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Gartrell, Judith Williams. "Hector Berlioz as conductor /". Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11300.
Pełny tekst źródłaLamotte, 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 źródłaKnobloch, Eberhard, i Ingo Schwarz. "Alexander von Humboldt und Hector Berlioz". Universität Potsdam, 2003. http://opus.kobv.de/ubp/volltexte/2009/3496/.
Pełny tekst źródłaAlexandre 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.
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 źródłaWarrack, John. "Beethoven, Weber and Berlioz: Imitation and influence". Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A23358.
Pełny tekst źródłaLee, 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 źródłaLensky, 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 źródłaRutherford, 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 źródłaLoisel, Gaëlle. "La Musique au défi du drame : Berlioz et Shakespeare". Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0747.
Pełny tekst źródłaAs 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
Bartoli, Jean-Pierre. "L'Oeuvre symphonique de Berlioz : forme et principes de développement". Paris 4, 1991. http://www.theses.fr/1991PA040024.
Pełny tekst źródłaPERL, BENJAMIN. "L'orchestre dans les operas de berlioz et de ses contemporains". Université Marc Bloch (Strasbourg) (1971-2008), 1989. http://www.theses.fr/1989STR20032.
Pełny tekst źródłaThe thesis presents the characteristics of berlioz' orchestration in his three operas, benvenuto cellini, the trojans and beatrice and benedict, in the context of contemporary operatic production (operas by weber, spontini, meyerbeer, halevy and early wagner). The first part of the thesis aims at defining the role of the orchestra in an opera, generally speaking, setting up specific categories by which the different functions of orchestral accompaniment to an opera may be captured. In the second part the employment of the orchestra in the operas is analysed, classified by instruments and groups of instruments. The thesis intends to outline the distinctive traits of berlioz' orchestral language as used in his theatrical works. A certain disproportion comes to light, between a most elaborate, flexible and imaginative orchestration and rather outdated and rigid forms and vocal usage. This disproportion may serve partly as an explanation for the lasting failure of berlioz' operas on stage, though by musical standards they may be regarded as masterpieces
Jubault, Geoffrey. "Les éléments autobiographiques dans "La Damnation de Faust" d'Hector Berlioz". Thesis, Nancy 2, 2011. http://www.theses.fr/2011NAN21032.
Pełny tekst źródłaHector Berlioz's Damnation of Faust cannot be classified among the usual musical genres. Halfway between the piece of concert and the opera, it is not only inspired by Goethe's Faust (translated by Nerval), but apparently also, by the composer's life. This thesis describes the composition process and highlights the autobiographical elements. These were divided into two categories. The first category investigates the supposedly autobiographical elements, namely the anecdotes of Berlioz's memoirs and correspondence consistent with the synopsis of the Damnation, the analogy of some genuine persons with those of the libretto and finally, the musical and literary influences the composer may have received. The second category regroups the proven autobiographical elements, including the reuse of some of his early compositions, the application of the precepts of the treaty and their integration into La Damnation
Gonnard, Henri. "La modalité harmonique en France de Berlioz à Debussy (1850-1918)". Lyon 2, 1988. http://www.theses.fr/1988LYO20005.
