Academic literature on the topic 'André Jolivet'

- André jolivet. Portraits, ouvrage collectif sous la direction de Lucie Kayas et Laetitia Chassain-Dolliou, Arles, Actes Sud, 1994, 193 pages. - Portrait(s) d'André Jolivet, sous la direction de Lucie Kayas, Paris, Editions de la Bibliothèque nationale de France, 2005, 166 pages - Lucie Kayas, André Jolivet, Paris, Fayard, 2005, 604 pages. - Lucie Kayas, Catalogue raisonné de l'oeuvre d'André Jolivet, inédit. - André jolivet. Portraits offre les témoignages de personnalités ayant connu Jolivet, des reflexions sur ses écrits, sa spiritualité, ses oeuvres de jeunesse et un article sur le langage musical. -Portrait (s) d'André Jolivet, commande de la Bibliothèque nationale de france, propose une approche pluridisciplinaire par des historiens de l'art et de la danse, un spécialiste de littérature comparée et des musicologues, complétée par une riche iconographie. La biographie critique, à la fois chronologique et thématisée, rend compte de l'ensemble des domaines dans lesquels Jolivet a été actif : enseignement général, direction de la musique à la Comédie-Française, enseignement de la composition, politique culturelle et musicale, et bien sûr la composition. Tissant des liens entre les champs historique, social, politique et musical, nourrie de nombreux documents d'archives inédits, elle intègre l'analyse de l'oeuvre et retrace le parcours d'un musicien-instituteur, élève de Le Flem et Varèse, membre du groupe Jeune France, dont la musique oscille entre primitivisme et classiscisme. Le catalogue raisonné de l'oeuvre de Jolivet (263 numéros), classé par ordre chronologique, donne pour la première fois localisation et description détaillée des manuscrits conservés<br>-André Jolivet. Portraits, ouvrage collectif sous la direction de Lucie Kayas et Laetitia Chassain-Dolliou, Arles, Actes Sud, 1994, 193 pages. - Portrait(s) d'André Jolivet, sous la direction de Lucie Kayas, Paris, Editions de la Bibliothèque nationale de France, 2005, 166 pages - Lucie Kayas, André Jolivet, Paris, Fayard, 2005, 604 pages. - Lucie Kayas, Catalogue raisonné de l'oeuvre d'André Jolivet, inédit. -André Jolivet. Portraits contains memories by artists who met Jolivet, reflections on his writings, spirituality, youth works and an article about his musical language. Portrait (s) d'André Jolivet (a commission from the Bnf) offers a multidisciplinary approach by specialists in arts, dance, literature and music together with a rich iconography. At the junction of history, sociology, politics and music, the biography designs the career of a former primary school teacher who became a pupil of both Le Flem and Varèse before joining the group Jeune France, becoming music director of the Comédie-Française and later have a composition class at the Paris Conservatory. Life and Analysis of works oscillating between primitivism and classicism are mixed in his study making the best of primary sources and archives documentation. The catalog of Jolivet's works (263 published or unpublished items) follows the chronology and provides for the first time all information about the sources and their localisation

Master's thesis Henri Tomasi, André Jolivet, Eugene Bozza and their compositions for trumpet, are devoted to three important 20th century musicians. The work in the first chapter deals with the development of the french composition and trumpet school, at the beginning of this century. In addition, is about each of the three personalities in each chapter. There is always a CV with a focus on the contribution to the development of the trumpet repertoire and the analysis of one of the author's compositions.

A problemática inerente ao presente Trabalho de Projeto prende-se com a análise das obras para flauta de André Jolivet, posteriores a 1967, e o estudo da influência do padre jesuíta Pierre Teilhard de Chardin nessas mesmas obras. São igualmente analisados os pontos comuns entre os dois autores em matéria de espiritualidade e filosofia. A análise de Ascèses (1967), Pipeaubec (1971) e Une minute trente (1972) concentra-se no parâmetro formal e nos elementos extra – musicais que comporta a influência de Teilhard de Chardin; ABSTRACT: The influence of Teilhard de Chardin in the works for flute of André Jolivet: spirituality and philosophy in Ascèses, Pipeaubec and Une minute trente. The present Project focuses on the analysis of the works for flute of André Jolivet, written after 1967, and analyses the influence of father jesuit Pierre Teilhard de Chardin upon those works. It consists of the study of the spirituality and philosophy, both in André Jolivet and Teilhard de Chardin, analyzing the common points between them. The analysis of Ascèses (1967), Pipeaubec (1971) and Une minute trente (1972) is centered on the formal aspect of those pieces and on extra – musical contents that carry the influence of Teilhard de Chardin.

This document presents the most salient features of Jolivet's mature musical style as exemplified in two of his major solo works for trumpet. The two works which serve as the musical focus of the document are one of his latest works, Arioso Barocco (1968) for trumpet and organ, and a work situated near the center of his compositional output, the Second Concerto (1954) for trumpet and a thirteen-member chamber ensemble. Following an exposition of Jolivet's life and musical development, we begin by examining five technical principles of harmony, texture, melody, and rhythm, which Jolivet set forth in a 1946 article. His aesthetic principles as stated in this and other articles by the composer are also examined. The most important of these aesthetic principles holds that music is by nature incantatory or has an incantatory mission--that is, it has the power to connect man with the cosmos, eternity, or that which is greater than man himself. At the heart of this incantatory aesthetic ideal is Jolivet's belief in the primacy of expressive melody, free of the harmonic restraints of traditional tonality. The musical analysis proceeds by identifying in Arioso Barocco the specific application of Jolivet's technical and aesthetic principles to the music, as well as considering formal structure and thematic process. The Second Concerto is then examined in the same way, and a stylistic and technical comparison is drawn between the two works. The study concludes that while both works serve the same underlying atonal and incantatory musical aesthetic, they are markedly different in many significant technical characteristics and stylistic traits. In view of the fact that both works come from what is considered Jolivet's third and final creative period, these findings give cause for further research into Jolivet's compositions from this period to determine whether they do in fact constitute one creative period or two separate and distinct periods.

