Relevant bibliographies by topics / Gazette musicale de Paris

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  2. Dissertations / Theses
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Academic literature on the topic 'Gazette musicale de Paris'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Gazette musicale de Paris"

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Pizà, Antonio. "Frontera de Valldemosa’s Equinotación and the Nineteenth-Century Textbook Controversies It Sparked." Itamar. Revista de investigación musical: territorios para el arte, no. 10 (July 7, 2024): 119. http://dx.doi.org/10.7203/itamar.10.29138.

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Abstract. Francisco Frontera de Valldemosa (1807-1891) published the first edition of his treatise, generally known as Equinotación, in 1837. The book purported to simplify musical notation by reducing the complex system of clefs to only three. From the moment it became public his clef method became controversial. First, it sparked a long controversy in the Revue et gazette musicale de Paris regarding the system’s originality, usefulness, and possible plagiarism. Subsequent editions decades later also sparked debates and even a couple of lawsuits, as reflected in several articles in the Gaceta musical barcelonesa. At the bottom of these polemics and under the guise of music-theoretical arguments there were the commercial interests of the textbooks’ authors. Keywords. Equinotación, Francisco Frontera de Valldemosa, Jose Gil y Navarro, musical notation, textbooks, music theory and solfège methods, Revue et gazette musicale de Paris, Gaceta musical barcelonesa.
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Loughridge, Deirdre. "Making, Collecting and Reading Music Facsimiles before Photography." Journal of the Royal Musical Association 141, no. 1 (2016): 27–59. http://dx.doi.org/10.1080/02690403.2016.1151232.

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ABSTRACTFacsimiles of musical autographs are typically thought to require photography, and to have a primary purpose of clarifying composers’ intentions. But there was a robust culture of music facsimile prior to photography. Made by transfer lithography, these facsimiles served different purposes and reading habits. The activity of collecting handwriting samples was paramount, as was the idea that handwriting was a mirror of character. This article surveys ways of using and finding meaning in composer autographs in the 1820s to the 1840s, focusing especially on music facsimiles in Paris. Here, composers used facsimiles to help shape their public image, and publishers used them to entice consumers. When facsimiles reproduced documents of friendship, they crossed private and public expression in ways that could be advantageous or problematic, as seen through a look at the publication in facsimile of a Rossini waltz by the Revue et gazette musicale and the ensuing legal battles.
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Murphy, Kerry. "Attribution of some unsigned articles of Berlioz in theRevue et Gazette Musicale de Paris(1834–1837)." Musicology Australia 8, no. 1 (January 1985): 39–48. http://dx.doi.org/10.1080/08145857.1985.10415151.

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Murphy, Kerry. "Music criticism in nineteenth-century France:La Revue et gazette musicale de Paris, 1834–1880 by Katharine Ellis." Musicology Australia 20, no. 1 (January 1997): 112–14. http://dx.doi.org/10.1080/08145857.1997.10415978.

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Huebner, Steven. "Music Criticism in Nineteenth-Century France: "La Revue et Gazette musicale de Paris," 1834-80 . Katharine Ellis ." Journal of the American Musicological Society 51, no. 1 (April 1998): 163–68. http://dx.doi.org/10.1525/jams.1998.51.1.03a00070.

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BUJIC, B. "Review. Music Criticism in Nineteenth-Century France: 'La Revue et Gazette musicale de Paris', 1834-1880. Ellis, Katharine." French Studies 51, no. 2 (April 1, 1997): 214. http://dx.doi.org/10.1093/fs/51.2.214.

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Huebner, Steven. "Review: Music Criticism in Nineteenth-Century France: La Revue et Gazette musicale de Paris, 1834-80 by Katharine Ellis." Journal of the American Musicological Society 51, no. 1 (1998): 163–68. http://dx.doi.org/10.2307/831902.

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Mrozowicki, Michał Piotr. "O francuskiej recepcji „Tannhäusera” w latach 1845–1861." Muzyka 66, no. 2 (August 9, 2021): 37–72. http://dx.doi.org/10.36744/m.905.

