Relevant bibliographies by topics / Musicians, france

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Musicians, france'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Musicians, france"

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Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States." Middle East Journal of Culture and Communication 12, no. 1 (2019): 35–67. http://dx.doi.org/10.1163/18739865-01201006.

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Abstract This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (sc
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Plumley, Yolanda. "Musicians at Laon cathedral in the early fifteenth century." Urban History 29, no. 1 (2002): 19–34. http://dx.doi.org/10.1017/s0963926802001037.

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The city of Laon was a significant commercial and administrative centre in late medieval northern France. Laon's rich and powerful cathedral attracted many to its chapter, which was the largest in the country. In the years circa 1400 its ranks included a number of leading musicians. An investigation into their musical and non-musical duties sheds fascinating light on to the daily life of the cathedral musician and his position in the local urban and rural context.
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Preitschopf, Alexandra. "Contested Memories in Contemporary France and Their Reflection in Rap Music." AUC STUDIA TERRITORIALIA 21, no. 2 (2022): 11–33. http://dx.doi.org/10.14712/23363231.2022.2.

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France’s colonial past and its aftermath remain an “open wound” to this day. After a long period of silence, painful issues such as the role of France in the transatlantic slave trade, colonial crimes in Africa, and the Algerian War have more and more become part of public consciousness in France. Interestingly, many French rap musicians who are the children or grandchildren of immigrants from former French colonies frequently use their songs to remind France of its colonial past. However, their messages sometimes compete with remembrance of the Holocaust. The singers’ condemnation of French c
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Fazakas, Ádám Sándor. "The Evolution of the Harmonium: From Ancient China to Beloved Instrument in France." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (2024): 229–40. http://dx.doi.org/10.24193/subbmusica.2024.1.17.

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The harmonium’s journey begins with ancient Chinese instruments like the sheng, which inspired European innovations such as the regal and later the Orgue expressif. These early instruments laid the groundwork for Alexandre-François Debain’s invention of the harmonium in 1842. Debain’s harmonium patent introduced a revolutionary instrument characterized by its blow-feed air system and distinct sound registers. This invention marked a significant advancement in musical instrument design, providing musicians with greater tonal control and expression. Harmonium’s history reflects centuries of expe
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Roberts, Martin. "‘A new stereophonic sound spectacular’: Shibuya-kei as transnational soundscape." Popular Music 32, no. 1 (2013): 111–23. http://dx.doi.org/10.1017/s026114301200058x.

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AbstractThis paper focuses on Shibuya-kei, a style of independent popular music that emerged in Japan in the late 1980s and which has been influential in the popularisation of J-pop worldwide. Although usually treated as a uniquely Japanese musical genre, Shibuya-kei was from its inception defined by an ostentatious internationalism, fusing jazz, easy listening and bossa nova with British, American and French retro-pop styles. Tracing the international itineraries of Shibuya-kei musicians and the role of Western musicians and labels in promoting it outside Japan, this paper characterises Shibu
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Gibert, Marie-Pierre, and Nadia Kiwan. "Artistic identities and professional strategies: Francophone musicians in France and Britain." Modern & Contemporary France 24, no. 3 (2016): 253–69. http://dx.doi.org/10.1080/09639489.2015.1127220.

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Peters, Gretchen. "Urban minstrels in late medieval southern France: opportunities, status and professional relationships." Early Music History 19 (October 2000): 201–35. http://dx.doi.org/10.1017/s0261127900001996.

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By piecing together fragments of diverse archival evidence, it is possible to document a large minstrel population in urban settings in late medieval southern France that was able to support itself through a multiplicity of freelance activities and complex working relationships. Information concerning the urban minstrel in medieval Europe is usually drawn from city accounts and contracts providing details concerning the duties, function and wages of civic musicians. In order to create a multi-dimensional image of the urban minstrel, however, a wide variety of archival sources needs to be explo
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RodrÍguez, Eva Moreda. "Why do Orchestral and Band Musicians in Exile Matter? A Case Study from Spain." Music and Letters 101, no. 1 (2020): 71–88. http://dx.doi.org/10.1093/ml/gcz080.

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Abstract Even though scholarship on music and exile under Franco has grown steadily for the past three decades, little attention has been paid thus far to exiled performers who were active primarily as members of orchestras and bands. This article makes an initial contribution to this field by focusing on the Banda Madrid as a case study. The Banda Madrid was founded in the spring of 1939 in the internment camp of Le Barcarès (France) by Rafael Oropesa. Its members went into exile in Mexico City and became a fixture of the Spanish exile community until 1947. I discuss how the Banda Madrid and
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Privat, Jaumes. "Border lines." Voix Plurielles 21, no. 1 (2024): 132–33. http://dx.doi.org/10.26522/vp.v21i1.4693.

