Gotowe bibliografie tematyczne / Berlioz

Gotowa bibliografia na temat „Berlioz”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 28 lipca 2024

Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych

Wybierz rodzaj źródła:

Spis treści

Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Berlioz”.

Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.

Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.

Artykuły w czasopismach na temat "Berlioz"

1

Mello, Celina Maria Moreira de. "As Memórias (1865), de Hector Berlioz: legitimação e rasura de um autor / The Memoirs (1865), by Hector Berlioz: Legitimation and Erasure of an Author". Caligrama: Revista de Estudos Românicos 24, nr 3 (18.12.2019): 177. http://dx.doi.org/10.17851/2238-3824.24.3.177-192.

Pełny tekst źródła
Streszczenie:
Resumo: O presente artigo tem como objetivo propor uma releitura das Memórias (1865) de Berlioz, desenvolvendo a hipótese de um ethos autoral rasurado. Será revisitado o conceito de ethos e sua funcionalidade na interpretação do discurso literário (MAINGUENEAU, 2004), desnaturalizado e visto como um constructo cultural. A interrogação voltada para a autobiografia de Berlioz demandou, para além da Análise do Discurso, o recurso a métodos de leitura provenientes de abordagens oferecidas pela história da edição e as teorias do campo literário (BOURDIEU, 1992). Nas Memórias de Berlioz combinam-se estratégias discursivas de projeção de um ethos de compositor, assim como da afirmação e rasura de um ethos de escritor, compondo uma persona de artista romântico.Palavras-chave: Berlioz; memórias; romantismo; ethos.Abstract: This article aims to propose a re-reading of Berlioz’s The Memoirs (1865), developing the hypothesis of an obliterated author ethos. It will revisit the concept of ethos and its functionality in the interpretation of literary discourse (MAINGUENEAU, 2004), denatured and seen as a cultural construct. In addition to analyzing the discourse, the question of Berlioz’s autobiography demanded the use of reading methods from approaches offered by the history of publishing and the theories of the literary field (BOURDIEU, 1992). Berlioz’s Memoirs combine discursive strategies of projection of a composer ethos, as well as the affirmation and erasure of an ethos of writer, composing a persona of romantic artist.Keywords: Berlioz; memoirs; romanticism; ethos.
Style APA, Harvard, Vancouver, ISO itp.
2

Kolb, Katherine. "Flying Leaves: Between Berlioz and Wagner". 19th-Century Music 33, nr 1 (2009): 25–61. http://dx.doi.org/10.1525/ncm.2009.33.1.025.

Pełny tekst źródła
Streszczenie:
Abstract This article analyzes the writings of Berlioz on Wagner and, to a lesser extent, of Wagner on Berlioz, emphasizing the covert innuendoes of their verbal sparring during the period surrounding the Tannhääuser debacle at the Paris Opééra (1860) and Berlioz's tribulations with Les Troyens (ca. 1853––63). Because Berlioz's style and subtlety have worked against him in this famous rivalry, the priority goes to him, and especially to his magnum opus as critic, the volume A travers chants (1862). A selection from thirty years of music criticism both serious and light ("flying leaves"), A travers chants reveals itself as an unconventional counterpart to Wagner's treatises; as a tactical response to Wagner, both in the reprinted review of his 1860 concerts and in the structure, themes, and allusions of the text as a whole; as an object lesson in reading Berlioz, whose engaging clarity and humor can be more deceptive, in their ironic undertones, than the thickets of Wagner's famously tangled prose. This article interrogates some of that prose, revealing Wagner's deep ambivalence toward a predecessor of intimidating prestige to whom his music is frequently indebted——as Berlioz occasionally finds coded ways of reminding him. It shows Berlioz, for his part, continually sympathetic to the younger man's practical difficulties and high artistic ideals. And it shows him eventually coming to acknowledge the power and legitimacy of his music, despite strong aversion to Wagner's harmonic idiom and to the two cardinal points of his aesthetic: an "impious" insistence on the primacy of the word; belief in a musical progress culminating in his own Gesamtkunstwerk. In a late letter wrongly omitted from the Correspondance géénéérale (its authenticity and correct date are here established), Berlioz movingly implies the injustice of his earlier prejudice toward a practice sanctioned by his own unshakeable creed of artistic freedom.
Style APA, Harvard, Vancouver, ISO itp.
3

Cormac, Joanne. "Between Beethoven and Mendelssohn: Biographical Constructions of Berlioz in the London Press". 19th-Century Music 44, nr 2 (2020): 80–99. http://dx.doi.org/10.1525/ncm.2020.44.2.80.

