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Artykuły w czasopismach na temat "Debussy, Claude (1862-1918) – Appréciation"
Tomic, Marija. "Écoutant la musique de pan: Regarding the ontological horizons of 'Pause' in Claude Debussy’s Syrinx". Muzikologija, nr 31 (2021): 213–29. http://dx.doi.org/10.2298/muz2131213t.
Pełny tekst źródłaBriscoe, James R., i Chloé Huvet. "Saint-Saëns, Debussy, and Superseding German Musical Taste in the United States1". Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, nr 1-2 (25.04.2017): 113–19. http://dx.doi.org/10.7202/1039617ar.
Pełny tekst źródłaKomatović, Nikola. "“Modulate! modulate! modulate! but do not change the key.”". Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, nr 2 (2018): 517–26. http://dx.doi.org/10.31724/rihjj.44.2.12.
Pełny tekst źródłaSobaskie, James William. "L'art de la flûte française". Nineteenth-Century Music Review, 9.01.2023, 1–15. http://dx.doi.org/10.1017/s1479409822000489.
Pełny tekst źródłaRozprawy doktorskie na temat "Debussy, Claude (1862-1918) – Appréciation"
Veber, Zdenka. "La réception de la musique de Claude Debussy en Croatie". Paris 4, 1985. http://www.theses.fr/1985PA040008.
Pełny tekst źródłaFautereau, Vassel Émilie de. "Émergence de la figure historique de Claude Debussy dans la presse et la littérature de son temps". Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL005.pdf.
Pełny tekst źródłaTo highlight the role of critics in the constitution of the historical figure of Claude Debussy, it could suffice to note that his career, which starts around 1884 and ends at his death in 1918, precisely overlaps the golden age of the French press. Though, his revolutionary musical conceptions also generated numerous analysis and debates, in a sometimes controversial context. And the première of Pelléas et Mélisande spurred, in 1902, what we may call the critical controversy of the century. Our research project aimed to gather critical articles in sufficient numbers so that, through the confrontation of the texts, could emerge the most faithful representation of Debussy, such as his time perceived him. Our appendixes present near 800 excerpts, transcribed and sorted. The discourse on Debussy evolves, but does present some constants; for example, critics often call upon categories coming from painting (impressionism) or literature (symbolism) in order to attempt — with little actual success — to categorize among familiar movements the works of a composer, keen on pictorial arts and poetry. Another dimension emerges from the corpus: its remarkable formal richness. Lexical and rhetorical invention, pastiche, caricature, apologues, portraits… As the literary spills into the field of the critic, the works and the composer are conversely integrated in the literary field, and become fictional matter. Portraits and novel extracts have completed the corpus, shedding light on the way literature has contributed to the imprint of the figure of the composer in our collective memory
Pascoal, Maria Lucia Senna Machado 1937. "Preludios de Debussy : reflexo e projeção". [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284333.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-13T22:14:36Z (GMT). No. of bitstreams: 1 Pascoal_MariaLuciaSennaMachado_D.pdf: 7534551 bytes, checksum: b7212ad76f9190cc72764d409cad2c9b (MD5) Previous issue date: 1989
Resumo: Existem peças musicais que se constituem em conjutos homogeneos e seu estudo pormenorizado nos leva a compreender o pensamento musical de um compositor. Um desses conjuntos de peças são os 24 Prelúdios de Claude Debussy, escritos entre 1909/1912, representativos de sua plena maturidade. Obra das mais importantes na literatura pianistica pelo maneira nova de tratar o instrumento, é também pela própria composição que nos revela como Debussy, utilizando-se de ténicas antigas, outras estranhas ao repertório europeu, cria sua linquagem original: amplia os códigos de sua epoca, inventa novos que se projetam e abrem caminhos para a música do século xx. O que este trabalho demonstra: através da análise e levantamento das técnica, faz ligações e comparações dos Prelúdios de Debussy com músicas de diversas épocas, sistemas e estilos musicais/pianisticos, considerando-os portanto, como reflexo e projeção
Abstract: Some musical works may be considered as an homogeneous whole and by studying them in detail, the composer's musical thought will be revealed. One of these pieces are DEBUSSY'S 24 PRELUDES, written between 1909- 12. Representing the culmination of his artistic maturity, they are an important work in the pianistic literature because of the new treatment that is given to the instrumento Also regarding the composition itself, Debussy makes use of ancient as well as foreign techniques, that until then did not belong to the European repertoire. In these PRELUDES the composer shows how he creates his original language, by increasing the codes of his time and inventing new ones, which outstood and have opened the way for the outcome of the twentieth century's music. That's what is demonstrated here, comparing DEBUSSY'S PRELUDES to music of different times as well as musical/pianistic systems and styles, considering them in view of alI that as REFLECTION and PROJECTION
Doutorado
Doutor em Artes
Blount, Jodi Lambert. "Claude Debussy's Images, series two, and the influences on Debussy's compositional style". Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008243.