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Author and artist Jaumes Privat lives in Aveyron in the south of France. His first creations date back to 1968. From 1971 to 1975, he became close to Lutte occitane, a political movement against the extension of the Larzac military camp (Aveyron). Since then, he has created his own artist books, exhibited, performed, and worked with musicians. He is an important author from the south of France. Dans les deux textes choisis ici, la source poétique occitane est rayée pour laisser place à une langue dominante (français ; anglais). Ces lignes frontières évoquent l’histoire linguistique de tout un
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Brooks, Jeanice. "O QUELLE ARMONYE: DIALOGUE SINGING IN LATE RENAISSANCE FRANCE." Early Music History 22 (August 2003): 1–65. http://dx.doi.org/10.1017/s0261127903003012.

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François de Billon’s Fort inexpugnable de l’honneur du sexe feminin (1555) was among the most extensive contributions to the sixteenth-century polemic on the nature of women known as the querelle des femmes. In keeping with the military connotations of its title, Billon’s ‘impregnable fortress’ is an exercise in bellicose rhetoric; his sallies are illustrated with woodcuts of roaring lions and fire-spitting cannons to heighten the effect of bravado. In the section on women’s musical gifts, he vaunts the ‘angelic sweetness’ of the female singing voice, and claims that although male musicians mo
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Dissertations / Theses on the topic "Musicians, france"

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Dufour, Valérie. "Stravinski et les exégètes: positions critiques et stratégies discursives, 1910-1940." Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211125.

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Gioanni, Florence. "La société aristocratique française du XVIème siècle et la musique le cas de Marguerite de Valois (1553-1615) /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1996. http://books.google.com/books?id=5DizAAAAIAAJ.

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Hamer, Laura Ann. "Musiciennes : women musicians in France during the interwar years, 1919-1939." Thesis, Cardiff University, 2009. http://orca.cf.ac.uk/55842/.

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The musical life of interwar France (1919-39) has fascinated many writers however, the part played by women musicians has been much neglected. This thesis seeks to rectify this situation by presenting a study of the activities and reception of the musiciennes of interwar France. The thesis is divided into three parts: part one provides a contextual framework within which to situate the pursuits of women musicians by considering both their contemporary social position and the gender- specific conditions which affect the lives, careers, and reception of musiciennes. Part two focuses on conductor
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Fry, Andy. "De la musique negre au jazz francais : African-American music and musicians in interwar France." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399455.

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Freedman, Richard. "Music, musicians and the house of Lorraine during the first half of the sixteenth century /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb400634356.

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Mamola, Bethany Grace. "Perseverance in the Face of Totalitarianism: The Life and Legacy of Józef Zygmunt Szulc in Nazi Occupied France." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505262/.

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The Reichsleiter Rosenberg Task Force of 1940, initiated a systematic confiscation of items belonging to Jews throughout Europe. Because of this task force and Hitler's decrees, Jews across Europe were labeled as stateless, and were stripped of ownership and rights to property. Not only did these actions devastate Jews economically, but intellectually and artistically as well. In parts of occupied France, this task force was legitimized by Vichy laws under the label of the Commissariat Générale aux Questions Juives (General Commission for Jewish Issues) and enabled Nazi officials to closely wa
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Élissèche, Charles-Yvan. "La vie musicale à la Sainte-Chapelle de Paris aux XVIe et XVIIe siècles : étude du personnel musical." Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2012.

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La thèse, fondée sur l’étude systématique des sources de première main, porte sur le personnel ecclésiastique et sur la vie musicale. Un fait propre à la Sainte-Chapelle est ainsi mis en avant : l’interdépendance du statut ecclésiastique et de la place de musicien. La vie musicale à la Sainte-Chapelle de Paris aux XVIe et XVIIe siècles n’a pas été réévaluée après Michel Brenet (1910). L’exploitation des sources, le développement des études liturgiques et les avancées de la recherche musicologique permettent de renouveler la connaissance de cette église et de sa musique. En fondant la chapelle
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Delpech, Louis. "Frantzösische Musicanten. Musique et musiciens français en Basse-Saxe et en Saxe (1666-1733)." Thesis, Poitiers, 2015. http://www.theses.fr/2015POIT5004.

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Alors que de nombreux travaux ont déjà mis en lumière la circulation de musiciens et de genres musicaux italiens au Nord des Alpes durant les XVIIe et XVIIIe siècles, la musique française est encore largement perçue, pour reprendre l'expression de Rousseau, comme « indéchiffrable pour toute autre nation ». Reconduisant le paradigme d'un isolement musical de la France au sein d'une Europe baroque tout acquise à la musique italienne, l'historiographie a eu tendance à sous-estimer le rôle des transferts musicaux depuis la France dans la vie musicale européenne, et singulièrement allemande. Plusie
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Marchan, Francis. "Musiciens et orchestres de bal en Limousin." Paris, EHESS, 1993. https://hal-unilim.archives-ouvertes.fr/tel-01172026.

