Log in

Relevant bibliographies by topics / Dutilleux, Henri

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Dutilleux, Henri'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Dutilleux, Henri.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Dutilleux, Henri"

1

Quinn, Peter. "Dutilleux." Tempo 60, no. 235 (January 2006): 42–43. http://dx.doi.org/10.1017/s0040298206290041.

Full text

Abstract:

HENRI DUTILLEUX: L’Arbre des Songes; La Geôle; Deux Sonnets de Jean Cassou; Mystère de l’Instant. Olivier Charlier (vln), François Le Roux (bar), Orchestre National Bordeaux Aquitaine c. Hans Graf. Arte Nova Classics 82876 63825 2.

APA, Harvard, Vancouver, ISO, and other styles

2

Obi-Keller, Janet. "REMEMBERING A MUSICAL ERA: HENRI DUTILLEUX IN CONVERSATION." Tempo 69, no. 273 (July 2015): 12–19. http://dx.doi.org/10.1017/s0040298215000091.

Full text

Abstract:

Henri Dutilleux was a unique musical figure of the twentieth and twenty-first centuries. His music is defined by his great sense of lyricism and meticulous control, which, over his life as a composer, had undergone much thought and a gradual sense of change. He inevitably acquired a wide mix of contemporary influences, which added to his poetic vision. Dutilleux's music appears to be a sophisticated understatement, yet at the same time there is an expressive depth and mystery that sets his music apart from any one musical movement or group of his time.

APA, Harvard, Vancouver, ISO, and other styles

3

Obi-Keller, Janet. "‘BARQUE D'OR’ — AN EARLY DUTILLEUX SONG REDISCOVERED." Tempo 59, no. 233 (June 21, 2005): 38–44. http://dx.doi.org/10.1017/s0040298205000227.

Full text

Abstract:

It was with surprise and delight that, whilst on a research trip to Paris about a year ago, I accidentally discovered a score dating from Henri Dutilleux's Conservatoire period in the 1930s. What I stumbled upon was a song, titled Barque d'Or, written for soprano and piano. Dutilleux's father, Paul Dutilleux, who owned his own printing firm in Douai, published Barque d'Or in 1937. Roger Nichols has quoted Dutilleux's recollection of his father's work:All that ties in too with the craftsmanship I witnessed in my father's workshop, especially at the bench of one old engraver. We had a great respect for him, he looked like Brahms. On Sundays it was at that bench that my father sat me down to do my harmony exercises, without the piano. During the week my ears were full of the rumbling of the machines, but at those moments the absolute silence seemed to me to have an extraordinary quality — it was a very unusual feeling, which I often think about, and it was a great encouragement to the formation of my inner ear.

APA, Harvard, Vancouver, ISO, and other styles

4

Lochhead, Judy, and Caroline Potter. "Henri Dutilleux: His Life and Works." Notes 55, no. 3 (March 1999): 678. http://dx.doi.org/10.2307/900438.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Rae, Caroline. "Henri Dutilleux and Maurice Ohana: Victims of an Exclusion Zone?" Tempo, no. 212 (April 2000): 22–30. http://dx.doi.org/10.1017/s0040298200007580.

Full text

Abstract:

Until recently, the music of Henri Dutilleux and Maurice Ohana was largely overlooked in Britain, despite both composers having achieved widespread recognition beyond our shores. In France they have ranked among the leading composers of their generation since at least the 1960s and have received many of the highest official accolades. In Britain, the view of French music since 1945 has often been synonymous with the music of Olivier Messiaen and Pierre Boulez, to the virtual exclusion of others whose work has long been honoured not only in France and elsewhere in Europe but in the wider international arena. These ‘others’ include Dutilleux and Ohana. Developing an innovative and forward-looking approach, independent from the preoccupations of their contemporaries who congregated at Darmstadt, both Dutilleux and Ohana were excluded from representation at the concerts of the Domaine musical. As a result, their music was neglected in Britain throughout the years when the programming policies of Boulez and Sir William Glock were at their most influential. Undoubtedly, Boulez is one of the most phenomenal figures in music of the last 50 or so years and the position of his erstwhile teacher Messiaen is secure as one of the giants of the 20th century. Yet, however significant their respective contribution, Boulez and Messiaen represent only one facet of French music since 1945.