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Tematem artykułu jest francuska recepcja Tannhäusera, ze szczególnym uwzględnieniem różnych okoliczności słynnej paryskiej realizacji dzieła w marcu 1861 roku w Salle Le Peletier, szesnaście lat po jego prapremierze w Dreźnie. Autor zwraca uwagę, że w ciągu tych szesnastu lat Francuzi mogli zdobyć pewną wiedzę o twórczości Wagnera i jej entuzjastycznym odbiorze (artykuł Liszta w Journal des débats z 18 maja 1849 r. oraz jego książka „Lohengrin” i „Tannhaüser” de Richarda Wagnera opublikowany po francusku w Lipsku w 1851 r.) i krytyczny (artykuły François-Josepha Fétisa opublikowane w Revue et Gazette musicale de Paris od 6 czerwca do 8 sierpnia 1852 r.).Wykonanie uwertury do Tannhäusera na koncercie Orkiestry Towarzystwa św. Cecylii 24 listopada 1850 r., choć dalekie od ideału, pomogło położyć podwaliny pod francuski wagneryzm.Francuska premiera Tannhäusera odbyła się w Strasburgu 12 lipca 1855 roku. Utwór wykonał po niemiecku koloński zespół operowy pod dyrekcją Ferdinanda Rödera. Francuskie gazety były dość powściągliwe w tej sprawie.Pomysł wystawienia Tannhäusera w Paryżu zrodził się dwa lata później. We wrześniu 1857, w odpowiedzi na propozycje z Niemiec, kompozytor i impresario Léopold Amat, były dyrektor teatralny les Bouffes-Parisiens, zorganizował musicale i inne atrakcje w Homburgu, Ems i Wiesbaden. Podczas „festiwalu muzycznego” w Wiesbaden, 24 września 1857 roku, Tannhäuser Ryszarda Wagnera został wykonany przed ekskluzywną publicznością, w skład której weszło wielu zaproszonych przez organizatorów paryskich dziennikarzy. Goszcząc w Wiesbaden licznych przedstawicieli paryskiej prasy i pokazując im operę Wagnera, Amat chciał zainteresować francuską opinię publiczną dziełem niemieckiego kompozytora, mając nadzieję, że w niedalekiej przyszłości może być wystawiona w Paryżu. Dziennikarze paryscy byli zachwyceni programem muzycznym i towarzyszącymi atrakcjami, ale ich wrażenia z wystawienia Tannhäusera, zamierzonego jako punkt kulminacyjny uroczystości, nie były entuzjastyczne, o czym świadczą przytoczone w tym artykule recenzje. W konsekwencji projekty Amata spełzły na niczym.W dalszej części artykułu przedstawiono wydarzenia związane z paryską recepcją Tannhäusera w latach 1860 i 1861. Autorka omawia recenzje trzech koncertów wagnerowskich, które odbyły się w Théâtre-Italien – Salle Ventadour w styczniu i lutym 1860 roku, a zwłaszcza paryskiej premiery opery: odpowiedzi na takie pytania, jak okoliczności podjęcia decyzji o występie w Operze Paryskiej, problemy z francuskim tłumaczeniem libretta, relacje Wagnera z dyrygentem, orkiestrą i innymi pracownikami Opery Paryskiej, trzy marcowe spektakle Tannhäusera, główne przyczyny jego niepowodzenia i niejednoznaczne konsekwencje tego niepowodzenia, a także przeglądy prasy. Artykuł kończy się proroczymi słowami Baudelaire'a zapowiadającymi przyszłą rehabilitację Tannhäusera w Paryżu.
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Johnson, James H. "Book ReviewsMusic Criticism in Nineteenth‐Century France: “La Revue et Gazette musicale de Paris,” 1834‐1880. By Katharine Ellis. Cambridge: Cambridge University Press, 1995. Pp. xiii+301." Journal of Modern History 71, no. 3 (September 1999): 717–18. http://dx.doi.org/10.1086/235319.

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Wright, Lesley Alison. "Paris: A Musical Gazetteer (review)." Notes 57, no. 3 (2001): 608–9. http://dx.doi.org/10.1353/not.2001.0066.

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Dissertations / Theses on the topic "Gazette musicale de Paris"

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Ellis, Katherine. "La revue et gazette musicale de Paris 1834-1880 : the state of music criticism in mid nineteenth-century France." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316882.

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Aitken, Shelagh Elizabeth. "Music and the popular press : music criticism in Paris during the First Empire /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598311.