Pełny tekst źródła
Streszczenie:
In 1853 a writer for the London-based periodical Fraser's Magazine remarked that Berlioz's “heroic temperament” could be “read legibly in the noble style of his compositions. His own life forms to these works the most interesting accompaniment and commentary.” The linking of life and work in Berlioz's case is nothing unusual. However, a particular set of circumstances unique to London meant that critics based in that city persistently used Berlioz's biography to further their own agendas while also promoting his music. In this article, I argue that, when writing about Berlioz's London performances, critics employed biographical ideas and narratives that enabled them to use the composer as a means to shape local debates about the future of London's orchestral institutions: the Philharmonic Society and its latest “rival”: the New Philharmonic Society. Biography proved a powerful rhetorical device from which Berlioz profited and is central to our understanding of his critical reception in London. It was used to introduce, to persuade, to simplify, to generate sympathy, admiration, and outrage. However, I reveal that in later visits biographical narratives overshadowed the coverage of Berlioz's music. In some articles, Berlioz was reduced to a rhetorical device to be employed to give strength to criticisms of either the old Philharmonic or the new, with the critic offering little insight into Berlioz's music. Biography had given Berlioz a foothold in musical London, but it could not win him the lasting success he craved.
Style APA, Harvard, Vancouver, ISO itp.
4

Anderson, Robert, Donna Brown, Jean-Luc Viala, Gilles Cachemaille, Monteverdi Choir, Orchestre Revolutionnaire et Romantique, John Eliot Gardiner, Rosalind Plowright, Philharmonia Orchestra i Jean-Philippe Rouchon. "Berlioz". Musical Times 135, nr 1820 (październik 1994): 649. http://dx.doi.org/10.2307/1003140.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
5

Rushton, Julian. "Berlioz". Nineteenth-Century Music Review 2, nr 2 (listopad 2005): 204–6. http://dx.doi.org/10.1017/s1479409800002366.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Rushton, Julian. "Berlioz". Nineteenth-Century Music Review 5, nr 1 (czerwiec 2008): 135–37. http://dx.doi.org/10.1017/s1479409800002676.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
7

Schumann, Bianca. ""... so merkt man ihr allerdings den achtzehnjährigen, unbeholfenen Komponisten an..."". Die Musikforschung 73, nr 4 (22.09.2021): 355–67. http://dx.doi.org/10.52412/mf.2020.h4.4.

Pełny tekst źródła
Streszczenie:
In the course of the aesthetic controversy of the 19th century over programme music, which was particularly intense in Vienna, 'conservative' as well as 'progressive' ciritcs, who wrote for the daily press, endeavoured to appropriate Hector Berlioz for their personal aesthetic convictions. Even for reviews written in the 1860s and 1870s, when Berlioz's large-scale works were first performed by leading Viennese orchestras, Robert Schumann's review of the Symphonie fantastique (1835) played a significant role. Schumann's appreciative assessment of the symphony, which was strongly influenced by his misconception that Berlioz was only eighteen years old at the time of composition of the Symphony fantastique, had a decisive influence on the journalistic discourse on Berlioz in Vienna far beyond the first half of the century, for example on Hugo Wolf and Edmund Schelle. Other critics, such as August Wilhelm Ambros and Eduard Hanslick, took Schumann's ambiguity as their starting point to validate their less positive judgements.
Style APA, Harvard, Vancouver, ISO itp.
8

Kawabata, Maiko. "The Concerto that Wasn't: Paganini, Urhan and Harold in Italy". Nineteenth-Century Music Review 1, nr 1 (czerwiec 2004): 67–114. http://dx.doi.org/10.1017/s1479409800001889.

Pełny tekst źródła
Streszczenie:
It was Paganini's request for a concerto that prompted Berlioz to embark on the composition that eventually became Harold in Italy. The legendary virtuoso, then at the height of his fame, had recently acquired a fine Stradivari viola and needed a suitable vehicle for introducing the instrument to the public. He was puzzled and disappointed by Berlioz's score. It certainly was not the anticipated virtuoso vehicle, and within months Paganini had composed a substitute for himself, the Sonata per la grand viola. Berlioz explained that his work was ‘a new kind of symphony and not a composition written to show off a unique talent like [Paganini's]’. Berlioz's programmatic symphony with solo viola – the concerto that wasn't – would appear on the surface to be utterly devoid of the established codes of the virtuoso concerto.
Style APA, Harvard, Vancouver, ISO itp.
9

Rodgers, Stephen. "Miniatures of a Monumentalist: Berlioz's Romances, 1842–1850". Nineteenth-Century Music Review 10, nr 1 (czerwiec 2013): 119–49. http://dx.doi.org/10.1017/s1479409813000062.

