Academic literature on the topic 'Music France 20th century History and criticism'

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Journal articles on the topic "Music France 20th century History and criticism"

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Siqueira Castanheira, José Cláudio. "Introduction to the Sociology of Music Technologies: An Ontological Review." methaodos revista de ciencias sociales 10, no. 2 (2022): 419–29. http://dx.doi.org/10.17502/mrcs.v10i2.574.

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Adorno’s work, in particular the texts dealing with the relationship between music and social behaviors or structures, has been the target of criticism, especially in the second half of the 20th century, being considered by many to be generalist, dogmatic or even elitist. This work proposes the analysis of musical technologies not only as a set of compositional techniques, as Adorno does, but, in fact, as material conditions for the realization of a certain type of sound/music. The colonialist character of these technologies is also analyzed. Based on a review of some key concepts in Adornian
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Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher." Artes. Journal of Musicology 18, no. 1 (2018): 190–206. http://dx.doi.org/10.2478/ajm-2018-0012.

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Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the person
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Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale." 19th-Century Music 43, no. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.

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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surroun
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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.

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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Mu
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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 (1997): 214. http://dx.doi.org/10.1093/fs/51.2.214.

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Kantoříková, Jana. "Melancholy, Hanuš Jelínek and Miloš Marten." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 77–82. http://dx.doi.org/10.1515/amnpsc-2017-0022.

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The aim of this article is to present the roles of Miloš Marten (1883–1917) in the Czech–French cultural events of the first decade of the 20th century in the background of his contacts with Hanuš Jelínek (1878–1944). The first part of the article deals with Marten’s artistic and life experience during his stays in Paris (1907–1908). The consequences of those two stays to the artist’s life and work will be accentuated. The second part takes a close look at Miloš Marten’s critique of Hanuš Jelínek’s doctoral thesis Melancholics. Studies from the History of Sensibility in French Literature. To i
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Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.

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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in
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Kouprovskaia-Bruggeman, Ekaterina O. "On the History of Russian-French Cultural Ties: A French Mark on the Life and Artwork of the Composer Edison Denisov." Koinon 3, no. 1 (2022): 134–60. http://dx.doi.org/10.15826/koinon.2022.03.1.010.

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The subject of research in the article is the life and work of the composer Edison Denisov in the context of connections with French culture. The study of these over-the-half-century-long ties makes it possible to fill «white spots», first, in the broader subject of Russian-French cultural relations: Soviet and post Soviet contacts and influences studied on the representative material of musical art, second, in the topic of local but no less important: the role of France and its culture throughout E. Denisov’s life. The life and work of E. Denisov is a largely successful and multifaceted prese
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Verzosa, Noel. "Intellectual Contexts of “the Absolute” in French Musical Aesthetics, ca. 1830–1900." Journal of Musicology 31, no. 4 (2014): 471–502. http://dx.doi.org/10.1525/jm.2014.31.4.471.

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In 1895 the critic Édouard Dujardin reviewed a production of an Offenbach opera in a brief article titled “De la Périchole et de l’Absolu dans la musique.” That Dujardin invoked the term “absolute” in a discussion of a stage work suggests that, for him, “the absolute in music” was defined by something other than the presence or absence of texts. Moreover, that Dujardin uses the phrase “absolute in music” rather than “absolute music” suggests the terrain of the absolute was not exclusively musical. This article reveals that the word “absolute” had a rich and varied history in French intellectua
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Eremenko, Galina A. "Passeism in the Musical Culture of France." Observatory of Culture 16, no. 2 (2019): 171–82. http://dx.doi.org/10.25281/2072-3156-2019-16-2-171-182.

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The specialists note and highly appreciate the openness to creative dialogue with different European and regional cultures in their works about the artistic history of France. In the introductory section, the article is focused on the importance of the opposite trend, developed in the 19th — early 20th century in all spheres of art. The purpose of the new movement is “national revival”, interest in the ori­gins of the great heritage of the French masters of past epochs. The author concentrates on the peculiarities of interaction between leading composers, musicians-performers and teachers with
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Dissertations / Theses on the topic "Music France 20th century History and criticism"

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.

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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Da
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.

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At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). R
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Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.

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This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century
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Cheng, Chi-Suen. "Yves Daniel-Lesur and le canique des cantiques: nonconformism and humanism in a mid-twentieth-century choral work." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/310.