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Diss.--Philosophie--Evanston, Ill., 1987.
Réunit des articles du Journal des débats, du Journal de Paris, du Journal de l'Empire et du Moniteur universel en français avec la trad. anglaise en regard. Bibliogr. p. 433-444.
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Duchesneau, Michel. "Le rôle de la Société nationale et de la Société musicale indépendante dans la création musicale à Paris de 1909 à 1935 /." [Québec] : Université Laval, 1994. http://catalogue.bnf.fr/ark:/12148/cb35772205g.

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Coudart, Laurence. "La "Gazette de Paris" (1789-1792), un aspect de la contre-révolution pendant la monarchie constitutionnelle." Paris 1, 1993. http://www.theses.fr/1993PA010644.

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Quotidien rédige par un ancien dramaturge - Pierre Barnabé Farmain de Rozoi - la gazette de Paris (1er octobre 1789 -10 aout 1792) est un journal royaliste qui a compté entre cinq mille et sept mille abonnés, mais davantage de lecteurs. La correspondance manuscrite reçue par le journaliste (environ deux mille huit cents lettres) ainsi que ses papiers, conserves aux archives nationales, permettent de réaliser un bilan commercial, ainsi qu'une analyse de la diffusion et une étude, à la fois synchronique et diachronique, d'un rapport entre un journal et son lectorat, entre l'opinion et l'action. La gazette de Paris, machine de guerre contre la révolution, se distingue par des positions aussi intransigeantes qu'invariables. Elle est constamment dénoncée par la presse patriote car elle ne cesse d'appeler à l'action la noblesse provinciale (sa principale clientèle), une action davantage destinée à sauvegarder les intérêts de l'ordre nobiliaire que ceux de la personne royale. Elle préconise ainsi très tôt le recours à la force et à l'étranger, attise les antagonismes et enracine le rejet, dans un discours base sur l'exploitation systématique et omniprésente de la peur. Organe de combat, ce journal jette également les bases de l'idéologie "ultra". Son aventure s'achève avec la chute de la monarchie et l'exécution de son rédacteur (25 aout 1792)
Daily paper edited by a former dramatist (Pierre Barnabé Farmain de Rozoi), the Gazette de Paris (1st of october 1789 10th of august 1792) is a royalist newspaper which had between 5,000 and 7,000 subscribers, with a higher number of readers. The manuscripted correspondence received by the journalist (around 2,800 letters) as well as his papers (kept in the archives nationales) allow us to elaborate a commercial study, as well as an analysis of the diffusion, and a diachronic as well a synchronic study on the relationships between the newspaper and its readers, and between opinion and action. The gazette de paris, warefare machinery against the revolution is noticeable by its uncompromising and invariable positions. The newspaper is continuously denounced by the patriotic press because of its repetitive calls for action among the provincial nobility (its main customers). This action is more concerned by the nobility's interests than the king's ones. It proposes very soon to have recourse to violence and foreigner military forces, maintains antagonismes, and establishes the reject in a discourse based on the systematic and omnipresent exploitation of fear. This fighting newspaper establishes also the basis for an "ultra" ideology
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Di, Grazia Donna Marie. "Concert societies in Paris and their choral repertoires c. 1828-1880 /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598869.

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Johnson, Janet Lynn. "The Theatre italien and opera and theatrical life in Restoration Paris : 1818-1827 /." Chicago : Ill. : [J.L. Johnson], 1988. http://catalogue.bnf.fr/ark:/12148/cb36954757n.

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Hachem, Nancy. "La vie musicale dans les archives du Parlement de Paris au XVIe siècle." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL095.pdf.

