Littérature scientifique sur le sujet « Quintettes »
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Articles de revues sur le sujet "Quintettes"
Costa, Adriana. « Tiger Rag na interpretação do Le Quintette du Hot Club de France : história, análise e práticas de performance ». Per Musi, no 23 (juin 2011) : 82–88. http://dx.doi.org/10.1590/s1517-75992011000100009.
Texte intégralMarun, Nahim. « O modernismo no estilo musical tardio de Gabriel Fauré : aspectos estilísticos e formais do Primeiro Movimento do Deuxième Quintette pour Piano et Cordes Op.115 ». Per Musi, no 21 (2010) : 34–42. http://dx.doi.org/10.1590/s1517-75992010000100005.
Texte intégralJohns, Donald, Alain Weber, Laszlo Dubrovay, Andre Ameller, Giovanni Zanetti, Ivan Jevtic et Yvonne Desportes. « Liminaire pour quintette de cuivres ». Notes 42, no 3 (mars 1986) : 655. http://dx.doi.org/10.2307/897364.
Texte intégralO'Loughlin, Niall. « Wind Quintets ». Musical Times 126, no 1714 (décembre 1985) : 738. http://dx.doi.org/10.2307/965213.
Texte intégralO'Loughlin, Niall. « Clarinet Quintets ». Musical Times 128, no 1730 (avril 1987) : 214. http://dx.doi.org/10.2307/965437.
Texte intégralO'Loughlin, Niall. « Wind Quintets ». Musical Times 129, no 1746 (août 1988) : 411. http://dx.doi.org/10.2307/965984.
Texte intégralAnderson, Robert. « Quartets, Quintets ». Musical Times 126, no 1706 (avril 1985) : 228. http://dx.doi.org/10.2307/962190.
Texte intégralO'Loughlin, Niall. « Modern Wind Quintets ». Musical Times 128, no 1734 (août 1987) : 443. http://dx.doi.org/10.2307/965020.
Texte intégralO'Loughlin, Niall. « Early Wind Quintets ». Musical Times 130, no 1755 (mai 1989) : 288. http://dx.doi.org/10.2307/966329.
Texte intégralSwift, Richard G., et George Perle. « Complete Wind Quintets ». American Music 7, no 2 (1989) : 235. http://dx.doi.org/10.2307/3052219.
Texte intégralThèses sur le sujet "Quintettes"
Chen, Han-Jin. « Les quintettes pour instruments à vent d'Antoine Reicha ». Paris 4, 1997. http://www.theses.fr/1997PA040326.
Texte intégralAntoine Reicha (1770-1836), composer, teacher and theorist, a naturalized French citizen, originated from Bohemia. After studying music with his uncle Joseph Reicha in the princely courts of Oettingen-Wallerstein in Swabia and Cologne in Bonn, where he was a friend and colleague of Beethoven, he moved first to Hamburg and then to Paris and Vienna to seek his fortune : he first turned to opera, but unsuccessfully. In 1808, he was in Paris where he settled permanently. He finally secured his reputation in Europe with his twenty-four woodwind quintets. Inherited from a tradition of emigration of musicians originating from bohemia, the eclectic character of Reicha's works was very European : through his teaching, treatises and compositions, he adapted German musical tradition to the expression of French instrumental music; this blending of German and French musical currents is embodied in his quintets in which he drew on German Harmoniemusik as well as on Viennese and Parisian chamber music. Moreover, Reicha took advantage of the rapid development of wind instruments and the growing virtuosity of wind instrument players at the beginning of the 19th century to promote his quintets which thereafter became the main genre of chamber music for woodwind
Shiraishi, Yuriko. « L'œuvre de chambre pour cordes et piano de Gabriel Fauré (quatuors, quintettes, trio) : essai de caractérisation de la dynamique formelle ». Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL179.
Texte intégralDespite the notoriety of Gabriel Fauré’s musical style, the particular style of his chamber music still remains difficult to comprehend by analysis. Formal construction is a real subject of question. While some analysts try to attest to his originality by examining how it departs from tradition, others offer analyses of the dynamic characteristic of its themes, whose continuous development leads to the realization of large form. The latter have so far relied on a limited corpus of works. This thesis proposes to expand the corpus to the five large chamber works for strings and piano - two Quartets op. 15 and 45, two Quintets op. 89 and 115 and the Trio op. 120 in order to define the “formal dynamics.” After the study of testimonies from the composer's time that highlights the formal originality in his work, the subsequent analysis deals with the internal arrangement of themes and the realization of large form from the study of scores. I conduct my analysis with the help of graphic representation created by a computer software that can visualize the enveloping dynamic and identify climaxes. By revealing the contents of this process, this thesis helps to better reflect the very personal style of Fauré and the way in which he creates music that gives the impression of continuous progression and development extending to the end of the work
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
Miller, Alisha Leighanne. « Three Quintets by and for Heinrich Joseph Baermann ». The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245270690.
Texte intégralMoore, Duncan Michael. « Toppling failure in the Marmot Vertical Limb at Quintette Coal Ltd., Tumbler Ridge, British Columbia ». Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27943.
Texte intégralApplied Science, Faculty of
Mining Engineering, Keevil Institute of
Graduate
Drude, Matthias. « Quintett für zwei Trompeten, zwei Posaunen und Klavier (1988-89) ». Matthias Drude, 1989. https://slub.qucosa.de/id/qucosa%3A72922.
Texte intégralWinterbach, Veranza. « Stylistic characteristics of Gabriel Fauré's piano quartets and piano quintets ». Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7979.
Texte intégralGabriel Fauré has been neglected as composer in terms of international recognition. It is indeed true that the art of his music is not revealed at first sight: one must take time to discover the beauty and authentic meaning concealed in the depths thereof. While it is relatively true that musicians recognize the originality of his melodies, there seems to be a lack of appreciation of his contributions in the field of chamber music.