Pełny tekst źródła
Streszczenie:
This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and 1850, a period often regarded as a fallow one for Berlioz but one that nonetheless saw a surge of songwriting activity. Drawing upon recent theories about the autobiographical construction of Berlioz's music, and considering when these songs were written or revised, to whom they were dedicated, what images were associated with them and how their texts relate to the events of Berlioz's biography, I argue that their conventionality belies a deeply personal resonance and a musical ingenuity uncommon to the romance genre. As a whole, these songs show Berlioz returning to an intimate and direct style during an especially introspective and nostalgic period of his life. Even more, they suggest that his urge toward self-reflection was not confined to the programmatic and the large-scale, and that his miniatures and monuments have more in common than one might think.
Style APA, Harvard, Vancouver, ISO itp.
10

Van Rij, Inge. ""There is no anachronism": Indian Dancing Girls in Ancient Carthage in Berlioz's Les Troyens". 19th-Century Music 33, nr 1 (2009): 3–24. http://dx.doi.org/10.1525/ncm.2009.33.1.003.

Pełny tekst źródła
Streszczenie:
Abstract Relatively early in the composition of Les Troyens Berlioz declared his intention to include a "pas d'alméées with the music and dancing exactly like the Bayadèères' ballet which I saw here sixteen or seventeen years ago." Despite Berlioz's claim that he had "gone into it" and "there is no anachronism," historical evidence would suggest that the presence of Indian dancing girls in Dido's Carthage is actually highly inauthentic and anachronistic. Indeed, Berlioz's immediate inspiration for the ballet in question was not ancient history but, rather, a group of Indian dancers and musicians who had visited Paris in 1838. An investigation of the context of the bayadèères' performances and the reception of the dancers and their music reveals that issues of authenticity and anachronism were a constant preoccupation for their French audiences, most of whom had previously encountered bayadèères only through the exoticizing lens of Western representations. Berlioz's own references to the bayadèères are examined in relation to contemporary reviews and the text of a highly self-reflexive play that was performed as a prologue and that shaped audiences' responses to the bayadèères' performances at the Thééââtre des Variéétéés in Paris. Although Berlioz is generally thought to have abandoned his intention to embody the 1838 bayadèères in Les Troyens, I argue that he actually retained aspects of his original Indian inspiration in the act IV ballet; moreover, an awareness of the impact of the bayadèères' performances on Berlioz and his contemporaries greatly informs our appreciation of the contribution of the act IV ballet to the wider imperial subtext of Les Troyens. If, rather than simply dismissing anachronism, we are willing to embrace it as a concept fundamental to Berlioz's opera, the act IV ballet——often cut in recent productions——can be newly appreciated as occupying a significant role in the historical dialectic of Les Troyens as a whole.
Style APA, Harvard, Vancouver, ISO itp.
Więcej źródeł

Rozprawy doktorskie na temat "Berlioz"

1

Gartrell, Judith Williams. "Hector Berlioz as conductor /". Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11300.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
2

Lamotte, Frédéric-Georges. "Hector Berlioz, son activité de feuilletoniste au Journal des débats et sa position au sein de la société parisienne (1834-1863) /". Lille : Univ. de Lille, 2000. http://catalogue.bnf.fr/ark:/12148/cb389165947.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Knobloch, Eberhard, i Ingo Schwarz. "Alexander von Humboldt und Hector Berlioz". Universität Potsdam, 2003. http://opus.kobv.de/ubp/volltexte/2009/3496/.

Pełny tekst źródła
Streszczenie:
Alexander von Humboldt und Hector Berlioz begegneten sich zum ersten Mal im Dezember 1842 in Paris. Später trafen sie sich mehrfach in Paris und Berlin, insbesondere im Februar 1847 in Berlin. Bei dieser Gelegenheit schrieb Humboldt einen Brief an Berlioz, in welchem er dem Komponisten ein Empfehlungsschreiben des preußischen Königs Friedrich Wilhelms IV. an dessen Schwester, die Zarin von Rußland, ankündigte. Der Humboldtsche Brief und das königliche Empfehlungssschreiben sind auf den Tag datiert, an dem Berlioz in St. Petersburg eintraf. In dem Artikel wird der Brief Humboldts zum ersten Mal veröffentlicht.
Alexandre de Humboldt et Hector Berlioz se sont connus au mois de décembre 1842 à Paris. Plus tard, ils se rencontraient plusieurs fois à Paris et à Berlin, en particulier au mois de février 1847 à Berlin. A cette occasion, Humboldt lui écrivit une lettre en lui annonçant une lettre de recommandation du roi prussien Frédéric Guillaume IV pour sa sœur, la tsarine. La lettre humboldtienne et la lettre royale de recommandation sont datées du jour lequel Berlioz arriva à St. Pétersbourg. L’article publie la lettre de Humboldt pour la première fois.
Style APA, Harvard, Vancouver, ISO itp.
4