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Au XVIe siècle, le Parlement de Paris est la plus haute cour de justice de France et est impliqué dans la vie quotidienne des individus de l’époque. Ses archives regorgent de décisions juridiques reflétant la réalité politique, judiciaire, historique, sociale, culturelle et musicale de la Renaissance.Cette recherche poursuit des investigations au sein des sources primaires du Parlement afin d’en extraire des informations qui viennent compléter nos connaissances actuelles sur la vie musicale en France entre 1500 et 1600. Ce travail offre un témoignage de la façon dont est vécue la musique dans la société française du XVIe siècle à travers le regard et sous l’influence du Parlement de Paris
In the 16th century, the Parliament of Paris was the highest court of Justice in France and was involved in the daily life of the individuals of that time. Its archives are full of legal decisions reflecting the political, judicial, historical, social, cultural and musical reality of the Renaissance. This research investigates the Parliament's primary sources in order to extract information that complements our current knowledge of musical life in France between 1500 and 1600. This work offers a testimony of the way music was experienced in 16th-century French society through the Parliament’s vision and influence
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Montandon, Frédérique. "Les représentations sociales de l’éducation musicale par les parents dans le vingtième arrondissement de Paris : étude des stratégies parentales pour l’éducation musicale." Thesis, Paris Est, 2008. http://www.theses.fr/2008PEST0082.

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L’étude des représentations sociales de l’éducation musicale des parents dont les enfants de 3 à 10 ans apprennent la musique, à travers une série d’entretiens, concerne à la fois les choix de cette activité et de l’institution, leurs attentes, ainsi que les significations attribuées à cette pratique. Plusieurs systèmes de représentations se croisent : les représentations sociales de l’éducation en général et de l’éducation musicale en particulier, celles de l’enfant, ou encore celles des structures éducatives. L’éducation musicale s’effectue en France dans le cadre des conservatoires, des cours privés ou dans le milieu associatif. Le 20e arrondissement de Paris, terrain de notre recherche, présente une variété de structures au niveau des approches pédagogiques ainsi que des styles musicaux. Les fonctions et les objectifs attribués à l’apprentissage musical sont analysés selon la structure choisie. Diverses conceptions de l’apprentissage et de l’éducation apparaissent. Celles-ci découlent des représentations sociales de l’enfant, de celles de l’activité extrascolaire. Le paramètre d’une pratique musicale du parent ou de son absence modèle le discours des parents
The study of social representations of musical education by parents for whom children between the ages of 3 and 10 learn music is based through a series of interviews. This study concerns at once the choice of the activity as well as the institution, their hopes and expectations with respect to their practice. It shows that several systems of representations overlap: social representations of education in general - in addition to specific musical education, that of the child, or even more, that of the establishment. Musical education, in France, takes place within the structures of the conservatory, private tutelage or through local associations. Paris’ 20th district, site of this research, offers a variety of structures with respect to pedagogical approach as well as musical style. The use and aim attributed to musical training are analyzed according to the chosen establishement. Several concepts surrounding education and training are emerging. They flow from child social representations and extra-curriculare activities. It is the parameter of parental musical practice or its absence that chapes parental discourse
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Grellety-Bosviel, Olivier. "Edition musicale et librairie parisiennes au XVIe siècle : le cas des messes polyphoniques (1532-1568)." Paris, EPHE, 2011. http://www.theses.fr/2011EPHE4017.