APA, Harvard, Vancouver, ISO, and other styles

6

Nichols, Roger, and Henri Dutilleux. "Progressive Growth. Henri Dutilleux in Conversation with Roger Nichols." Musical Times 135, no. 1812 (February 1994): 87. http://dx.doi.org/10.2307/1002977.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Obi-Keller, Janet. "DUTILLEUX IN CONTEXT: A STUDY OF HIS FORMATIVE YEARS." Tempo 62, no. 244 (April 2008): 19–32. http://dx.doi.org/10.1017/s0040298208000107.

Full text

Abstract:

It was at an interview towards the end of my research project in January 2005 that Henri Dutilleux, one of the most unique composers of the 20th and 21st centuries, granted me an exclusive opportunity to discuss aspects of his musical training. In the interview he reflects on his studies in the provinces and at the Paris Conservatoire:I did not study piano at the Conservatoire, nor did I study organ. I received my technique in the provinces. The Director of Douai tutored me well, which is why I was at a very good level when I entered the Conservatoire [Paris]. With my solid training, I was encouraged to enter the Prix de Rome very soon, which is why I did not study there long enough.

APA, Harvard, Vancouver, ISO, and other styles

8

Rae, Caroline. "Henri Dutilleux: Music, Mystery and Memory. Conversations with Claude Glayman (review)." Notes 61, no. 2 (2004): 425–28. http://dx.doi.org/10.1353/not.2004.0159.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Babcock, David. "Dušan Martinček: An Introduction to His Music." Tempo, no. 179 (December 1991): 23–27. http://dx.doi.org/10.1017/s0040298200061362.

Full text

Abstract:

There is a certain type of composer, a type characteristic of the culture of our century, with its unprecedented complexities and contradictions. This is the slow and painstaking composer, who eschews all self–repetition, producing a limited number of works. Each one of these works, however, will be a work of real weight and significance. Henri Dutilleux comes to mind as an example of this type; György Kurtág is another. It can be said that these composers, like Varèse, Webern, Spinner, and Ruggles before them, have given us, in terms of substance, a great deal of music. And so has the Slovak composer Dušan Martinček.

APA, Harvard, Vancouver, ISO, and other styles

10

Wang, Ying. ""beaucoup plus modal que tonal"." Die Musikforschung 72, no. 1 (September 22, 2021): 21–37. http://dx.doi.org/10.52412/mf.2019.h1.58.

Full text

Abstract:

Focusing on three of Dutilleux's mid to late orchestral works - "Timbres, espace, movement ou La Nuit etoile" (1978), "The Shadows of Time" (1997) and "Sur le meme accord" (2002) - this article gives insight into Henri Dutilleux's scale-defined pitch organization techniques and the role of colour in the works of the French composer. The paper questions the ambiguous relationship between tonality and modality, and asserts the previously only peripherally attested importance of modes for Dutilleux's works. An analysis of pitch organization demonstrates how Dutilleux's aesthetic and literature-inspired concepts of "progressive growing" function musically by foregrounding pivot chords or notes, and how their return reflects the idea of involuntary memory ("memo ire involuntaire") derived from Marcel Proust's "A la recherche du temps perdu".

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Dutilleux, Henri"

1

Thurlow, Jeremy Robert Yarker. "Music of Henri Dutilleux : a critical survey of the major works." Thesis, King's College London (University of London), 1998. https://kclpure.kcl.ac.uk/portal/en/theses/music-of-henri-dutilleux--a-critical-survey-of-the-major-works(24a5d75e-1947-47be-9fbd-e8deea4788d2).html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Obi-Keller, Janet. "Henri Dutilleux : the evolution of his style with particular reference to piano and vocal music." Thesis, University of Roehampton, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548989.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Haukebo, Lindsay A. "Virtuosic commissioning the creation of a canonized oboe repertoire /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/823.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Swart, Bernarda. "Proust se geheuekonsep in Dutilleux se sonate vir hobo en klavier (1947) / Bernarda Swart." Thesis, North-West University, 2006. http://hdl.handle.net/10394/920.