Konrad, Stephan. "Untersuchungen zur Radikalchemie in der Abluftfahne von Berlin ein Beitrag zum Feldexperiment BERLIOZ /". [S.l. : s.n.], 2000. http://deposit.ddb.de/cgi-bin/dokserv?idn=960168931.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
5

Warrack, John. "Beethoven, Weber and Berlioz: Imitation and influence". Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A23358.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Lee, Namjai. "Orchestral Accompaniment in the Vocal Works of Hector Berlioz". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277761/.

Pełny tekst źródła
Streszczenie:
Recent Berlioz studies tend to stress the significance of the French tradition for a balanced understanding of Berlioz's music. Such is necessary because the customary emphasis on purely musical structure inclines to stress the influence of German masters to the neglect of vocal and therefore rhetorical character of this tradition. The present study, through a fresh examination of Berlioz's vocal-orchestral scores, sets forth the various orchestrational patterns and the rationales that lay behind them.
Style APA, Harvard, Vancouver, ISO itp.
7

Lensky, Miriam. "Characterization in the dramatic works of Hector Berlioz". Thesis, Wetherby : The British thesis service, 1997. http://catalogue.bnf.fr/ark:/12148/cb38861415g.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
8

Rutherford, Sherry D., i Sherry D. Rutherford. "The Literary Influence on the Compositions of Hector Berlioz". Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/626227.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
9

Loisel, Gaëlle. "La Musique au défi du drame : Berlioz et Shakespeare". Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0747.

Pełny tekst źródła
Streszczenie:
Dès 1770, Shakespeare est érigé en modèle par les artistes partisans d’une rupture avec l’esthétique classique, jusqu’à devenir une figure tutélaire des romantismes européens, en littérature comme en musique. Hector Berlioz, fondateur du romantisme musical français, est un cas emblématique de ce geste romantique qui consiste à s’emparer d’une figure littéraire pour bousculer les catégories esthétiques existantes et renouveler les formes musicales. Le dramaturge anglais est une référence constante dans son œuvre, depuis sa découverte de Shakespeare en 1827 jusqu’à son dernier opéra, Béatrice et Bénédict en 1862, adapté de la comédie Much ado about nothing. Berlioz s’inspire de Shakespeare tant dans ses œuvres musicales que dans ses écrits critiques et autobiographiques, où les références à l’auteur anglais sont multiples. La relation que l’œuvre de Berlioz entretient avec celle du dramaturge pose à la fois des questions de réception et de transferts culturels, et le problème du passage d’un système sémiotique à un autre. Elle invite tout d’abord à s’interroger sur le processus d’appropriation d’une œuvre littéraire par un compositeur et ses enjeux théoriques, et à situer sa démarche dans le cadre plus vaste de la réception européenne de Shakespeare au tournant du xixe siècle. La référence au dramaturge dans l’œuvre de Berlioz intervient plus précisément dans le cadre de l’élaboration d’une esthétique du sublime, comme le montre l’étude des rapports entre texte et musique. Il apparaît alors que le « système shakespearien » nourrit les réflexions du compositeur sur les formes et les genres musicaux
As early as 1770, Shakespeare is set up as a model by the artists who consider it necessary to break away from classical aesthetics. His name is so high that he becomes a figurehead for the various forms of European romanticisms, in literature as well as in music. As the founder of the French musical romanticism, Hector Berlioz embodies the romantic approach which consists in seizing a literary figure to discard the existing aesthetical categories and thus bring about new musical forms. Right from 1827, the year the musician discovers Shakespeare, until his last opera in 1862, Béatrice et Bénédict, adapted from the comedy Much ado about nothing, Berlioz widely draws his inspiration from the English playwright and constantly refers to him in his musical, critical and even autobiographical works. The issues raised by this close relationship are threefold : the way Shakespeare’s plays were received, the problem of cultural transfer and the shift from one semiotics to another. First of all it brings forth questions about the process which leads a composer to make a literary works his own and the theoretical aspects at stake. Also, this relationship makes it necessary to see how Berlioz’s approach fits in with the way Europe received Shakespeare at the turn of the 19th century, in so far as the reference to the playwright takes place at a time when a new aesthetics of the sublime is in progress, as shows our study of the relationship between text and music. It so appears that the “Shakespearean system” enriches the composer’s reflexions on musical forms and genres
Style APA, Harvard, Vancouver, ISO itp.
10

