Relevant bibliographies by topics / Lili Boulanger

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Lili Boulanger'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Lili Boulanger"

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Leonard, Kendra Preston. "Nadia and Lili Boulanger (review)." Notes 64, no. 2 (2007): 311–13. http://dx.doi.org/10.1353/not.2007.0138.

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Potter, C. "Nadia and Lili Boulanger: Sister Composers." Musical Quarterly 83, no. 4 (January 1, 1999): 536–56. http://dx.doi.org/10.1093/mq/83.4.536.

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Potter, C. "Nadia Boulanger et Lili Boulanger: Temoignages et etudes. Ed. by Alexandra Laederich." Music and Letters 90, no. 1 (February 1, 2009): 135–37. http://dx.doi.org/10.1093/ml/gcn074.

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Fauser, Annegret. "La Guerre en dentelles: Women and the Prix de Rome in French Cultural Politics." Journal of the American Musicological Society 51, no. 1 (1998): 83–129. http://dx.doi.org/10.2307/831898.

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In 1903, one hundred years after the Prix de Rome had been created in music composition, women were allowed to participate in the competition for the first time. In 1913, Lili Boulanger became the first woman to win the prize, crowning the efforts of three others-Juliette Toutain, Hélène Fleury, and Nadia Boulanger-to achieve this goal. Their stories are fascinating case studies of the strategies women employed to achieve success and public recognition within the complex framework of French cultural politics at the beginning of the twentieth century.
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Potter, Caroline. "Marche gaie: A Rediscovered Work by Lili Boulanger." Notes 68, no. 4 (2012): 715–28. http://dx.doi.org/10.1353/not.2012.0061.

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Fauser, Annegret, and Marie-Hélène Benoit-Otis. "Composer en tant que catholique : une relecture de la musique vocale de Lili Boulanger." Articles 26, no. 1 (December 7, 2012): 113–22. http://dx.doi.org/10.7202/1013245ar.

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Par la mise en musique de textes des psaumes, Lili Boulanger s’est retrouvée partie prenante du débat sur le catholicisme dans la composition musicale qui faisait rage dans la France de la fin de siècle. Son choix de traduction des psaumes et son style musical révèlent un sens de l’archaïsme et de l’historicité en rapport avec le modernisme catholique, un mouvement en porte-à-faux avec les tendances néo-scolastiques de l’ultramontanisme romain des années précédant la Première Guerre Mondiale.
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Giesbrecht-Schutte, Sabine. "Lili Boulanger: „Clairières dans le Ciel” - ästhetischer Ausdruck und musikalische Form." Die Musikforschung 47, no. 4 (September 22, 2021): 384–402. http://dx.doi.org/10.52412/mf.1994.h4.1132.

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Charakteristisch für das Werk sind synästhetische Tendenzen auf drei Ebenen: 1. Der vom literarischen Symbolismus beeinflußte, bilderreiche Text wird im Parlandostil vorgetragen. Die Singstimme verdeutlicht dabei Sprachstrukturen und verzichtet auf selbständige melodisch-rhythmische Motive. 2. Im Klavierpart formieren sich Gruppen von Spielfiguren und deren Varianten zu meist asymmetrischen, dreiteiligen ABA-Formen. Ihre musikalische Binnenstruktur tendiert zum Malerischen: Figuren und Muster fügen sich gruppenweise zu pulsierenden Flächen und Klangräumen zusammen. 3. Eine vielschichtige Dynamik sowie differenzierte Angaben zu Ausdruck und Tempo bilden eine energetische Ebene, die sozusagen das vegetativ-psychologische Pendant zu den im Text aufgeführten Stationen einer verlorenen Liebe darstellt. (Giesbrecht-Schutte, Sabine)
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Songer, Loralee. "Influential Pioneers: The Lives and Vocal Works of Nadia and Lili Boulanger." International Journal of the Arts in Society: Annual Review 3, no. 4 (2009): 71–80. http://dx.doi.org/10.18848/1833-1866/cgp/v03i04/35500.

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Caron, Sylvain. "Les traces de l’évolution du statut des compositrices au début du xxe siècle dans la revue Musica." Revue musicale OICRM 4, no. 2 (February 8, 2018): 1–18. http://dx.doi.org/10.7202/1043217ar.

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Au début du xxe siècle, en France, rares sont les femmes qui osent s’aventurer professionnellement dans le domaine de la composition. Les pionnières franchissent des obstacles sociaux et institutionnels importants, au prix de luttes et de stratégies que nous avons aujourd’hui peine à imaginer. La revue Musica, publiée mensuellement entre 1902 et 1914 à l’intention d’un lectorat principalement féminin, offre une vitrine incomparablement riche sur cette réalité, non seulement par ses textes, mais également par les nombreuses photographies qu’elle contient. Dans cet article, une attention particulière est portée à Lili Boulanger qui, en 1913, sera la première femme à remporter le premier grand prix de Rome.
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Dopp, Bonnie Jo. "Numerology and Cryptography in the Music of Lili Boulanger: The Hidden Program in Clairières dans le ciel." Musical Quarterly 78, no. 3 (1994): 557–83. http://dx.doi.org/10.1093/mq/78.3.557.