Westerman, Kirsten M. « A Forgotten Founder : Franz Danzi and His Nine Woodwind Quintets ». University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1495807087574502.
Texte intégralPak, Moon-Chung. « Sonata form in the six quintets, opus 11, by Johann Christian Bach ». Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026704.
Texte intégralZajkowski, Roberta. « The Piano and Wind Quintets of Mozart and Beethoven : Reception and Relationship ». The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275422871.
Texte intégralLivres sur le sujet "Quintettes"
Françaix, Jean. Dixtuor pour quintette à vent et quintette à cordes. Mainz : Schott, 2000.
Trouver le texte intégralLurie, Toby. Quintets. Lewiston, N.Y : Mellen Poetry Press, 1993.
Trouver le texte intégralJBX. Quintette en sols quinteux ! [Allauch] : Clair de lune, 2011.
Trouver le texte intégralSecrist-Schmedes, Barbera. Wind chamber music : Winds with piano and woodwind quintets : an annotated guide. Lanham, MD : Scarecrow Press, 1996.
Trouver le texte intégralReicha, Anton. Woodwind quintets. Camas, Wash : Crystal Records, 2009.
Trouver le texte intégralMontalbán, Manuel Vázquez. Quintetto di Buenos Aires. Milano : Feltrinelli, 2001.
Trouver le texte intégralTavernier, Bertrand. Quintette au bord de l'Oise, Antoine Duhamel. Saint-Ouen-l'Aumône : Editions du Valhermeil, 2006.
Trouver le texte intégralSecrist-Schmedes, Barbera. Wind chamber music : For two to sixteen winds : an annotated guide. Lanham, MD : Scarecrow Press, 2003.
Trouver le texte intégralNicoletta, Zanardi, et Totaro Mariella, dir. Quintetto italiano : Approccio tematico multimediale. 2e éd. Roma : Bonacci, 1991.
Trouver le texte intégralAlain, Jehan. Sarabande pour orgue, quintette à cordes et timbales. Paris : A. Leduc, 1993.
Trouver le texte intégralChapitres de livres sur le sujet "Quintettes"
Teichner, Christoph. « Werkgruppe V.C : Kammermusik ohne Klavier : Quartette und Quintett mit Bläsern ». Dans Musik in Baden-Württemberg | Quellen und Studien, 205–16. Berlin, Heidelberg : Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-662-62579-8_11.
Texte intégralKuchenbuch, Ludolf. « Opus, labor, ars, merces, servitium, ou un quintette sur le banc d’essai. À propos de la sémantique du « travail » dans la Schedula diversarum artium (vers 1122-1123) ». Dans Labeur, production et économie monastique dans l’Occident médiéval, 159–84. Turnhout, Belgium : Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.cem-eb.5.123779.
Texte intégralWhitman, Walt. « A Quintette ». Dans Specimen Days. Oxford University Press, 2023. http://dx.doi.org/10.1093/owc/9780198861386.003.0135.
Texte intégral« quintetto, n. » Dans Oxford English Dictionary. 3e éd. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1064574141.
Texte intégralEberl, Anton. « Two Quintets ». Dans Recent Researches in the Music of the Classical Era, 91. A-R Editions, 2013. http://dx.doi.org/10.31022/c091.
Texte intégral« Les quintettes pour clarinette et quatuor à cordes en si bémol majeur, op. 89 et en fa majeur, op. 107 d’Antoine Reicha ». Dans Antoine Reicha, 269–86. Georg Olms Verlag, 2023. http://dx.doi.org/10.5771/9783487423586-269.
Texte intégralLachner, Franz. « Two Woodwind Quintets ». Dans Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, 39. A-R Editions, 2004. http://dx.doi.org/10.31022/n039.
Texte intégralBrod, Henri. « Three Woodwind Quintets ». Dans Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, 50. A-R Editions, 2008. http://dx.doi.org/10.31022/n050.
Texte intégral« Preliminary Material ». Dans Trio, Quartett, Quintett, 1–6. Wilhelm Fink Verlag, 2007. http://dx.doi.org/10.30965/9783846744352_001.
Texte intégral« Vorwort ». Dans Trio, Quartett, Quintett, 7. Wilhelm Fink Verlag, 2007. http://dx.doi.org/10.30965/9783846744352_002.
Texte intégralActes de conférences sur le sujet "Quintettes"
Liu, Haoguang, Yixiang Sun, Yusong Liu, Siyun Huang, Zhuang Wu, Lisong Yan, Yiyang Luo, Qizhen Sun et Perry Ping Shum. « Full-field spectral-temporal analysis unveils isomeric dynamics of soliton quintet complexes ». Dans CLEO : Applications and Technology. Washington, D.C. : Optica Publishing Group, 2023. http://dx.doi.org/10.1364/cleo_at.2023.jth2a.123.
Texte intégralMylonas, Kostas. « Reducing Bias in Cross-Cultural Factor Analysis through a Statistical Technique for Metric Adjustment : Factor Solutions for Quintets and Quartets of Countries ». Dans International Association of Cross Cultural Psychology Congress. International Association for Cross-Cultural Psychology, 2009. http://dx.doi.org/10.4087/lshz1541.
Texte intégralRapports d'organisations sur le sujet "Quintettes"
Mintz, K. J. The explosibility of three canadian coal dusts. Natural Resources Canada/CMSS/Information Management, 1989. http://dx.doi.org/10.4095/331786.
Texte intégralMikhail, M. W., A. I. A. Salama, N. E. Andersen, D. Woo et A. Fung. Performance evaluation of Quintette preparation plant. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/305316.
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