Bartoli, Jean-Pierre. "L'Oeuvre symphonique de Berlioz : forme et principes de développement". Paris 4, 1991. http://www.theses.fr/1991PA040024.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
Więcej źródeł

Książki na temat "Berlioz"

1

Clarson-Leach, Robert. Berlioz. London: Omnibus Press, 1987.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
2

Cairns, David. Berlioz. London: A. Deutsch, 1989.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Holoman, D. Kern. Berlioz. Cambridge, Mass: Harvard University Press, 1989.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
4

Berlioz. Berkeley: University of California Press, 2000.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
5

Holoman, D. Kern. Berlioz. Cambridge, MA: Harvard University Press, 1989.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Messina, Bruno. Berlioz. Arles: Actes sud, 2018.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
7

Dufresne, Claude. Hector Berlioz. Paris: Tallandier, 2002.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
8

Wasselin, Christian. Hector Berlioz. Hà Nuoi: Kim Đsong, 2001.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
9

Romain, Rolland. Sur Berlioz. Bruxelles: Editions Complexe, 2003.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
10

Jean-Claude, Teboul, red. Hector Berlioz. Paris: Jean-Michel Place, 2004.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
Więcej źródeł

Części książek na temat "Berlioz"

1

Stegbauer, Hanna. "Berlioz, Hector: Mémoires de Hector Berlioz". W Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11223-1.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
2

Stegbauer, Hanna. "Berlioz, Hector". W Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11222-1.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Brzoska, Matthias. "Berlioz, (Louis-)Hector". W Metzler Komponisten Lexikon, 62–68. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_20.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
4

Brzoska, Matthias. "Berlioz, (Louis-)Hector". W Komponisten Lexikon, 49–53. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_20.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
5

Brzoska, Matthias. "Berlioz, (Louis-)Hector". W Komponisten, 37–42. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_7.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Macdonald, Hugh. "1803-1830". W Berlioz, 1–22. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164838.003.0001.

Pełny tekst źródła
Streszczenie:
Abstract The Berlioz family had been settled in the region between Lyons and Grenoble, the Isere department of France, since the beginning of the seventeenth century, if not before, and from being tanners in earlier generations they had risen to the respectable professions of law and medicine. Most of Berlioz’s paternal relatives were lawyers or doc­ tors, and he considered entering both professions himself, however briefly. His grandfather, Louis-Joseph Berlioz (1747-1815) was a lawyer in Grenoble and his father, also Louis-Joseph (1776-1848), was a doctor in the small town La Cote-St-Andre, about thirty miles north-west, not far from the main road north to Lyons. In this community Berlioz’s father was a prominent well-to-do citizen, briefly mayor in 1817, holding clear authority and responsibilities and giving himself energetically to them. His wife, Marie­ Antoinette-Josephine, nee Marmion (1784-1838), was brought up at Meylan, a few miles east of Grenoble.
Style APA, Harvard, Vancouver, ISO itp.
7

"BERLIOZ". W Orchestral Masterpieces under the Microscope, 47–48. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.14.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
8

"BERLIOZ". W Orchestral Masterpieces under the Microscope, 41–46. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.13.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
9

"BERLIOZ". W Orchestral Masterpieces under the Microscope, 37–40. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.12.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
10

Macdonald, Hugh. "1848-1869". W Berlioz, 50–67. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164838.003.0003.

Pełny tekst źródła
Streszczenie:
Abstract On 28th July 1848, soon after Berlioz’s return from London, his father died. This was yet another break with the past, and it was ironic that he should recently have been writing an account of his father’s years of displeasure, for he realized how deep their mutual affection was. The family gathered at La Cote. Berlioz felt closer now to his two sisters (although Nanci had only two years to live) and presided over the settlement of his father’s estate. He later had a modest income from the sale of property, though it made little difference to his precarious finances.
Style APA, Harvard, Vancouver, ISO itp.

Streszczenia konferencji na temat "Berlioz"

1

"Analysis of the Musical Characteristics of Berlioz Fantasy Symphony". W 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29119.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
2

Prelovšek, Anita. "Music in the life and works of Ivan Sergeyevich Turgenev". W Socratic Lectures 7. University of Lubljana Press, 2022. http://dx.doi.org/10.55295/psl.2022.d22.

