style by analyzing his orchestral works includung “Rhapsody in Blue,” “An American in Paris,” and “Concerto in F for Piano and Orchestra.” This paper begins with the analysis of melodies, applying the “implication-realization” model and the theory of musical rhetorics to explore the strategies of Gershwin’s musical phrases. Then this paper discusses the relationship between harmony and melody. Finally, this paper intends to highlight Gershwin’s musical style by comparing strategies of “implication-realization” in Aaron Copland’s “Concerto for Piano and Orchestra” and Gershwin’s music. This paper analyzes that different musical elements result in special style of “implication-realization” on the continuous ways of music. Music fused with jazz expands the possibilities of Meyer’s theory, and also provide clues for Gershwin’s strategies of style. To construct the “complete” strategies of style for the melody, Gershwin uses materials such as blue scales, special broken chord, Tetrachords and fifth intervals, and sequences such as tension, motive and contrast; besides, he constructs the particularity of the rhythms, Gershwin uses “upbeat emphasis” and “phrases starting from upbeat emphasis”. Although Gershwin’s harmony fusing with jazz shapes special sounds, its function on the holistic design is to produce musical color and increase melody texture, especially to form interest by making corresponding variations under repetitive melody phrases. In Gershwin’s music processing, the dominance of the harmony is inferior to that of the melody. In the end, this paper makes comparison between Gershwin’s work and Copland’s “Concerto for Piano and Orchestra mov.2”. The analysis shows that, different composers, who choose the same elements in the same period of time, do not necessarily present the same strategies of style. Therefore, the particularity of Gershwin’s strategies of style is examined.
« A portfolio of four original music compositions ». 1998. http://library.cuhk.edu.hk/record=b5889514.
Texte intégralsubmitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160
Livres sur le sujet "Quintette Instrumental de Paris"
Françaix, Jean. Dixtuor pour quintette à vent et quintette à cordes. Mainz : Schott, 2000.
Trouver le texte intégralWalker, Gwyneth. Braintree quintet. Saint Louis, MO : MMB Music, 1995.
Trouver le texte intégralCarlo, Gesualdo. Io pur respiro : For brass quintet. Bryn Mawr, Pa : T. Presser, 1990.
Trouver le texte intégralVila, Marie Christine. Jouer de la musique à Paris. Paris : Parigramme, 2000.
Trouver le texte intégralGould, Morton. Concerto concertante : Solo violin, woodwind quintet, piano. [New York] : G. Schirmer, 1990.
Trouver le texte intégralLalitte, Philippe. Analyser l'interprétation de la musique du XXe siècle : Une analyse d'interprétations enregistrées des Dix pièces pour quintette à vent de György Ligeti. Paris : Hermann, 2015.
Trouver le texte intégralSchickele, Peter. Hornsmoke : A horse opera : for brass quintet and narration (trumpet in B♭, cornet in B♭, horn in F, trombone, tuba). Bryn Mawr, Penn : Elkan-Vogel, 1987.
Trouver le texte intégralLuciano, Berio. Opus number zoo : Children's play for wind quintet (1951, rev. 1970). London : Universal Edition, 1998.
Trouver le texte intégralGesualdo, Carlo. Three madrigals for flute, oboe, clarinet, horn, and bassoon. New York : International Music Co., 1999.
Trouver le texte intégralPonce, Manuel M. Estrellita = : (Little star) : a Mexican serenade. Richmond, Va : International Opus, 1995.
Trouver le texte intégralChapitres de livres sur le sujet "Quintette Instrumental de Paris"
Fiala, Michele. « David Walter ». Dans Great Oboists on Music and Musicianship, 233–38. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0022.
Texte intégralTaruskin, Richard. « Old (New) Instruments, New (Old) Tempos ». Dans Text and Act, 292–96. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195094374.003.0013.
Texte intégralBensimon, Fabrice. « ‘The three principal manufactories at Paris are conducted by Englishmen’ ». Dans Artisans Abroad, 56—C2P74. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198835844.003.0003.
Texte intégralEllis, Katharine. « Choral Voices ». Dans French Musical Life, 105–33. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197600160.003.0004.
Texte intégralGjerdingen, Robert O. « Dispositions and the Mastery of Complexity ». Dans Child Composers in the Old Conservatories, 159–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0012.
Texte intégralTyler, James, et Paul Sparks. « The Mandoline in France ». Dans The Early Mandolin, 85–96. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198163022.003.0007.
Texte intégralBudden, Julian. « Les Vêpres Siciliennes ». Dans The Operas of Verdi, 167–242. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198162629.003.0005.
Texte intégralTilmouth, Michael, David Kimbell et Roger Savage. « Luigi Boccherini (1743-1805) ». Dans The Classics of Music, 342–43. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0055.
Texte intégralKaczynski, Richard. « Fuller & ; Neuburg After the Agnostic Journal ». Dans Friendship in Doubt, 134–57. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197694008.003.0007.
Texte intégralDebost, Michel. « Scale Game ». Dans The Simple Flute, 215–18. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195145212.003.0062.
Texte intégralActes de conférences sur le sujet "Quintette Instrumental de Paris"
Xhoxhi, Olsi. « ANALYSIS OF THE PROFITABILITY OF ALBANIAN BANK USING TIME SERIES MODELS ». Dans International Conference on Business, Economics, Law, Language & Psychology, 11-12 January 2024, Paris. Global Research & Development Services, 2024. http://dx.doi.org/10.20319/icssh.2024.2431.
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