Full text

Abstract:

The French composer Henri Dutilleux (born 1916) was largely influenced by the French writer Marcel Proust's (1871-1922) novel A la recherche du temps perdu. This monumental work is regarded by many critics as one of the most important novels of all times. The narrator, a parallel figure of Proust himself, experiences an involuntary memory of his childhood. An involuntary memory which is aroused in the narrator runs like a thread through the novel. This study traces how Dutilleux's style of writing was influenced by the concept of memory. Proust's concept of involuntary memory is realised in the sonata through "musical beacons". Dutilleux's composition techniques which relate to the concept of memory involve the following markers: • mirror images such as fan-like or melismatic figures • prominence of the tritone • focal notes or chords • principle of circularity • obsessional chords. A related aspect of Proust's concept of memory is the instability and inconsistency of the human personality as it is portrayed in his novel. In this study it is indicated how Dutilleux's croissance progressive composition technique may be likened to the inconsistency of personalities. It involves the concept of thematic evolutions which usually permutate from a core cell. This technique is characteristic of his adult work, and he applied it consciously for the first time in his First Symphony (1951). However, he acknowledges that he had used the technique unconsciously before. Dutilleux's Sonata for Oboe and Piano (1947) is an early work which was written during his student years for competition purposes. He does not regard the sonata as representative of his adult writing style. Thematic permutations of a core cell in the first movement are indicated in all three movements of the work. The analysis of musical thematic structure shows that aspects of Dutilleux's adult writing style were already present in his early work.
Thesis (D.Mus.)--North-West University, Potchefstroom Campus, 2006.

APA, Harvard, Vancouver, ISO, and other styles

5

Joos, Maxime. "Les fondements esthétiques des principes de composition chez Henri Dutilleux : contribution, à une analyse de la structuration du matériau et de l'espace sonore." Nice, 2006. http://www.theses.fr/2006NICE2001.

Full text

Abstract:

Cette thèse aborde les fondements esthétiques de la composition chez Henri Dutilleux. La première partie de ce travail traite de la structuration hiérarchique du matériau musical et tente d'expliciter certaines notions comme la mémoire tonale, la polarisation ou encore les métaboles d'échelles. Ces notions permettent de cerner la manière dont les modes de structuration du langage musical de Dutilleux s'imbriquent. La deuxième partie porte sur les rapports de cette structuration hiérarchique du matériau avec des critères de symbolisation inhérents à des analogies acoustiques et poétiques. La dernière partie discute des liens entre genèse et forme musicale. La forme est appréhendée à la fois comme processus de composition et comme réalité d'un contenu musical "tressé"
This PhD thesis approaches aesthetical foundations of Dutilleux's work. The first part of this essay deals with hierarchical organization of musical material and explains some notions like tonal memory, polarity, scales mutations. These notions help understanding the imbrication of different types of structure models. The second part deals with the relationship between genesis and musical form. The form is presented like a compositionnal process and like a reality of a "woven" musical content

APA, Harvard, Vancouver, ISO, and other styles

6

Suh, Hae Ri. "Henri Dutilleux’s Piano Sonata Op. 1:An Examination of Compositional Style and Performance Guide." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1446546821.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Castagna, Aude. "An analysis of Henri Dutilleux's Tout un monde lointain." Diss., 1997. http://catalog.hathitrust.org/api/volumes/oclc/37811884.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Noel, Richard Johnston Jr. "The "Figures de Resonances" and 3 Preludes of Henri Dutilleux: Analysis and context." Thesis, 2003. http://hdl.handle.net/1911/18555.

Full text

Abstract:

The main body of this document is comprised of an analysis of the Figures de resonances (1970/76) and 3 preludes (1994) of Henri Dutilleux. The analyses are the result of the writer's own experience in studying and performing these works. Among the techniques discussed are the exploration of sonority and resonance, recurring pitches or sonorities (which the writer refers to as focus tones or focus chords), mirror writing (or inversion), and the continuous variation of given sonorities or motivic cells. The document begins with a biography of the composer that highlights his most significant works, from the Piano Sonata (1948) to Sur le meme accord (2002) for violin and orchestra. It is intended to give the reader a sense of where the Figures de resonances and 3 preludes fit into the composer's output as a whole.