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Notre thèse vise à éclaircir les conditions techniques, économiques et sociales de la production imprimée parisienne de musique du XVIe siècle. Elle s’inscrit dans le sillage de L’Apparition du livre de Febvre et Martin comme dans celui des nombreux travaux consécutifs à cet ouvrage fondateur. Conformément à cette tradition historiographique, une histoire matérielle de l’imprimé musical parisien est proposée. L’ensemble des imprimeurs de musique parisiens est pris en compte afin de présenter de façon synchronique les différents aspects de l’édition musicale. Appuyée sur les bibliographies des éditions conservées mais aussi sur des sources archivistiques, la caractérisation du marché des imprimés de musique permet de dégager sinon des invariants, du moins des conjonctures assez précises et étayées sur les modalités de production. Le cadre monographique de notre travail a pour arrière-plan le fonctionnement de la librairie parisienne. D’où la question posée tout au long de cette étude : les mêmes logiques sont-elles à l’œuvre dans les éditions musicales et générales ? Cette interrogation a orienté la démarche dans un sens comparatiste. Elle a également nécessité d’étudier plus précisément l’officine de Nicolas Du Chemin dont la production d’éditions musicales et générales est à peu près équivalente en nombre de titres. Enfin, l’histoire totale des multiples logiques dont le livre est le point de convergence, a impliqué de se pencher sur l’organisation interne de ces imprimés eux-mêmes. Le travail de bibliographie matérielle que suppose cette archéologie du livre s’est concentré sur les messes polyphoniques. Il se fonde sur l’établissement de 58 notices bibliographiques et catalographiques décrivant près de 246 exemplaires sur les 300 recensés par le RISM. Ces publications servent d’exemple pour les différents processus de mise en texte dans les éditions de musique parisiennes, mais aussi situent ces dernières au sein des débats orthotypographiques des années 1540-1560
Our thesis aims at clarifying the technical, economic and social conditions of Parisian musical printing production during the sixteenth century. It lies within the framework of de Febvre and Martin’s L’Apparition du livre [The Appearance of the Book] and of numerous works consecutive to this fundamental work. In accordance with this historiographic tradition, a commercial history of Parisian music printing is proposed. All of the Parisian music printers are taken into consideration in order to present synchronically the various aspects of musical edition. Based on the bibliographies of well-preserved editions but also of archival sources, the characterization of the production of printed music allows the emergence of not only some invariants, but at least of some rather precise overall economic conditions concerning the modes of production. The monographic framework of our study is based on the various functions concerning the Parisian book trade. Hence the question posed throughout this entire study: can these same logics be applied to both general and musical editions? This interrogation directed the thought process in a comparative sense. It was also necessary to examine more precisely Nicolas Du Chemin’s firm, which produced a more or less equivalent number of titles of musical and general editions. Finally, the entire history of the multiple logics of which the book is the convergence point required a study of the internal organization of the printed material. The study of bibliographic material implied by this archeology of books has been focused on the polyphonic masses. It is based on the establishment of 58 bibliographical and catalogical notes describing nearly 246 of the 300 copies inventoried in RISM. These publications demonstrate the various printing processes used by Parisian music editions, but also place these last ones within the orthotypographical debates during the years 1540-1560
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Leblanc, Jean-Marc. "Saint-Martin de Paris : pérennité architecturale, musicale et picturale d’une église provisoire fondée en 1855." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0216.

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L’église paroissiale de Saint-Martin-des-Champs, dans l’actuel 10e arrondissement de Paris, fut fondée au début du Second Empire, en 1854, pour répondre à l’attente de la population d’un faubourg de Paris en pleine transformation, le quartier du Château-d’Eau. Érigée au 36, rue des Marais, grâce au zèle et à la générosité de l’abbé Bruyère, le premier curé de la paroisse, elle fut ouverte au culte, le 31 janvier 1856.La présente thèse est l’étude d’un cas unique à Paris. Elle montre comment, au fil d’un siècle et demi, l’histoire de Saint-Martin fut celle d’un établissement provisoire – l’église était destinée, tôt ou tard, à être remplacée et démolie – voué finalement à une pérennité institutionnelle : l’église se dresse et est en fonction, comme au premier jour. Le bâtiment, lieu de culte et de rassemblement des fidèles, est le corps de cette monographie. Ses murs portent la trace inextricable de cette condition provisoire devenue définitive et témoignent, dans la topographie urbaine et religieuse de la capitale de son origine inséparable de celle des autres succursales créées à la même époque, en réponse aux besoins de l’évangélisation et au désir de l’archevêque de Paris, Monseigneur Sibour.L’intérêt intrinsèque de l’histoire de Saint-Martin justifiait une approche monographique spécifique. Sa singularité, que le cadre juridique de la séparation de l’Église et de l’État, au début du XXe siècle, a effacée, nécessitait que nous en montrions les facteurs ainsi que les enjeux institutionnels et artistiques indissociables des données historiques. Au croisement de la géographie urbaine, de l’histoire religieuse, politique et sociale, de l’histoire de l’art (architecture, peinture), de la musique et de l’organologie, notre étude se veut à chaque instant comparative pour comprendre ce qui s’est joué, décidé et réalisé à Saint-Martin. Il était nécessaire de rapporter nos recherches à d’autres cas particuliers, déjà étudiés ou non. Les similitudes et les divergences permettent d’affiner, en y intégrant nos données et conclusions particulières, l’histoire dans ses grandes lignes
The parish church of Saint-Martin-des-Champs in the current 10th district of Paris, was founded at the beginning of the Second Empire, in 1854, to meet the expectations of the population of a suburb of Paris in full transformation, the neighborhood of Château-d'Eau. Erected at 36 rue des Marais, thanks to the zeal and generosity of Father Bruyère, the first parish priest, it was opened for worship on January 31, 1856.In this dissertation is investigated a unique case in Paris. It is demonstrated how, over a century and a half, the history of Saint-Martin was that of a temporary facility (sooner or later, the church was meant to be demolished and eventually replaced) which, by virtue of exceptional institutional sustainability, has remained in service until today. The building, a place of worship and of gathering of the faithful, is the focus of this monograph. It can be witnessed on its walls the inextricable traces of this transition from provisional to permanent premise. In the urban and religious topography of the capital, these traces bear witness of its history and origins inseparable from the other succursales constructed at the same time in response to the needs of evangelization, and the desire of the archbishop of Paris, Monseigneur Sibour.The intrinsic interest of the history of Saint-Martin justified a specific monographic approach. The peculiar status of the church ended with the law of the separation of Church and State introduced in the early twentieth century. Thus, it was necessary to bring to light its factors as well as its institutional and artistic stakes inseparable from the historical context. At the intersection of urban geography, religious, political and social history of art (architecture, painting), music and organology, this study aims for a comparative approach to understand what happened, what was decided and implemented at particular moments in Saint-Martin. In doing so, it was necessary to extend the research to other special cases already investigated or not. The similarities and differences that had emerged allow to refine the historical outline of the church of Saint-Martin
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Books on the topic "Gazette musicale de Paris"