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Dissertations / Theses on the topic "Lili Boulanger"

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Bertho, Woolliams Carole. "Lili Boulanger : compositrice du XXe siècle /." [Paris] : le Jardin d'essai, 2009. http://catalogue.bnf.fr/ark:/12148/cb414120589.

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Texte remanié de: Thèse de doctorat--Littératures françaises et comparées, arts du spectacle, musicologie--Montpellier 3, 2006. Titre de soutenance : Lili Boulanger, l'oeuvre intime.
Bibliogr. p. 205-209. Notes bibliogr. Discogr. p. 211-216. Webliogr. p. 209-210. Lexique.
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Williamson, Deborah. "A performer's analysis of Lili Boulanger's Clairières dans le ciel song cycle for high voice and piano : a lecture recital together with the role of Blanche in Dialogues of the Carmelites by F. Poulenc and two recitals of selected works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W.A. Mozart, R. Schumann and G. Fauré /." connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/williamson%5Fdeborah/index.htm.

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Bertho, Carole. "Lili Boulanger, l'œuvre intime : étude historique et stylistique." Montpellier 3, 2006. http://www.theses.fr/2006MON30073.

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Lili Boulanger est la première femme à obtenir le Premier Grand Prix de Rome de composition musicale en 1913, à l’âge de dix-neuf ans, et après seulement deux années d’études intensives au Conservatoire de Paris. Décédée cinq ans plus tard des suites d’une longue maladie, la jeune compositrice laisse pourtant une production d’œuvres importante. De l’examen des manuscrits à l’étude des compositions, l’ensemble des pièces fascine par la richesse d’écriture, par la recherche de la couleur, par la poésie des sons créant une étonnante expressivité. Les différentes analyses démontrent aussi une maîtrise des divers styles musicaux de son temps et une incroyable maturité dans le maniement des langages. Issue d’une famille de musiciens, l’éducation de Lili Boulanger a été favorisée par un entourage constitué de l’élite musicale parisienne notamment. Les éléments biographiques, mis en parallèle à l'analyse musicale, soulignent l’importance d’une telle œuvre. Cette étude permet donc de tisser des liens étroits entre la musique et son auteur car l'œuvre de Lili Boulanger est résolument intime
Lili Boulanger is the first woman to get the Fisrt Great Prize of Rome in musical composition in 1913, at the age of nineteen, and after only two years of intensive studies at the Conservatoire of Paris. Although she died five years later following a long illness, the young composer leaves us an important production of works. From examining manuscripts as well as studying her compositions, one is fascinated all through her works by the richness of her writing, the research of colour, the poetry of sounds, which convey an astounding expressiveness. Our various analyses also bring to light her mastery of the diverse musical styles of her time together with an incredible maturity in the use of languages. Born in a family of musicians, Lili Boulanger’s education has been boosted by an environment constituted in great part by the parisian musical elite. The biographical data, set in parallel to this research, underline the importance of such works. So this study allows to build closed links between the music and its author because Lili Boulanger's work is absolutely inmost
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Sassanelli, Fiorella. "Une compositrice à Paris au début du XXe siècle : Lili Boulanger et sa musique." Paris, EPHE, 2011. http://www.theses.fr/2011EPHE4026.