Pełny tekst źródłaAn external study then an internal study of the harmonic modality are successicely to be found in this essay. The external study first sets the historical background in which this language has taken place, then proceeds to a thorough survey of the writing by the theoreticians and the composers that have surrounded it and that may have initiated it. It comes out first that four main landmarks stand out together different and complementary, the interest of the first one and the last one being of a technical type, that of the second and the third one being more related to the spreading of the "modal idea" : the traite theorique et pratique de l'accompagnement du plain-chant, by d'ortigue and niedermeyer (1857), the conference sur la modalite dans la musique grecque, by bourgault-ducoudray (1878), les melodies gregoriennes by dom pothier (1880) and the traite de l'accompagnement modal des psaumes by maurice emmanuel (1913). The internal study analyses the musical works concerned. It comes clear that, from berlioz to debussy, the harmonic modality presents two main steps -which are not to be read in an exclusively chronological outlook : first it tries to free itself from the tonality by suppressing the attraction "sensible"* tonic ; but simultaneously, the tonal dominant keeps being used. This "first" modality therefore defines itself essentially "negatively" since it opposes the tonality while remaining dependent upon it. In a second step, it obeys laws which are in the first place contingent upon the modes used without rejecting the principle of hierarchical system appropriate to the tonality. The works related to that "classical" modality leads us to advance the new use of the notion of "sensible et dominante harmonicomodales", this criterion seeming grosping both the continuity in which this language is planed and its irreducibility to the old modality on one hand and to the tonality on the other. (*) seventh note
Gonnard, Henri. "La Modalité harmonique en France de Berlioz à Debussy, 1850-1918". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37614007z.
Pełny tekst źródłaHeidlberger, Frank. "Carl Maria von Weber und Hector Berlioz : Studien zur französischen Weber-Rezeption /". Tutzing : H. Schneider, 1994. http://catalogue.bnf.fr/ark:/12148/cb356978465.
Pełny tekst źródłaLamotte, Frédéric-Georges. "Hector Berlioz : son activité de feuilletoniste au Journal des Débats et sa position dans la société parisienne (1834-1863)". Paris 1, 1999. http://www.theses.fr/1999PA010656.
Pełny tekst źródłaCarenco, Céline. "L'influence des transcriptions d'œuvres d'Hector Berlioz sur l'écriture orchestrale de Franz Liszt". Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2199.
Pełny tekst źródłaThe object of the present thesis is Franz Liszt’s production from the years 1830-1850. Liszt is mostly based in Paris between December 1823 and April 1844 and during this training at the very heart of the Romantic revolution, he gradually develops a writing style for his orchestral pieces that he will put into practice in Weimar after 1848. During these Parisian years, Liszt writes many piano arrangements of orchestral scores, and here we propose that it provided the basis for his revolution of piano music, but also made him quite familiar with the orchestral writing of his time. It is indeed of particular significance that Berlioz – often considered the father of modern orchestra – is one of the composers Liszt transcribed most often, from very early on.We use two complementary approaches from the field of musicology, traditional historical analysis and more recent techniques of sketch studies. To understand if and how Liszt’s rewritings of Berlioz’ work influenced his own orchestral style we first studied each arrangement in its context. We then focused on the genesis of these pieces by analysing a great amount of sketches and drafts in order to shed light on the maturation process that led to Liszt’s fully-fledged orchestral style from the 1850’s (the decade in which he produced most his symphonic works)
Shomo, Michael F. "An Aesthetic of Eccentricity: A Narrative Analysis of Two Early Berlioz Overtures". Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1447955824.
Pełny tekst źródłaSyreishchikova, Anastasiia. "Les voyages d’Hector Berlioz en Russie : histoire d’un dialogue musical franco-russe (1833-1869)". Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP040.
Pełny tekst źródłaFrench composer Hector Berlioz (1803-1869) organized two series of concerts in Russia (in 1847 and 1867-1868, in both Moscow and St. Petersburg). The musician himself considered these tours as the greatest triumphs of his career. This image of a massively positive reception of Berlioz in Russia – based primarily on his own accounts – has been little studied due to the inaccessibility of Russian sources. The goal of the present thesis is therefore to reconstruct the history of the relationship between Berlioz and Russia during the composer's lifetime, in order to better understand the reasons for his success. Drawing on unpublished documents from the Russian archives – press, posters, administrative files, correspondence (including three new letters from Berlioz) – we present a more nuanced account of the relationship between Berlioz and Russia. This theme is approached from three perspectives: 1. The critical reception of Berlioz in the Russian press (about 360 articles, published between 1833 and 1869) and the role of the press in the formation of Berlioz's image; 2. The performance of Berlioz's works in Russia, both during his visits and in his absence (with new details about the organization of his concert tours); 3. Berlioz's contacts with several Russian musicians, including M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov and M. Balakirev; his dedication of the Symphonie fantastique to tsar Nicholas I; his arrangements of two works by D. Bortnanskij. This study helps to better understand artistic relations between France and Russia in the 19th century, but also Berlioz's importance for Russian culture and music
Thomas, Christopher Buerkle. "Antonín Reicha's Missa Pro Defunctis and the Nineteenth-Century Concert Requiem". Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/203482.
