Добірка наукової літератури з теми "Musiciens d'église – 18e siècle"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Musiciens d'église – 18e siècle".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Дисертації з теми "Musiciens d'église – 18e siècle":
Mesplé, Pierre. "Les musiciens d’Église au XVIIIe siècle : acteurs, circulations, réseaux (diocèses de Blois, Chartres, Évreux, Orléans, Rouen)." Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2023. http://www.theses.fr/2023UCFA0135.
This research defines a social group, the musicians of cathedral and collegiate churches, in a circumscribed space (five dioceses, Blois, Chartres, Évreux, Orléans, Rouen) from the end of the 17th century to the Revolution. We will endeavor to identify their living conditions (by questioning in particular the notions of employment and itinerancy), but also the networks that they can form in relation to the canons who employ them and the rest of society. Finally, we will seek to describe and understand the place that society grants them in the functioning of worship
Élissèche, Charles-Yvan. "La vie musicale à la Sainte-Chapelle de Paris aux XVIe et XVIIe siècles : étude du personnel musical." Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2012.
The musical life of the Sainte Chapelle in Paris during the 16th and 17th centuries has not been reassessed since the work of Michel Brenet (1910). The exploitation of sources, development of liturgical studies and advances in musicological research allow for a renewal of our understanding of this church and its music. By founding the Palace chapel, Louis IX established the clergy of the Sainte Chapelle. While monarchy and court abandon this church for the chapel royal, Francis I establishes a correlation between the musical and ecclesiastical staff of the Sainte Chapelle. This interdependence, maintained by the Chapter, results under Louis XIV in an assembly constituted of a majority of musicians. This thesis, based on the systematic study of primary sources, focuses on the clergy and musical activity. A particularity of the Sainte Chapelle is thus revealed: the interdependence of ecclesiastical status and appointment as a musician
Mailhot, Bastien. "Les enfants de chœur des maîtrises du centre de la France : les institutions capitulaires d’éducation et leurs élèves aux XVIIe et XVIIIe siècles." Thesis, Clermont-Ferrand 2, 2014. http://www.theses.fr/2014CLF20017/document.
In modern France of the seventeenth and eighteenth centuries, cathedrals and collegiate chapters maintain, for the most part and since medieval times, a choirboy school (maîtrises capitulaires). Parallel structure to the classic’s educational institutions and plays an important role in the liturgy and music of these churches, the maîtrise welcome a variable number of childrens who, after a course of seven to ten years in which they received a general education and a solid musical training, are oriented toward the priesthood, the musical career, or help in learning a trade. This study takes a broad framework for geographical center of France involving eight former dioceses in order to obtain the largest view possible of these original institutions and of these social group full of immense historical interest as the intersection of a multitude of both economic and social, cultural, liturgical and musical issues
Hennebelle, David. "Aristocratie, musique et musiciens à Paris au XVIIIe siècle." Lille 3, 2006. http://www.theses.fr/2006LIL30026.
The relationship which linked the aristocratic circle, music and musicians was the mainstructuring basis of the musical world during the Age of Enlightenment. Through various motives and aptitudes, wealthy aristocrats protected musicians. They would support private orchestras, accept dedications. They would contribute to extend the music market or would assert their musical tastes by frequently practissing music themselves. From praise music to avant-garde music, the aristocratic musical patronage enjoyed their Golden Age and directed the birth of specific forms of musical creations. As for musicians who were in the service of an aristocratic house, they would have various but still rather privileged statuses. As they were able to diversify their activities and their ways of life, and as they were very close to high social groups - which they could identify to, musicians contributed in building a complex image of their profession : they weren't submissive artist but neither were they emancipated artists
Bruneau, Gaëlle. "Musique et musiciens dans la vice-royauté du Pérou au XVIIIème siècle : l'exemple de la cathédrale de la Plata." Versailles-St Quentin en Yvelines, 2006. http://www.theses.fr/2006VERS014S.