APA, Harvard, Vancouver, ISO, and other styles

9

Hsu, Chiu-Ping, and 許湫萍. "An Analysis and Interpretation of Sonata for Oboe and Piano by Henri Dutilleux." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/82152222595470535312.

Full text

Abstract:

碩士
國立嘉義大學
音樂與表演藝術研究所
98
Henri Dutilleux is one of the most important French composers of the late twentieth century. His style and compositional techniques had followed Ravel, Debussy, and Roussel. However, he still built up his own distinctly musical style. Even though his outputs were relatively small, the high quality and originality had won numbers of international praise. The title of this thesis is An Analysis and Interpretation of Henry Dutilleux’s Oboe Sonata. The thesis is divided into five chapters. The first chapter is the introduction, which includes the motivation, purpose, literature review, limitation and the methods of this research. The second chapter deals with a biography of Dutilleux and the background of his oboe sonata. The third and the fourth chapters are the analysis and interpretation of this work. The fifth chapter is the conclusion, which summarizes all the perspective in the previous chapters as well as the writer’s personal interpretation of the work.

APA, Harvard, Vancouver, ISO, and other styles

10

Lin, Chia-Hsing, and 林佳欣. "Chia-Hsing Lin Flute Recital （With a Supporting Paper：Flute Sonatine by Henri Dutilleux－A Combination of Musical Expression and Color Theory）." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/45589980261292797645.

Full text

Abstract:

碩士
國立交通大學
音樂研究所
91
Chia-Hsing Lin Flute Recital Student： Chia-Hsing Lin Advisor： Yi-Hui Lin Supporting Paper Advisor： Dr. Jen-yi Wang Institute of Music National Chiao Tung University Abstract Recital Program 1. Twelve Fantasias TWV 40：3 G.P. Telemann（1681－1767） TWV 40：7 2. Three Romances, Op.94 R. Schumann（1810－1856） 3. L’oiseau Des Bois Op.21 F. Doppler（1821－1883） 4. Joueurs de Flute A. Roussel（1869－1937） 5. Deuxième Sonate P. Gaubert（1879－1941） 6. Sonatine H. Dutilleux（b. 1916） 7. Sonate en Concert J.M. Damase（b. 1952） The program above was performed in the Recital Hall of The National Chiao Tung University on May 25, 2003. The recording of this performance can be heard on the submitted CD. Support Paper：Flute Sonatine by Henri Dutilleux --- A Combination of Musical Expression and Color Theory.

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Dutilleux, Henri"

1

Grouvel, Pierre. Henri Dutilleux, Tout un monde lointain--. Paris: A. Leduc, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Henri Dutilleux: His life and works. Aldershot, England: Ashgate, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Ainsi la nuit de Henri Dutilleux. [Paris]: M. de Maule, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Delcambe-Monpoël, Marie. "Ainsi la nuit" de Henri Dutilleux. Paris: Michel de Maule, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Henri Dutilleux: L'œuvre et le style musical. Paris: Champion, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Joos, Maxime. La perception du temps musical chez Henri Dutilleux. Paris: L'Harmattan, 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Centre de documentation de la musique contemporaine, ed. Henri Dutilleux: Entre le cristal et la nuée. Paris: Centre de documentation de la musique contemporaine, 2010.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Henri Dutilleux: Music--mystery and memory : conversations with Claude Glayman. Aldershot, Hants: Ashgate, 2003.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Haws, John Riley. Henri Dutilleux's early chamber works with piano: An analysis of a formative style. Baltimore, Md: Johns Hopkins University, 1990.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Henri Dutilleux. Routledge, 2017. http://dx.doi.org/10.4324/9781315093031.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Dutilleux, Henri"

1

Struck-Schloen, Michael. "Henri Dutilleux." In Kammermusikführer, 164–66. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_31.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

"I." In Henri Dutilleux: Music – Mystery and Memory, 1–113. Routledge, 2017. http://dx.doi.org/10.4324/9781315093024-1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

"II." In Henri Dutilleux: Music – Mystery and Memory, 114–33. Routledge, 2017. http://dx.doi.org/10.4324/9781315093024-2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!