Pełny tekst źródłaValenti, Paolo <1977>. "Formazione e pratica del pensiero orchestrale di Hector Berlioz. Caratteri poetici e strategie del suono". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6722/4/valenti_paolo_tesi.pdf.
Pełny tekst źródłaThe purpose of the dissertation “Development and practice of Hector Berlioz’s orchestral thought. Poetical features and sound strategies” is to investigate the main traits of Berlioz’s thinking about orchestra by reconsidering the elements of his early education. In particular, the notions acquired from his composition teachers Le Sueur and Reicha and from the medicine courses he briefly attended are examined with a renovated approach, in the light of new lines of study explored by musicology in recent years. Berlioz’s reviews are also analyzed, in the search of elements useful to understand his music through the arguments addressed to others’ music. The dissertation also examines the itinerary of theoretic music literature which, from an initial approach connoted by practice as it was typical in the 18th century, reaches with Berlioz’s treaty a strong poetical connotation of instrumental and orchestral resources. The second part of the dissertation deals with some of Berlioz’s works and with some general issues related to his way of writing for the orchestra, especially in relation to other musical parameters. In the whole discussion, sensible attention is put on the relation between technical and poetical issues, suggesting a quite renovated approach.
Valenti, Paolo <1977>. "Formazione e pratica del pensiero orchestrale di Hector Berlioz. Caratteri poetici e strategie del suono". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6722/.
Pełny tekst źródłaThe purpose of the dissertation “Development and practice of Hector Berlioz’s orchestral thought. Poetical features and sound strategies” is to investigate the main traits of Berlioz’s thinking about orchestra by reconsidering the elements of his early education. In particular, the notions acquired from his composition teachers Le Sueur and Reicha and from the medicine courses he briefly attended are examined with a renovated approach, in the light of new lines of study explored by musicology in recent years. Berlioz’s reviews are also analyzed, in the search of elements useful to understand his music through the arguments addressed to others’ music. The dissertation also examines the itinerary of theoretic music literature which, from an initial approach connoted by practice as it was typical in the 18th century, reaches with Berlioz’s treaty a strong poetical connotation of instrumental and orchestral resources. The second part of the dissertation deals with some of Berlioz’s works and with some general issues related to his way of writing for the orchestra, especially in relation to other musical parameters. In the whole discussion, sensible attention is put on the relation between technical and poetical issues, suggesting a quite renovated approach.
Gill, Sarah M. "The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2249/.
Pełny tekst źródłaKiuchi, Mariko. "La Grande Messe des morts de Hector Berlioz (1837) : son langage musical et sa stratégie rhétorique". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL040.
Pełny tekst źródłaHector Berlioz’s Grande Messe des morts has been particularly recognized by its variety of styles and the rapid change of expressive atmospheres. His innovative style arouses public’s emotion by cultivating a great number of unexpected effects that the music press in time of its first performance emphasized. How can be characterized various musical styles which connect with one another in this Requiem? How does the composer behave to attract the audience and to arouse their emotion? How did the audience feel composer’s strategy which was deployed in this work? This thesis aims to make clear the function of various musical materials in his composition, a communication mechanism established between composer and audience, and his conception of the “sacred” music. A study of rhetoric in his Requiem is founded on four successive analyses, inspired by Jean Molino and Jean-Jacques Nattiez’s musical communication theory and Jean-Pierre Bartoli’s rhetoric analysis: 1. study of the creative process of the composition (analysis of the external poïétique); 2. study of the music criticism of press articles (analysis of the external esthésique); 3. study of the principal of the music’s development and its formal narrativity (analysis of the inductive poïétique); 4. study of the tactics on audience’s expectation handled by the composer (analysis of the inductive poïétique). This study concluded that Berlioz succeeded in managing the dramatic intensity and the religiousness through a certain art of discourse, which maintains the work’s unity with a variety of atmospheres, musical topics and styles
Chong, Corrinne. "Musically vague in the art, writings, and critical reception of Henri Fantin-Latour". Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25891.