La Plata is the seat of the Audience and the archbishopric of Charcas, two fundamental colonial entities for the administrative, political and religious organization, of the Spanish presence in South America. The musicians of La Plata's cathedral represent, on all the XVIIIth century, 190 individuals, of all ethnic, social and family origins. Their professional and personal courses offer outlooks for prosopographic studies to understand the functioning of the colonial society. The practice of the music is marked by the individual behaviours who are keys to approach the specificity of the cathedral of La Plata. Animated by the faith, by the love of art and sometimes by explicit personal ambitions, the choirmasters and their musicians shape the musical activity within the frameworks imposed by the canons and the local and metropolitan tradition
Morales, Nicolás. "L'artiste de Cour dans l'Espagne du XVIIIe siècle : étude institutionnelle et sociale de la communauté des musiciens au service de Philippe V (1700-1746)." Chambéry, 2004. http://www.theses.fr/2004CHAML014.
Élart, Joann. "Musiciens et répertoires de concert en France à la fin de l'Ancien Régime." Rouen, 2005. http://www.theses.fr/2006ROUEL522.
At the end of the Ancien Regime the concert underwent a major revolution which changed its repertoire, the status of its musicians and its forms of organisation. The periodicals testify to this upheaval, particularly the increasing advertising for "benefits concerts" they published. In Paris and in the provinces, this new form of organisation that opened to the public sphere fostered the mobility of musicians and musical pieces. It also contributed to structuring the concert market before the market totally opened in 1791 following the enforcement of the Le Chapelier Act. It gave rise to the intensification of a significant phenomenon within the leisure and culture fields : the circulation of musicians and musical pieces
Franková, Jana. "La migration des musiciens dans l'Europe des Lumières : le cas de Joseph Kohaut (1734-1777)." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040045.
This thesis focuses on the musical career of Joseph Kohaut (1734–1777), one of the last known lute players in Europe of the Enlightenment. Belonging to the second generation of the musicians originated from the Czech lands, this lutenist, born in Vienna and dead in Paris, represents an interesting case of the migration of musicians in the 18th century Europe. After having examinated the origines of the musician and his close family (his father Jacob Joseph Kohaut and his older brother Karl Kohaut), the study analyses his own musical career. The aristocratic patronage becomes apparent as an important reason for his musical production, including his comic operas that made him famous also outside France. Finally, this study addresses the compositions of both brothers Kohaut, taking interest in problematic attributions, and offers a thematic catalogue of all works registering their all known sources
Gras, Aurélien. "Les faiseurs de notes : Pratiques professionnelles, identité sociale et mobilités des musiciens dans la Provence et les États pontificaux rhodaniens du XVIIIe siècle." Thesis, Avignon, 2018. http://www.theses.fr/2018AVIG1186/document.
In the french Ancien Régime society, characterized by social etiquette and assigning specific positions to individuals so that hierarchies are established, musicians appear to form a professional group difficult to categorize. They experience many realities according to their profiles : the organist from the cathedral, the violinist enlivening a district wedding, the town trumpet, the military drum or the street musician. The uncertainty regarding their status make them an ideal population to study in order to examine the way modern society views itself. This thesis offers to study this socio-professional group with a prosopographic approach inside a large geographic area that encompasses Provence and the pontifical states of the Rhône in the 18th century. Our reflection on musicians follow three main guidelines : the professional practices of the group, the social identity that shapes and defines its members, and the spatial and social movements characterizing their distribution across the territory. These three themes are mutually dependent as they constantly blend and influence each other
Mussat, Marie-Claire. "La vie musicale en province : musique et societe a rennes aux xviiieme et xixeme siecles." Paris 4, 1986. http://www.theses.fr/1986PA040111.
Книги з теми "Musiciens d'église – 18e siècle":
Clément, Gisèle, Fañch Thoraval, and Xavier Bisaro. La Circulation de la musique et des musiciens d'église: France, XVIe-XVIIIe siècle. Classiques Garnier, 2017.