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Pyee, Doris. La gazette musicale de Paris, 1834-1835, La revue et gazette musicale de Paris, 1835-1880. Baltimore, Md: NISC, 1999.

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Centre d'Art, Esthetique et Literature (MLont-Saint-Aignan, Sein-Maritime). Paris et l'Europe musicale. Rouen: Universite de Rouen, 1994.

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Cloutier, Diane. Revue musicale, 1827-1835. Ann Arbor, Mich: U.M.I., 1991.

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Pyee, Doris. L' Année musicale, 1911-1913. Baltimore, Md: NISC, 2007.

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Duchesneau, Michel. La revue musicale, 1920-1940. Baltimore, Maryland: RIPM, 2013.

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Vincent, Handrey, and Watiez Laurent, eds. Arenberg: La mine, le Paris-Roubaix, la comédie musicale. Marcq-en-Baroeul: Pourparler, 2009.

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Coudart, Laurence. La Gazette de Paris: Un journal royaliste pendant la Révolution française, 1789-1792. Paris: Harmattan, 1990.

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Jean-Paul, Olive, ed. Expérience et fragment dans l'esthétique musicale d'Adorno: Colloque international Paris, 13 et 14 mai 2004. Paris: Harmattan, 2005.

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Alex, Dutilh, and Société française d'acoustique. Groupe spc̈ialisé d'acoustique musicale., eds. Journées pédagogiques d'acoustique musicale: Cordes, vents, rayonnement, perception : Paris, 18-20 novembre et 2-4 décembre 1988. Paris: Centre national d'action musicale, 1989.

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Tissot, Robert Henri, and Camille Bellissant. Le Concert des Amateurs à l'Hôtel de Soubise, 1769-1781: Une intitution musicale parisienne en marge de la Cour. Grenoble: Publications de la MSH-Alpes, 2004.

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Book chapters on the topic "Gazette musicale de Paris"

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Rodowick, David. "From An American in Paris: Identify and desire in two musicals by Vincente Minnelli." In Comédie musicale : les jeux du désir, 47–60. Presses universitaires de Rennes, 2008. http://dx.doi.org/10.4000/books.pur.958.

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Fulcher, Jane F. "Trajectoires opposées : la culture musicale à Paris et Berlin pendant l’entre-deux-guerres." In Capitales culturelles, capitales symboliques, 421–34. Éditions de la Sorbonne, 2002. http://dx.doi.org/10.4000/books.psorbonne.937.

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Pearson, Richard. "The Constitutional—Expected Cost and Profits—Paris Correspondence —Struggles—Collapse—The Literary Gazette." In The William Makepeace Thackeray Library, 28–34. Routledge, 2016. http://dx.doi.org/10.4324/9781315473215-4.

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Roust, Colin. "Parisian Debuts and World War I." In Georges Auric, 19–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.003.0002.