Pełny tekst źródłaMorgan, Richard S. "The serpent and ophicleide as instruments of romantic color in selected works by Mendelssohn, Berlioz and Wagner". connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/morgan_richard_sanborn/index.htm.
Pełny tekst źródłaSystem requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 3, 2000, Sept. 17, 2001, Oct. 13, 2003, and Oct. 24, 2006. Includes bibliographical references (p. 84-89).
Duffy, Paul. "A balanced orchestra program: analyses and rehearsal techniques for Haydn, Berlioz, Ravel, Bryce Craig, and Casey Cangelosi". Kansas State University, 2014. http://hdl.handle.net/2097/17595.
Pełny tekst źródłaDepartment of Music, Theatre, and Dance.
David Littrell
This report provides detailed analyses of several orchestral works. Current orchestras have striven to rejuvenate their programs by balancing canonical literature with newer or less familiar works; such a practice has become especially important in an age when audiences are dwindling and orchestras are disbanding. The works included in this report follow that balanced blueprint, including staples such as Haydn’s Symphony No. 103 in E-flat Major (the “Drumroll”) and Berlioz’s “Hungarian March” from The Damnation of Faust to new orchestrations of 20th century works, such as Bryce Craig’s arrangement of the toccata from Ravel’s Le Tombeau de Couperin, as well as works composed within the last six years, such as Casey Cangelosi’s Concerto for Marimba and Orchestra No. 2. Each work’s formal design is straightforward, and the technical skills required are not virtuosic. The chapters below explore each work from a historical, theoretical, and performance perspective.
Morgan, Richard Sanborn. "The Serpent and Ophicleide as Instruments of Romantic Color in Selected Works by Mendelssohn, Berlioz and Wagner". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5495/.
Pełny tekst źródłaLangford, Jeffrey Alan. "The operas of Hector Berlioz : their relationship to the French operatic tradition of the early nineteenth century /". Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598431.
Pełny tekst źródłaNolan, Shanna. "Extended Program Notes for Thesis Voice Recital". FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/646.
Pełny tekst źródłaLoriot, Charlotte. "La pratique des interprètes de Berlioz et la construction du comique sur la scène lyrique au XIXe siècle". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040238.
Pełny tekst źródłaThe practices of the performers who first produced Berlioz’s Benvenuto Cellini, La Damnation de Faust and Béatrice et Bénédict deserves to be better known: they followed other traditions than ours, and to understand their habits, practices and artistic context offers another way of conceiving these musical works. The present thesis considers the framework in which these artists worked, that is to say their training, their careers, the progress of the rehearsal of an opera and the trades involved, as well as the schools of acting, of singing, and the preparation of a role. The individual artists will also be introduced, in particular those who played in the comic scenes of the concerned works. The last chapters, which explore the way in which the corpus’ works were performed on the stage of the Paris Opera and the theater of Bade, as well as at the Paris Opera-Comic and the theater of Weimar, mix all these sources and documents and combine musical and scenic elements
Bickley, Diana Frances. "A critical edition of the concert overtures of Hector Berlioz, with particular reference to the historical and literary background". Thesis, Goldsmiths College (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392098.
Pełny tekst źródłaSouthon, Nicolas. "L'émergence de la figure du chef d'orchestre et ses composantes socio-artistiques : françois-Antoine Habeneck (1781-1849). La naissance du professionnalisme musical". Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2024.