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La multiplication d'études biographiques sur Lili Boulanger (1893-1918) a encouragé ce travail de recherche, conçu comme une enquête sur la formation d'une jeune femme née dans une importante famille musicale de la France du XIXe siècle, et pourtant arrivée à la composition sans avoir suivi un parcours régulier d'études ; en 1913 elle fut la première femme à obtenir le Premier Prix de Composition au Concours de Rome avec la cantate "Faust et Hélène". En analysant les agendas, la presse, les manuscrits, les éditions et un fonds complexe parce que réparti entre plusieurs institutions (la Bibliothèque nationale de France, le Musée de la Musique, les archives du Centre international Nadia et Lili Boulanger à Paris ; la Médiathèque du Conservatoire supérieur de musique et de danse de Lyon ; la bibliothèque de l'Académie de France à Rome), on a reconstitué l'émergence d'une sensibilité musicale dans un milieu favorable. Cette formation s'est construite et enrichie - au-delà des informations déjà connues concernant les études avec Paul Vidal et Georges Caussade -, grâce à une mosaïque de suggestions et d'orientations esthétiques nourries d'écoutes, de visions, de concerts, de lectures et de rencontres au coeur de la vie musicale à Paris et à Rome au début du XXe siècle. Le cadre final trace le profil d'une personnalité très attacchante et tout à fait plongée dans la modernité, cette dernière ressentie non dans le choix d'un langage qui au contraire ne trahit point les caractéristiques de la musique française de son époque, mais plutôt dans une approche personnelle des différentes disciplines (littérature, peinture, philosophie) qui trouvent dans la musique leur domaine d'application privilégié
The multiplication of biographical studies about Lili Boulanger (1893-1918) encouraged this research, which is conceived as an inquiry about the education of young woman, who was born from an important French musical family of the XXe century and who became a composer without following a regular course of studies. In 1913 Lili Boulanger was the first woman to obtain the Premier Prix in composition at the Concours de Rome, with Faust et Hélène cantata. Analysing her diaries, the press, her manuscripts, the editions and a complex collection and archives which are scattered between many institutions (the Bibliothèque nationale de France, the Musée de la Musique, the archives of the Centre international Nadia et Lili Boulanger in Paris ; the Médiathèque du Conservatoire supérieur de musique et danse in Lyon ; the library of the Académie de France in Rome), we have reconstituted the emergency of a musical sensibility in a privileged setting. Beyond the information already known about the musical training with Paul Vidal and Georges Caussade, this education has been enriched thanks to a mosaic of aesthetic suggestions and orientations made of listening, watching, concerts, readings and meetings during life spent between Rome and Paris at the beginning of the XXe century. The final result is the profile of an intriguing personality, plunged in modernity. Her modernity is not to be searched into her musical language which, on the contrary, doesn't betray the characteristics of the French music of those years, but into her personal approach to the various disciplines (literature, painting, philosophy) which find in music their best application field
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Tasher, Cara Suzanne. "A conductors guide to the choral works of Lili Boulanger (1893-1918)." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1148303598.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Advisor: Dr. Earl Rivers. Title from electronic thesis title page (viewed June 7, 2009). Includes abstract. Keywords: Lili Boulanger; French twentieth century choral music; French symbolism; female composers; 20th century; Psalm settings. Includes bibliographical references.
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Tasher, Cara Suzanne. "A Conductor’s Guide to the Choral Works of Lili Boulanger (1893-1918)." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148303598.

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Perkins, John Douglas. "An Analysis and Orchestral Reduction of Psaume 130 (Du fond de l’Abime), by Lili Boulanger." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194318.

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Psaume 130, Du fond de l'Abime, by Lili Boulanger, poses a series of problems for conductors. Its large orchestral requirement and thirty-minute performance length severely limit the possibility of programming the work. Having thoroughly studied the composer's other works, I have determined that balance problems in the orchestration need adjustment. Errors exist in the current published edition and warrant correction.For these reasons combined with the assertion, later discussed in this document, that Lili Boulanger may have been asked to make a more practical version of Psaume 130, Du fond de l'Abime in order to promote sales of her music, an orchestral reduction is a viable solution. In addition, she died before the premier of the work and may have re-orchestrated certain passages upon hearing it.The methodology for this process of editing and rescoring includes:1) comparison of the manuscript with the published edition, 2) analysis, which includes tonal, motivic, and structural aspects of the work, 3) analysis of Boulanger's orchestral technique, and 4) an interview with conductor Mark Stringer.I will demonstrate that Lili Boulanger's Psaume 130, Du fond de l'Abime can be arranged for reduced forces while preserving its essential elements. This version will be more accessible for professional, college, community and church choirs, and orchestras.
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Williamson, Deborah. "A Performer's Analysis of Lili Boulanger's Clairières dans le ciel: Song Cycle for High Voice and Piano; a Lecture Recital Together with the Role of Blanche in Dialogues of the Carmelites by F. Poulenc and Two Recitals of Selected Works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W. A. Mozart, R. Schumann and G. Fauré." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3022/.