Pełny tekst źródła
Streszczenie:
The article deals with the role of music in the life and literary works of Ivan Sergeyevich Turgenev. Music played an important part in his life, partly owing to his friendship with the mezzo-soprano Pauline García Viardot, who remained his muse for forty years, until his death. Turgenev was familiar with several musical genres, especially classical music, and knew personally many lead-ing musicians and composers of the time, such as Liszt, Berlioz, Gounod and Saint-Saëns. Different musical impressions found an important place in the works of the writer, and some of the musical fragments of Turgenev’s works are quoted and discussed in the article. Keywords: Turgenev, Pauline García Viardot; Classical music; Italy; Opera; Rossini; Russian ro-mance.
Style APA, Harvard, Vancouver, ISO itp.
3

Taylor, Stephen. "From Program Music to Sonification: Representation and the Evolution of Music and Language". W The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.060.

Pełny tekst źródła
Streszczenie:
Research into the origins of music and language can shed new light on musical representation, including program music and more recent incarnations such as data sonification. Although sonification and program music have different aims — one scientific explication, the other artistic expression — similar techniques, relying on human and animal biology, cognition, and culture, underlie both. Examples include Western composers such as Beethoven and Berlioz, to more recent figures like Messiaen, Stockhausen and Tom Johnson, as well as music theory, semiotics, biology, and data sonifications by myself and others. The common thread connecting these diverse examples is the use of human musicality, in the bio- musicological sense, for representation. Links between musicality and representation — dimensions like high/low, long/short, near/far, etc., bridging the real and abstract — can prove useful for researchers, sound designers, and composers.
Style APA, Harvard, Vancouver, ISO itp.
4

Varolli, Renan de Andrade. "Faíscas e brilhos na escuridão: o neobarroco no cinema berlinense nos anos 1920". W Encontro da História da Arte. Universidade Estadual de Campinas, 2014. http://dx.doi.org/10.20396/eha.10.2014.4179.

Pełny tekst źródła
Streszczenie:
Pretendemos elaborar certas transferências de determinado sistema da cultura ocidental chamado barroco para o ambiente da cidade alemã de Berlim nos anos 1920, sendo suscitadas através de análises fílmicas de trechos únicos e contínuos de duas películas produzidas ali e exibidas pela primeira vez em 1927: Berlim, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt, Walter Ruttmann, 1927) e Metrópolis (Metropolis, Fritz Lang, 1927). No primeiro filme, nosso foco será no Quinto Ato (V. Akt), parte que lhe encerra e mostra gravações referentes ao que a noite berlinense expunha naquela época. Já no segundo, concentraremo-nos na sequência da primeira aparição de Yoshiwara (clube noturno da cidade ficcional em que a fita se passa).
Style APA, Harvard, Vancouver, ISO itp.
5

Bienert, Andreas, i Eva Emenlauer-Blömers. "Melting Pots: Berlin Digital meets Berlin Culture". W Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.25.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Bizzocchi, Jim, Arne Eigenfeldt, Philippe Pasquier, Jianyu Fan i Le Fang. "Berlin Remix". W Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.51.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
7

"ICCE-Berlin 2020 Committees". W 2020 IEEE 10th International Conference on Consumer Electronics (ICCE-Berlin). IEEE, 2020. http://dx.doi.org/10.1109/icce-berlin50680.2020.9352156.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
8

"ICCE-Berlin 2020 Papers". W 2020 IEEE 10th International Conference on Consumer Electronics (ICCE-Berlin). IEEE, 2020. http://dx.doi.org/10.1109/icce-berlin50680.2020.9352181.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
9

Besenmatter, Walter. "Berlin lens design problem". W Lens and Optical Systems Design. SPIE, 1993. http://dx.doi.org/10.1117/12.142885.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
10

Dudenhausen, JW. "Perinatale Sterblichkeit in Berlin". W Wissenschaftliche Sitzungen 2017 der Gesellschaft für Gynäkologie und Geburtshilfe in Berlin (GGGB). Georg Thieme Verlag KG, 2018. http://dx.doi.org/10.1055/s-0038-1625057.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.

Raporty organizacyjne na temat "Berlioz"

1

Gehrke, Marvin. Fahrscheinfrei im ÖPNV – Eine Alternative für Großstädte? - Ein Maßnahmensortiment und die Realisierbarkeit in Berlin. TU Berlin, 2016. http://dx.doi.org/10.26128/2023.73.