Pełny tekst źródłaAlthough an identified musical figure today, the orchestral conductor appeared at the dawn of the 19th c. in the context of major upheavals in the symphonic world. A product of the 18th c.'s conducting modes, the conductor gradually acquired autonomy in relation to the orchestra, the instrumentalists and the composer. He emerged as a central figure in music-making, whilst the rules of his profession were documented in a theoretical literature. Like the violonist playing his violin, the conductor "plays the orchestra", and as such creates the orchestra as an entity. The sole person other than the composer to confront the detail and the totality of a work, he resumes it through his expressive pantomime, the focal point of musicians' and audience's gaze alike, the gestural incarnation of the music's meaning. The conductor has become the spokesman and the very "alter ego" of the composer, both responsible for the work's performance, in concrete terms, and dialoguing with the sublime. Paris is a crucible of these transformations, in particular through F.-A. Habeneck. The first in Europe, Habeneck embodies the modern "orchestral conductor", devoted exclusively to his role as performer. Following his debut at the head of the students of the Conservatoire, he directed the Opera orchestra with supreme control, officiating at any number of "concert-monstres" and foundig the "Societé des Concerts du Conservatoire". In the rue Bergère's auditorium, where the very way music was listened to and apprehended was to change, new links were established between the conductor, his orchestra, works and their audiences - with the symphonies of Beethoven for gospel and Habeneck for high priest
Bordry, Guillaume. ""La musique est un texte" : histoire, typologie, et fonctions de la description littéraire de la musique, en particulier dans l'oeuvre d'Hector Berlioz (1803-1869)". Paris 3, 2005. http://www.theses.fr/2005PA030068.
Pełny tekst źródłaStarting from a phrase by Honoré de Balzac, " music is a text ", this work attempts to define a specific kind of textual practice : the literary description of music, which consists in recreating musical art by other means than technical ones. This kind of description focuses on the emotions and the imagination of the listener, who transcribes his impressions thanks to literary processes. Musical experience thus takes the shape of a literary practice : reading. Composers, Berlioz first, use the evocative power of these texts in their own musical creation. The first part of this work outlines a history and a typology of the literary description of music. The second part illustrates the first, focusing on a specific case, Hector Berlioz's, and enlightens both his manipulations of text and music. Berlioz is at the same time a composer, a writer, a listener and a reader, which allows his musical descriptions to play a specific role in his writings as well as in his music. This work attempts to define the forms and the sense of it
Le, Hir Sabine. "Wagner et la France (1830-1861) : Nouvelle approche des relations de Wagner avec la France à la lumière de son rapport à l'Allemagne et de la réception française de son oeuvre". Thesis, Tours, 2016. http://www.theses.fr/2016TOUR2004.
Pełny tekst źródłaThroughout his lifetime, Richard Wagner was preoccupied by Paris, in particular, and by France, in general. Between 1830 and 1861 — the period upon which this thesis concentrates — he went to Paris on no fewer than seven occasions. Although Wagner always introduced himself as above all a German, and although he always considered himself to be a German composer, still, France—as a kind of mirror in which he never ceased to see the reflection of his homeland—always served him as a crucial point of reference as he attempted to define a new and essentially artistic Germany that was destined in this sense to become a model for all of Europe. It is in this new light, then, that I propose, in this thesis, to analyze the relations between Wagner and France and to study French reception of Wagner’s creations. That reception, based above all on a kind of misunderstanding, finds its beginnings neither in the composer’s music nor in the composer’s writings, but rather in Franz Liszt’s various articles on Wagner that began to appear in 1849
Ramaut, Alban. "Berlioz et le théâtre de son temps : une nouvelle forme d'expression lyrique? : contribution à l'étude de "Benvenuto Cellini", "Les Troyens", "Béatrice et Benedict /". Paris : [A. Ramaut], 1986. http://catalogue.bnf.fr/ark:/12148/cb35849607h.