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In 1913, Georges Auric and his family moved to Paris, where he studied for one year at the Conservatoire and one year at the Schola Cantorum. During his first year in the capital, Auric published his first pieces of music criticism, performed a recital for the Société Musicale Indépendante, and had compositions performed on a recital for the Société Nationale de Musique. From these auspicious beginnings, he participated in several avant-garde art groups and was invited to join many of the most prestigious Parisian salons. In 1917, he was drafted into the army; though his military record was undistinguished, it led to close friendships with Louis Aragon and André Breton.
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Jefferson, Ann. "“One of the Great Novelists of Our Time,” 1959–62." In Nathalie Sarraute, 235–44. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691197876.003.0021.

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This chapter talks about the publication of Nathalie Sarraute's “The Planetarium” in May 1959, which was heralded by advance publicity in the form of two published extracts from the novel and three interviews with Nathalie. It details the publication of the first extract in 1957 in the October and November numbers of Maurice Nadeau's journal Les Lettres nouvelles, followed a year later in October 1958 by the second extract under the title “La rencontre.” It also mentions Denise Bourdet, who published an interview in the Revue de Paris in June 1958, when Nathalie was still suffering from tuberculosis (TB). The chapter looks into the second interview with Nathalie's friend and fellow novelist Clarisse Francillon, which was published in the Gazette de Lausanne in November 1958. It retraces the history of Nathalie's writing from Tropisms onwards and looks into her explanation of her literary aims.
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Weiss, Piero. "The First Performance Of IL Barbiere Di Siviglia." In Opera, 172–74. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0027.

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Abstract In 1823 there appeared in Bologna a pamphlet entitled (we translate) Notes Concerning Maestro Rossini by a Lady, Formerly a Singer, in Response to What Was Written about Him in the Summer of 1822 by the English Journalist in Paris and That Same Year Reported in a Milan Gazette. The author was Geltrude Righetti-Giorgi (1793-1862), who had created the role of Rosina at the famously disastrous first performance of II barbiere di Siviglia (Rome, 20 February 1816); as we shall see, the prior existence of another Barbiere, by Paisiello, was only one of the reasons for the failure. The “English Journalist” in Righetti-Giorgi’s title takes a little explaining. The great French novelist Stendhal (pseudonym of Henri Beyle, 1783-1842) was a devotee of Italian opera, having lived in Italy for many years. On his return to France, he undertook to write what was to be the first full-length study of Rossini’s life and music; published in 1824, his Vie de Rossini was an instant success. The composer was just thirty-two at the time; he had settled in Paris and was about to enter on the final stage of his career, which would culminate with Guillaume Tell five years later. Stendhal’s biography, then, was timely; it was also highly entertaining. Unfortunately it is quite inaccurate and thus unsuitable for representation among these documents. Prior to that, however, in January 1 822, Stendhal had contributed an anonymous article on Rossini to The Paris Monthly Review, an English-language periodical.
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Leiner, Frederick C. "The British Bombardment and an “Occular Demonstration”." In The End Of Barbary Terror, 151–76. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195189940.003.0008.

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Abstract The Whirlwind of naval and diplomatic action by the United States against Algiers, Tunis, and Tripoli caught the European nations completely off guard. News of Decatur’s lightning success against Algiers, considered the foremost Barbary power, arrived after the allied coalition had beaten Napoleon at Waterloo, marched into Paris, and convened again on methods to secure the peace and security of Europe. At first, the proof pro- vided by the Americans that Algiers was a weak despotism, and not the all-powerful threat imagined for centuries, had little effect except with newspapers. British newspapers had a field day, railing that the Americans had triumphed while the great powers of Europe—specifically, England— continued with the tribute racket. One of the great political essayists of the early nineteenth century was William Cobbett, an Englishman who had spent several years in the United States, the editor and scrivener of a polemical Federalist newspaper in Philadelphia in the 1790s aptly named Porcupine’s Gazette.
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Gier, Albert. "Christian Goubault — La critique musicale dans la presse française de 1870 à 1914. Genève - Paris, Slatkine, 1984. 535 Seiten." In 1984, 199–201. De Gruyter, 1985. http://dx.doi.org/10.1515/9783112418420-043.

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