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Lili Boulanger was an important composer of early twentieth century French music. Her compositional style represents a development and mastery of musical techniques of the great composers of her time including Fauré, Debussy and Wagner combined with her own creative expression. The result is a compelling musical language that was uniquely her own. She held an important place among her contemporaries in Paris and her accomplishments were considered newsworthy during her lifetime (1893- 1918). She obtained a much sought-after publishing contract with Ricordi. Her more famous sister, Nadia Boulanger, felt that Lili was the better composer of the two, and her peers and music professors clearly felt that both her musical and personal qualities were extraordinary. Evidence of her intelligence, creativity, and artistic growth can be seen in her music. As the first woman to win the Prix de Rome (July 5, 1913), Lili Boulanger, unlike Clara Schumann, Fanny Mendelssohn, or Alma Mahler, was acknowledged and acclaimed during her lifetime for her skill as a composer. Yet, nearly a century later the music of this talented French composer is not as well known as it deserves to be. In an effort to discover the reasons for this relative anonymity, this document will examine Lili Boulanger's life including her family and childhood influences, musical training, preparation for the Prix de Rome and the influence of Claude Debussy and other composers. This document will discuss her mature compositional style, specifically as it is reflected in her song cycle, Clairières dans le ciel. The text will be examined in conjunction with the literary movement of symbolism in 20th century France and the symbolist poet, Francis Jammes, with special attention to the composer's personal identification with the poetry. Considerations of the musical setting of the cycle will include the melodic style as it relates to the text, the harmonic idiom and its relation to the poetry, rhythmic and metrical devices used, formal devices and the relationship of the piano accompaniment and the voice. Performance considerations for this cycle include the recommended transpositions if performed by soprano rather than the tenor voice for which it was originally composed and the level of difficulty from an interpretative as well as technical standpoint.
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Click, Sarah D. "Art Song by Turn-of-the-Century Female Composers." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278468/.

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Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn-of-the-century feminine aesthetic.
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Bott, Robert (Conductor). "Sacred Sound at the Symphony: A Conductor's Guide to Faith Traditions in Choral-Orchestral Repertoire." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703425/.

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Since most historical composers of Western art music were European Christians (or resided in areas that were primarily populated by Christians), a vast majority of the sacred choral-orchestral repertoire is based on major figures and themes from the most prominent denominations, including Catholicism, Lutheranism, and Anglicanism. As a corollary this is also the case for analytical, pedagogical, and exegetical literature related to the topic. However, in the late nineteenth century some composers began to look to other faith traditions for inspiration, which resulted in compositions based on texts that are less-familiar to Western audience members and performers. Despite the fact that many of these pieces are innovative and well-written, few, if any, have entered the standard repertoire. Because of this they are under-represented in both performance and extant music literature. The purpose of this study is to examine three compositions from this marginalized category in order to produce a guide that provides salient information on the religious/cultural background and musical aspects of each work. This guide will serve as a resource for conductors to facilitate an understanding of and connection with the text, allow informed programming decisions, and promote approaches that are appropriate and respectful to the religious source material. The pieces selected for investigation are Gustav Holst's Choral Hymns from the Rig Veda, Op. 26: First Group, Lili Boulanger's Vielle Prière Bouddhique (Old Buddhist Prayer), and Robert Cundick's The Redeemer.
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Books on the topic "Lili Boulanger"

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Lili Boulanger: Compositrice du XXe siècle. [Paris]: Jardin d'essai, 2009.

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Woolliams, Carole Bertho. Lili Boulanger: Compositrice du XXe siècle. [Paris]: Jardin d'essai, 2009.

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Gallo, Paola. Lili Boulanger: L'innocenza del sogno simbolista. Treviso: Canova, 1996.

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Woolliams, Carole Bertho. Lili Boulanger: Compositrice du XXe siècle. [Paris]: Jardin d'essai, 2009.

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Spycket, Jérôme. A la recherche de Lili Boulanger: Essai biographique. [Paris]: Fayard, 2004.

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A la recherche de Lili Boulanger. essai biographique. [Paris]: Fayard, 2004.

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Potter, Caroline. Nadia and Lili Boulanger. Taylor & Francis Group, 2016.

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Potter, Caroline. Nadia And Lili Boulanger. Ashgate Publishing, 2006.

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Potter, Caroline. Nadia and Lili Boulanger. Routledge, 2016. http://dx.doi.org/10.4324/9781315597188.

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Alexandra, Laederich, Beffa Karol, Académie musicale de Villecroze, and Fondation internationale Nadia et Lili Boulanger., eds. Nadia Boulanger et Lili Boulanger: Témoignages et études. Lyon: Symétrie, 2007.

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Book chapters on the topic "Lili Boulanger"

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Borchard, Beatrix. "Lili Boulanger." In Kammermusikführer, 86–90. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_13.

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Lück, Hartmut. "Boulanger, Juliette-Marie Olga (»Lili«)." In Metzler Komponisten Lexikon, 84–85. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_30.

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Schwarz-Danuser, Monika. "Boulanger, Marie-Juliette Olga [genannt »Lili«]." In Komponisten Lexikon, 68–69. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_31.

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"Composing as a Catholic: Rereading Lili Boulanger's Vocal Music *." In The Politics of Musical Identity, 309–16. Routledge, 2017. http://dx.doi.org/10.4324/9781315085562-12.

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"Lili Boulanger's La princesse Maleine: A Composer and her Heroine as Literary Icons." In The Politics of Musical Identity, 317–58. Routledge, 2017. http://dx.doi.org/10.4324/9781315085562-13.

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