Pełny tekst źródłaLassauzet, Benjamin. "Claude Debussy et l'humour". Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC034.
Pełny tekst źródłaClaude Debussy isn’t a composer whose musical production tends to be associated to humour. However, one must consider and rehabilitate a humorist Debussy, too often forgotten, if one wants to obtain a more faithfull idea of his work. In order to understand the reasons why one has not, until this day, accorded to Debussy’s humour the role it deserved in his style and production, we will investigate the different steps of the aesthetical relation with his work, as described by Jean-Jacques Nattiez: the poïetic and the aesthesic. We shall observe the downside risk that may seize up the mechanism of comic perception and understanding in music
Etheridge, Kay 1954 Apr 18. "Stylistic and Technical Considerations for Pedaling the Debussy Preludes, Together with Three Recitals of Selected Works of L. van Beethoven, A. Berg, J. Brahms, F. Chopin, C. Debussy, W.A. Mozart, S. Prokofieff, A. Schoenberg, F. Schubert, and R. Schumann". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330821/.
Pełny tekst źródłaRode, James A. "Sensory understanding if the piano preludes of Claude Debussy". Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/341.
Pełny tekst źródłaBachelors
Arts and Sciences
Music
Pieva, Mirka Campello da. "O estudo pour les octaves de Claude Debussy : um relato sobre a organização do processo de aprendizagem motora". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/6489.
Pełny tekst źródłaAstilla, Christopher. ""Between the Staves" - Adaptations of Debussy's Six épigraphes antiques and Creative Tasks of the Performer". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5205/.
Pełny tekst źródłaRevol, Patrick. "Influences de la musique indonésienne sur des musiciens français de 1889 à nos jours". Paris 8, 1998. http://www.theses.fr/1998PA081487.
Pełny tekst źródłaAccording to a widely-accepted idea, debussy's work was deeply influenced by javanese music at the universal exhibition of 1889. After closer study, it can be noted that no thorough analysis of that supposedly obvious statement has ever been done. In a first part this work aims at bringing the evidence of that influence. In a second part we leave debussy in order to show that, in his wake, a fair number of french composers paid a particular attention to gamelan music. Although it has never been. Demonstrated, debussy's admiration for java has been acknowledged for a long time. However this is rarely mentioned as far as ravel is concerned. Though it does not affect his music in such a drastic way, yet the gamelan influence is omnipresent in laideronnette imperatrice des pagodes. We have devoted a few pages to the study of this work and attempted to demonstrate that a lot of musical parameters pertain to extra-european techniques. If java left a mark on the minds of debussy and ravel, from the 1930's trench artists rather started looking toward bali. This new trend can be explained because of certain number of reasons - both political and esthetic - into which we have given some insight. We deal with works of messiaen, jolivet, varese, boulez, dutilleux, mache, eloy, aperghis. We have not in the least attempted to set up a complete catalogue of trench composers connected with balinese music. We have chosen to study the materials used by each of them in order to single out the elements pertaining to indonesian techniques. Althought our approach is not of an ethnomusicological nature, we have thought appropriate to include further information particularly a chapter on the instruments, illustrated by photographs that we have taken in java and bali
Książki na temat "Debussy, Claude (1862-1918) – Appréciation"
Thompson, Wendy. Claude Debussy. New York, N.Y: Viking, 1993.
Znajdź pełny tekst źródłaNichols, Roger. Claude Debussy, Pelléas et Mélisande. New York, NY: Cambridge University Press, 1999.
Znajdź pełny tekst źródłaNichols, Roger. Claude Debussy, Pelléas et Mélisande. Cambridge [England]: Cambridge University Press, 1989.
Znajdź pełny tekst źródłaDietschy, Marcel. A portrait of Claude Debussy. Oxford: Clarendon Press, 1994.
Znajdź pełny tekst źródłaNichols, Roger. Debussy remembered. Portland, Or: Amadeus Press, 1992.
Znajdź pełny tekst źródłaParks, Richard S. The music of Claude Debussy. New Haven: Yale University Press, 1989.
Znajdź pełny tekst źródłaBrown, Matthew. Debussy's Ibéria. Oxford [England]: Oxford University Press, 2003.
Znajdź pełny tekst źródłaNichols, Roger. Debussy remembered. London: Faber and Faber, 1992.
Znajdź pełny tekst źródłaNichols, Roger. The life of Debussy. Cambridge: Cambridge University Press, 1998.
Znajdź pełny tekst źródłaRoberts, Paul. Debussy. S.l: Phaidon Press, 2006.
Znajdź pełny tekst źródłaCzęści książek na temat "Debussy, Claude (1862-1918) – Appréciation"
"Claude Debussy (1862–1918)". W The Classical Music Lover's Companion to Orchestral Music, 200–213. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-019.
Pełny tekst źródła"Claude Debussy (1862–1918)". W Accompanied Voices, 106–7. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782045021-048.
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