Les recherches entreprises sur Olivier Messiaen présentent encore de nombreuses lacunes bien que cet artiste figure parmi les compositeurs les plus connus et les plus influents du XXe siècle. Puisant à des sources primaires négligées dans les Archives nationales, la Médiathèque du CNSMDP, la fondation Sacher et des collections privées, cette thèse se penche sur trois aspects mal connus de cette figure phare de la modernité : la formation musicale de Messiaen au Conservatoire national de Paris pendant les années 1920 et les liens de sa musique avec les traditions pédagogiques de cet établissement, le développement de sa technique d’emprunt, de transformation et de juxtaposition des musiques préexistantes dans son œuvre pendant les années 1930 et 1940 et, enfin, ses expériences dans les domaines de la musique microtonale et de la musique concrète. Ce travail met en évidence plusieurs œuvres oubliées du compositeur et reconsidère notre compréhension de sa manière de composer<br>Despite his place of privilege among the best-known and most influential composers of the twentieth century, the state of current research on Olivier Messiaen leaves much room for development. This study focuses on three understudied aspects of this major modern figure drawing from neglected primary sources in the French National Archives, the Mediathèque of the Paris Conservatory, the Sacher Stiftung, and private collections, notably 1º Messiaen’s eductation at the Paris Conservatory during the 1920s and the relationship of his music to the institutions pedagogical traditions, 2º the development of Messiaen’s technique of borrowing, transforming and juxtaposing pre-existing music in his compositions during the 1930s and 1940s, and finally, 3º Messiaen’s experimentation in the domains of microtonal music and musique concrète. The current study brings to light many of the composer’s forgotten or lesser-known works and reconsiders our understanding of how he composed

Le style personnel et original du compositeur japonais Yoshihisa Taira (Tokyo 1937 - Paris 2005) montre un exemple parfait d’une fusion de deux cultures, orientale et occidentale. Après une présentation de l’histoire du développement de la composition musicale occidentale au Japon, du parcours personnel du compositeur et de quelques aspects caractéristiques de sa musique, nous étudierons plus profondément cette musique, verrons en quoi elle se différencie et en quoi elle est comparable à la musique d’autres compositeurs. C’est autour des sources d’inspirations et des influences observées dans la pensée et la musique de Y. Taira que nous tenterons de répondre à ces questions. À travers une analyse de détail centrée principalement sur trois des oeuvres les plus représentatives de ses trois époques créatrices, nous en examinerons les particularités et en soulignerons les sources musicales ou extra-musicales. Cette recherche a pour but de fournir quelques clés d’accès à cette musique afin d’en faciliter la compréhension et la réception<br>The original style of the Japanese composer Yoshihisa Taira (Tokyo 1937 - Paris 2005) demonstrates a perfect example of the fusion of two cultures - Eastern and Western. The present work is organized into three sections : the first examines the musical and personal background of Taira, both in Japan and in France, after a brief presentation of history context of the Western music composition in Japan ; the second is devoted to the exploration of the sources of inspiration and influences for this composer, both musical and extra-musical, after showing some characteristic elements of his musical language, trying to find where the original and personal style of this music came from. In the concluding section, three of Taira’s major works in different representative and creative periods will be analyzed. Specific and peculiar aspects of these works will be underlined while taking in account external musical sources as well as relevant extra-musical ones. This dissertation aims at shedding light on Taira’s style and thus contribute to its approach, understanding, and reception

Cet ouvrage s’est proposé de découvrir et d’analyser la relation texte-musique de quatre œuvres scéniques de notre temps, peu connues ou inédites, inspirées de la vie de Jeanne d’Arc : Scènes de la vie de Jeanne d’Arc de Walter Braunfels (1938-1942), La Vérité de Jeanne d’André Jolivet (1956), Triomphe de Jeanne d’Henri Tomasi (1956) et Sainte Jeanne d’Arc d’Alexandra Cherciu (2009-2014). Les trois parties qui le structurent, comportent un regard sur les circonstances de la composition, les sources littéraires et historiques utilisées, les livrets et la dramaturgie musicale. Cela permet de comprendre comment la musique est au cœur même du processus narratif, en particulier du fait de la densité thématique, tout en se réservant une grande liberté dans les choix concernant son langage harmonique, formel et orchestral<br>The purpose of this thesis was to discover and to analyze the relation between the text and the music of four scenic works of our time, less known or new, inspired by the life of Joan of Arc : Szenen aus dem Leben der Heiligen Johanna by Walter Braunfels (1938-1942), La Vérité de Jeanne by André Jolivet (1956), Triomphe de Jeanne by Henri Tomasi (1956) and Sainte Jeanne d’Arc by Alexandre Cherciu (2009-2014). The three parts of that structure it follow the circumstances of the composition, the literary and historical sources, the librettos and the musical dramaturgy. This approach shows how music is in the heart of the narrative process because of its thematic density, preserving in the same time great liberty in its harmonic, formal and orchestral langage