Pełny tekst źródła
Streszczenie:
Die Stadt Berlin verfügt über ein komplexes System im Öffentlichen Personennahverkehr (ÖPNV). Es ist jedoch offensichtlich, dass dem Berliner ÖPNV neben den schwierigen und ungeklärten Gegebenheiten in der Finanzierung einige verkehrliche Herausforderungen bevorstehen. Es ergibt sich nicht nur die Forderung nach einer stetigen Anpassung des Angebots an die wachsende Stadt, sondern nach neuen Möglichkeiten zur Kundengenerierung für den gesamten Umweltverbund. Im Sinne einer besseren Lebensqualität sowie einer nachhaltigen und zufriedenstellenden Mobilität in Berlin wird ein attraktives Angebot im ÖPNV als Teil des Umweltverbunds benötigt, um dem motorisierten Individualverkehr (MIV) ernsthaft Paroli bieten zu können und zum Umstieg zu animieren. Es ist fraglich, ob dies auf lange Sicht unter der Anwendung typischer Maßnahmen erreicht werden kann. Angesichts dessen ist es in Berlin an der Zeit, über alternative Ansätze in der Verkehrsplanung zu diskutieren. Eine Alternative zur Förderung und Attraktivitätssteigerung des öffentlichen Verkehrs, ist ein fahrscheinfreier ÖPNV. [...] Der fahrscheinfreie ÖPNV in diesem Konzeptvorschlag ist für alle Bewohnerinnen und Bewohner Berlins, im gesamten Stadtgebiet, in allen Verkehrsmitteln und zu jeder Zeit gültig. Touristen können den ÖPNV ebenfalls fahrscheinfrei nutzen, indem sie bei der Hotelbuchung eine zusätzliche ÖPNV-Abgabe leisten müssen. Weiterhin ist eine Ausweitung auf das gesamte Verbundgebiet Berlin Brandenburg (VBB) zu empfehlen, sodass die enge verkehrliche Vernetzung zwischen diesen Bundesländern nicht gefährdet wird. Aus Gründen der Attraktivitätssteigerung aber auch in Folge einer wachsenden Nachfrage ist die Verbesserung des Angebots eine wichtige Pull-Maßnahme. Im Fokus stehen eine Taktverdichtung, ein Netzausbau und die Beschleunigung des ÖPNV, um die Reisezeiten deutlich zu verkürzen und der Nachfragesteigerung besonders in der Hauptverkehrszeit gerecht zu werden. Hauptanliegen des Netzausbaus ist es außerdem, die Vernetzung im ÖPNV und die Anbindung der Randbezirke und dem Umland zu verbessern. Bezüglich der Intermodalität ist insbesondere die Kombination des Fahrrades mit dem ÖPNV zu fördern. Es sind deutliche Verbesserungen bei der Verfügbarkeit und Qualität von Fahrradabstellanlagen und Bike Sharing Angeboten notwendig. Zusätzlich sind P+R Anlagen im Umland und stadtgrenznahen Gebieten Berlins auszubauen. Um den Umstieg des Radverkehrs auf ein motorisiertes Verkehrsmittel zu vermeiden ist das Radverkehrsnetz in Berlin zudem deutlich zu verbessern. Im Zuge der Beschleunigung des ÖPNV durch Bussonderfahrstreifen und dem Ausbau der Radverkehrsinfrastruktur ist die Umwidmung von Flächen des MIV gleichzeitig eine mögliche Push-Maßnahme. Weitere Push-Maßnahmen wie beispielsweise eine Parkraumbewirtschaftung oder eine City-Maut sind ebenfalls sinnvoll, sollten jedoch nur unter kritischer Beachtung der Folgen angewendet werden. Die Realisierung der flankierenden Maßnahmen benötigt einen langen Zeithorizont. Deren Umsetzung ist jedoch notwendig, da der fahrscheinfreie ÖPNV sonst zu weiteren Problemen führen und sich die Qualität des ÖPNV verschlechtern würde. Daher ist die kurzfristige Einführung eines fahrscheinfreien ÖPNV aus verkehrlicher Sicht kein optimaler Schritt zur Lösung der gegenwärtigen Herausforderungen. Folglich kann die Einführung eines fahrscheinfreien ÖPNV nur eine langfristige Strategie sein, der die Umsetzung der geforderten Maßnahmen vorausgehen muss. Sobald der ÖPNV eine starke Nachfragesteigerung aufnehmen kann und auch in möglichst vielen Bereichen der Stadt als eine attraktive Alternative wahrgenommen wird, kann ein fahrscheinfreier ÖPNV einen deutlichen Umstieg der MIV-Nutzenden bewirken. Es ist jedoch festzuhalten, dass die tatsächlichen Auswirkungen kaum abschätzbar sind und daher immer ein Restrisiko bestehen bleibt.
Style APA, Harvard, Vancouver, ISO itp.
2

Ahlfeldt, Gabriel, Stephen Redding, Daniel Sturm i Nikolaus Wolf. The Economics of Density: Evidence from the Berlin Wall. Cambridge, MA: National Bureau of Economic Research, lipiec 2014. http://dx.doi.org/10.3386/w20354.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Drews, Fabian. Flächengerechtigkeit und die Verteilung des öffentlichen Straßenraums in Berlin. Technische Universität Berlin, Fachbereich Integrierte Verkehrsplanung, 2023. http://dx.doi.org/10.26128/2023.62.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
4

Costa, Sérgio, Mariana Teixeira i Thomás Mattos. Conviviality-Inequality during the Pandemic: The Case of Berlin. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, sierpień 2023. http://dx.doi.org/10.46877/costa-teixeira-mattos.2023.60.