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In 1936, André Jolivet (1905-1974), Yves Baudrier (1906-1988), Olivier Messiaen (1908-1992), Jean-Yves Daniel-Lesur (1908-2002), and Pierre Schaeffer (1910-1995) founded the group Jeune France. They initiated this group under the influence of politically nonconformist movements in France which had started in the 1920s. The ideology of Jeune France was to revive in music 'true human qualities', free from 'extreme political domination'. At a time when some composers, associated with a revolutionary Left wing, were exploring avant-garde ideas in music that included atonalism, serialism, and other
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Nardout, Elisabeth. "Le champ littéraire québécois et la France, 1940-50 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72078.

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The decade 1940-1950 represents a decisive stage in the evolution of the relations between the Quebec literary scene and France. Whereas before the war, literary discourse keeps on upholding, in a dogmatic way, the superiority of French culture and literature, the next period is characterized, on the contrary, by a reassessment of this postulate.<br>The historical circumstances justify the setting up of exceptional institutional conditions. Some French writers and critics, in exile in North America, partake, to varying degrees, in the French Canadian literary scene. The backing of these intell
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Leung, Tai-wai David, and 梁大偉. "Memory, aesthetics and musical quotation: four case studies in 20th century music." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39733919.

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Trochimczyk, Maja. "Space and spatialization in contemporary music : history and analysis, ideas and implementations." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116333.

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Note: Pages have been removed from this digital copy due to copyright restrictions. A print copy is available in the McGill Library.<br>This dissertation presents the history of space in the musical thought of the 2Othcentury (from Kurth to Clifton, from Varèse to Xenakis) and outlines the development of spatialization in the theory and practice of contenlporary music (after 1950). The text emphasizes perceptual and temporal aspects of musical spatiality, thus reflecting the close connection of space and time in human experience. A new definition of spatialization draws from Ingarden’s notion
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Vendrix, Philippe Pierre 1964. "Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.

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L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.
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Books on the topic "Music France 20th century History and criticism"

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Singing poets: Literature and popular music in France and Greece. Legenda, 2007.

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Die musikkritischen Schriften von Paul Dukas. Peter Lang, 2010.

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The composer as intellectual: Music and ideology in France 1914-1940. Oxford University Press, 2005.

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Debussy redux: The impact of his music on popular culture. Indiana University Press, 2012.

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Olivier, Messiaen. Music and color: Conversations with Claude Samuel. Amadeus Press, 1994.

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Shen, Sin-yan. Chinese music in the 20th Century. Chinese Music Society of North America, 2001.

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Hao, Huang, ed. Music in the 20th century. M.E. Sharp, 1999.

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Illegal harmonies: Music in the 20th century. Hale & Iremonger, 1997.

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20th-century microtonal notation. Greenwood Press, 1990.

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Twentieth-century chamber music. 2nd ed. Routledge, 2003.

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Book chapters on the topic "Music France 20th century History and criticism"

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Plancher, Gaën, and Pascale Piolino. "Virtual Reality for Assessment of Episodic Memory in Normal and Pathological Aging." In The Role of Technology in Clinical Neuropsychology. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190234737.003.0015.

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Memory is one of the most important cognitive functions in a person’s life. Memory is essential for recalling personal memories and for performing many everyday tasks, such as reading, playing music, returning home, and planning future actions, and, more generally, memory is crucial for interacting with the world. Determining how humans encode, store, and retrieve memories has a long scientific history, beginning with the classical research by Ebbinghaus in the late 20th century (Ebbinghaus, 1964). Since this seminal work, the large number of papers published in the domain of memory testifies that understanding memory is one of the most important challenges in cognitive neurosciences. With population growth and population aging, understanding memory failures both in the healthy elderly and in neurological and psychiatric conditions is a major societal issue. A substantial body of evidence, mainly from double dissociations observed in neuropsychological patients, has led researchers to consider memory not as a unique entity but as comprising several forms with distinct neuroanatomical substrates (Squire, 2004). With reference to long-term memory, episodic memory may be described as the conscious recollection of personal events combined with their phenomenological and spatiotemporal encoding contexts, such as recollecting one’s wedding day with all the contextual details (Tulving, 2002). Episodic memory is typically opposed to semantic memory, which is viewed as a system dedicated to the storage of facts and general decontextualized knowledge (e.g., Paris is the capital of France), including also the mental lexicon. Episodic memory was initially defined by Tulving as a memory system specialized in storing specific experiences in terms of what happened and where and when it happened (Tulving, 1972). Later, phenomenological processes were associated with the retrieval of memories (Tulving, 2002). Episodic memory is assumed to depend on the self, and involves mental time travel and a sense of reliving the original encoding context that includes autonoetic awareness (i.e., the awareness that this experience happened to oneself, is not happening now, and is part of one’s personal history).
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