Pełny tekst źródłaRamaut, Alban. "Berlioz et le théâtre de son temps une nouvelle forme d'expression lyrique? : contribution à l'étude de "Benvenuto Cellini", "Les Troyens", "Béatrice et Benedict /". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376091584.
Pełny tekst źródłaWoodward, Patricia Jovanna. "Jean-Georges Kastner's Traité general d'instrumentation: A Translation and Commentary". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4165/.
Pełny tekst źródłaBroderick, Amber E. "Grande messe des morts: Hector Berlioz's Romantic Interpretation of the Roman Catholic Requiem Tradition". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1345136918.
Pełny tekst źródłaGebhardt, Lars. "„… eine Abgeburt, welche aus gräulichem Inceste entsteht …“". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23515.
Pełny tekst źródłaStreletski, Gérard. "Hector Berlioz et Edme-Marie-Ernest Deldevez : étude comparée de leur formation et de leur insertion dans la société du XIXe siècle (1803-1897) : contribution à l'histoire sociale de la musique en France". Paris 4, 1996. http://www.theses.fr/1995PA040197.
Pełny tekst źródłaUnder the title Hector Berlioz and Edme-Marie-Ernest Deldevez : compared study of their training and of their insertion in the 19th century society (1803-1897), this is in France one of the first attempts that can be found of compared biographies. It concerns two composers and conductors from the romantic century. Through this contribution to the social history of music in France which leans firmly on historical chronology, it reports the constructive elements of the training and insertion of two outstanding musicians in the true setting of the society that they moved in. Furthermore for the second one of them, who is today almost unknown, this is the first important monograph that has ever been dedicated to him. The other musician, who is almost the only reflect of the romanticism of French music, this is a revision, sometimes not without surprises, as for the clichés that he is more often the subject of. One enlightens the other. From the birth of Berlioz (1803) to the death of Deldevez (1897) nearly a century passes during which the French society born of the revolution is built, organized and torn apart turn and turn about. It is in this context, that was fundamental for them, that Berlioz, the new Cellini, creates a works in which his volcanic genius seizes every opportunity to construct a destiny which is shown by posterity. It is here also that Deldevez, pupil of Berton, Habeneck and Halevy, as well as being a friend of Gounod and Ambroise Thomas, builds a career in which he can be seen conducting the Société des concerts, inaugurating the Palais-Garnier and, what is more, becoming the first official pedagogue of orchestral conducting, proselyte of his elder's music. One remains; the other one has been forgotten. The descriptive catalogue of his musical works is attached to de principal book
Röhricht, Wieland. "Zur Pflanzenwelt der Neubaugebiete Ost-Berlins : Flora und Vegetation der Wohngebiete in den Plattenbau-Großsiedlungen Berlin-Marzahn, Berlin-Hohenschönhausen und Berlin-Hellersdorf ; mit 95 Tabellen /". Berlin [u.a.] : Cramer in der Gebr.-Borntraeger-Verl.-Buchh, 2003. http://www.gbv.de/dms/bs/toc/365063207.pdf.
Pełny tekst źródłaVial-Henninger, Mireille. "Essai de mythe-analyse du processus de création musicale : justification, méthode, application. Beethoven, la 23e sonate dite Appassionata (exposition) ; Berlioz, Episode de la vie d'un artiste : la Symphonie fantastique suivie de Lélio ou le retour à la vie". Paris 4, 1996. http://www.theses.fr/1996PA040092.