Pełny tekst źródła
Streszczenie:
The COVID-19 pandemic has profoundly affected conviviality and inequality in societies worldwide. This research article examines the dynamic interplay between these dimensions in Berlin, Germany, during the pandemic. The study’s main question explores how the relationship between inequality and conviviality evolved in the context of the pandemic and the correspondent containment measures. Four sub-questions address specific aspects: 1) the hierarchy of infection and disease trajectory based on access to protection, 2) the effects of containment measures on income, education, and well-being among various social groups, 3) changes in conviviality at the microlevel (households, neighbourhoods, etc.), and 4) shifts in virtual interaction and media usage during “social distancing”. The survey in Berlin involved 2,502 households and spanned three collection periods. Computer-assisted telephone interviewing (CATI) was used, ensuring representative responses. The findings are analyzed through Goran Therborn’s three levels of analysis: resource, vital, and existential inequalities (Therborn 2013).
Style APA, Harvard, Vancouver, ISO itp.
5

Miller, Roger G. Global Supply and Maintenance for the Berlin Airlift, 1948-1949. Fort Belvoir, VA: Defense Technical Information Center, październik 1999. http://dx.doi.org/10.21236/ada369479.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Shafer, Kenneth. The Congress of Berlin of 1878 : its origins and consequences. Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.5811.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
7

Merkins, Jeffery R. Book Analysis of Eisenhower and Berlin, 1945 the Decision to Halt at the Elbe. Fort Belvoir, VA: Defense Technical Information Center, kwiecień 1988. http://dx.doi.org/10.21236/ada192611.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
8

Gehrke, Marvin. Fahrscheinfrei im ÖPNV – Eine Alternative für Großstädte? - Ein Maßnahmensortiment und die Realisierbarkeit in Berlin. Technische Universität Berlin, Fachbereich Integrierte Verkehrsplanung, 2023. http://dx.doi.org/10.26128/2023.48.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
9

Correll, Lena, i Selina Chwoika. Schule als geschlossenes System. Socialnet, 2024. http://dx.doi.org/10.60049/lvbd6pxn.

Pełny tekst źródła
Streszczenie:
Wie kann die nach wie vor sehr voraussetzungsvolle Zusammenarbeit von Grundschulen mit familienfördernden Akteur:innen gelingen? Dieser Frage widmet sich der folgende Beitrag auf der Basis von Befunden aus 17 Leitfadeninterviews mit pädagogischen Fachkräften, Schulleitungen und kommunalen Verantwortlichen aus Bayern, Baden-Württemberg, Berlin und Nordrhein-Westfalen.
Style APA, Harvard, Vancouver, ISO itp.
10

Michael, Miess, Stefan Schmelzer, Günther Lichtblau, Sigrid Stix, Clemens Gerbaulet, Wolf-Peter Schill, Totschnig Gerhard i in. DEFINE Synthesis Report: DEFINE - Development of an Evaluation Framework for the Introduction of Electromobility. IHS - Institute for Advanced Studies, marzec 2015. http://dx.doi.org/10.22163/fteval.2015.500.

Pełny tekst źródła
Streszczenie:
The project DEFINE – Development of an Evaluation Framework for the Introduction of Electromobility – was conducted by the Institute for Advanced Studies (IHS), Vienna, in cooperation with the Environment Agency Austria (EAA), the Vienna University of Technology (TUW), Austria; the German Institute for Economic Research (DIW Berlin), the Institute for Applied Ecology (Oeko-Institut), Germany; and with the Center for Social and Economic Research (CASE), Poland.
Style APA, Harvard, Vancouver, ISO itp.
Możesz być także zainteresowany rozszerzonymi bibliografiami na temat „Berlioz” dla poszczególnych typów źródeł:
Artykuły w czasopismach Rozprawy doktorskie Książki
Oferujemy zniżki na wszystkie plany premium dla autorów, których prace zostały uwzględnione w tematycznych zestawieniach literatury. Skontaktuj się z nami, aby uzyskać unikalny kod promocyjny!

Do bibliografii