Pełny tekst źródłaThrough the analysis of two pieces - the exposition of the 1st movement of L. Van Beethoven’s sonata Appassionata, and Berlioz's Symphonie fantastique followed by Lelio ou le retour a la vie - the author tries to bring out the fertility and feasibility of what could become a new form (or application) of musical analysis. The author primarily uses a rational approach, reasoning through analogies applied to the logic of living things, binary and polarized (following the model of biologist S. Lupasco) linked to myth. This method only takes account of the musical piece itself and does not investigate the composers’ lives as a psychoanalytical approach could do. In a somewhat analogues fashion - the use of myth - the author is able to explain the pieces. Once analyzed in a strictly classical way (factorial, structural and dynamic), the use of myth not only gives meaning to the structures, but brings out remarkable aspects that demonstrate that the composer - be it consciously or not - has followed a personal creative process that inscribes itself in the general plan of the development of a myth. This methodical expose came about from the pedagogical necessity to explain rationally the use of vocabulary coming from sentiment. The author would be satisfied to see this work go beyond the field of research and into that of education
FORMENTI, CARLOTTA. "Il colore verde di Berlino Giorgio Grassi e l'idea di città rurale". Doctoral thesis, Università IUAV di Venezia, 2020. http://hdl.handle.net/11578/286416.
Pełny tekst źródłaLarsen, Nils. "Radweg Berlin-Dresden: Radroute Berlin-Dresden". Allgemeiner Deutscher Fahrrad-Club Sachsen e.V, 2014. https://slub.qucosa.de/id/qucosa%3A4926.
Pełny tekst źródłaCunin, Maurice. "Faust à l'Opéra". Paris 4, 1993. http://www.theses.fr/1994PA040062.
Pełny tekst źródłaIn this thesis i propose to compare three libretti which deal with the myth of faust : gounod's faust, berlioz's damnation de faust and boito's mefistofele. After a reminder of the scenarios of these works and of their similarities on differences compared to goethe's poem, the dramatics personae are studied. In the second part the main themes of the libretti are examined. The third part analyses style and versification
Hinterkeuser, Guido. "Das Berliner Schloss : der Umbau durch Andreas Schlüter /". Berlin : Siedler, 2003. http://www.gbv.de/dms/bs/toc/358059593.pdf.
Pełny tekst źródłaKaiser, Katrin. "Graffiti in der gesellschaftlichen Kontroverse : unter Berücksichtigung der "Demokratie von unten" /". Hamburg : Diplomica, 2007. http://www.diplom.de/db/diplomarbeiten10114.html.
Pełny tekst źródłaPratschke, Anja. "Configurações do vazio: arquitetura e não-lugar". Universidade de São Paulo, 1996. http://www.teses.usp.br/teses/disponiveis/18/18131/tde-17102008-151441/.
Pełny tekst źródłaWe are living today a moment that favours the rediscussion of some concepts concerning several domains of knowledge, ranging from art to biology, from philosophy to mathematics, to architecture. Amidst these questions, this work chooses that of the void´s role as its central one, which will be treated in two instances: as an urban configuration, and as a conceptual contemporary architectural element. Selecting architectural projects, in which one of the basic criteria is the void´s problematic, this work wants to make clear the relationship in a form of interdependence and mutual enrichment between voids, either ebing a result of an urbain metropolitain dynamic, or those architecturaly conceived. Throughout five projects, signed by five contemporary architects within four metropolises, we try to show the specific role of each void. Furthermore, the first part will approach the questions of memory and temporality at São Paulo. The second part treats the end of the unique history as defined by Hegel, in Berlin. Finaly the third part, concerning the cities of Osaka and Tokyo aimes the discussion on the japanese conception of void, related to the notion of ephemerality in the metropolis, and presents the japanese concept of superposition of time and space. This work is presented as an interrupted narrative, as a result of the author´s own journey and connected by an unvisible frame, which is eventually the void itself. It tries to understand the elements specific to architetcure and urbanism, related to literature, philosophy and art. At the same time, it aims sketching representations of the selvage situation of contemporary metropolises through emblematic architectural projects.
Zips, Yvonne [Verfasser], i Tobias [Akademischer Betreuer] Döring. "Berlin-Fiktionen : das andere Berlin – Das Berlin der Anderen / Yvonne Zips ; Betreuer: Tobias Döring". München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2016. http://d-nb.info/1115144634/34.
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