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A partir d'une centaine de questionnaire de musiciens de bal en limousin, l'etude permet d'analyser la morphologie de cette population (caracteristiques sociologiques et musicales) ainsi que les mecanismes de fonctionnement et de regulation des structures ou elle evolue (les orchestres). La specificite des acteurs apparait (issus de milieux modestes, ayant souvent un metier principal sans rapport avec la musique), de meme que la coexistence de deux types d'orchestres (typologies revelees par les analyses factorielles des correspondances). Mis a part les chefs d'orchestres (accordeonistes, fond
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Hennebelle, David. "Aristocratie, musique et musiciens à Paris au XVIIIe siècle." Lille 3, 2006. http://www.theses.fr/2006LIL30026.

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Le champ relationnel qui unissait les milieux aristocratiques, la musique et les musiciens, fut le principal mode de structuration de la vie musicale du siècle des Lumières. Avec des motivations et des aptitudes diverses, des aristocrates fortunés protégeaient des musiciens, entretenaient des orchestres privés, acceptaient des dédicaces, contribuaient à élargir le marché de la musique ou affirmaient leur goût musical en se livrant eux-mêmes fréquemment à la pratique msuicale. Depuis les musiques de l'éloge jusqu'à l'avant-garde, le patronage musical aristocratique connut alors son âge d'or, pr
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Books on the topic "Musicians, france"

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T, Boisvert, and Durif Olivier, eds. Musiciens traditionnels d'en France =: Traditional musicians from France : Portraits-Contacts. Centre National d'Action Musicale, 1989.

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T, Boisvert, Durif Olivier, and CENAM (Center :. France), eds. Musiciens traditionnels d'en France: Portraits, contacts = Traditional musicians from France. CENAM, 1989.

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Malik, Abd al. Qu'Allah bénisse la France! Albin Michel, 2004.

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Dutilh, Alex. Jazz en France en 1993. AFAA, 1993.

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Thierry, Delcourt, Tenaille Frank, and Leloir Jean-Pierre, eds. La Chanson en France: Chanteurs, chanteuses et groupes, portraits, contacts, adresses - Song in France : singers and groups. CENAM, 1986.

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Malik, Abd al. Sufi rapper: The spiritual journey of Abd al Malik. Inner Traditions, 2009.

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J. M. Bettencourt da Câmara. Francisco de Lacerda: Musicien portugais en France, 1869-1934. Centre Culturel C. Gulbenkian - Portugal, 1996.

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Belicha, Roland. Kurt Weill et la France. Éditions Au Net, 2011.

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Tillet, Evrard Titon du. Vies des musiciens et autres joueurs d'instuments du règne de Louis le Grand. Gallimard, 1991.

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Benitez, Vincent Perez. Olivier Messiaen: A research and information guide. Routledge, 2008.

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Book chapters on the topic "Musicians, france"

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Coldwell, Maria V. "Jougleresses and Trobairitz: Secular Musicians in Medieval France." In Women Making Music. Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-09367-0_3.

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Costa, Jacopo. "Popular Music in France and Action Culturelle When Musicians Become Cultural Policy Agents." In The Palgrave Handbook of Critical Music Industry Studies. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-64013-1_29.

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Bane, Michael A. "To Compliment a Musical Friend: Amateur Musicians and Their Audiences in France, ca. 1650–1700." In Audience and Reception in the Early Modern Period. Routledge, 2021. http://dx.doi.org/10.4324/9781003132141-2.

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Carbonnier, Youri. "Chapitre IV. Faire carrière au service du roi de France." In Les derniers musiciens du roi. Presses universitaires de Rennes, 2025. https://doi.org/10.4000/13e9j.

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Buscatto, Marie, Soline Helbert, and Ionela Roharik. "2. French Opera." In Gender-Based Violence in Arts and Culture. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0436.02.

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In the years following the 2017 #MeToo movement, the French classical music world has experienced a huge social media increase of testimonies and discussions related to gender-based violence. In August 2020, a storm broke over the professional world of opera: French soprano Chloé Briot announced in La Lettre du Musicien that she had lodged a complaint against a fellow singer, whom she accused of sexually assaulting her on stage during a performance of The Flood, declaring that she wanted to ‘put an end to the law of silence’. The information was immediately relayed and discussed in various med
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Ben-Amos, Avner. "Funerals of Scientists, Writers, and Musicians." In Funerals, Politics, and Memory in Modern France, 1789–1996. Oxford University Press, 2000. http://dx.doi.org/10.1093/acprof:oso/9780198203285.003.0009.

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Tyler, James, and Paul Sparks. "France: The Royal Guitarists." In The Guitar and its Music. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198167136.003.0007.

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Abstract During the mid-sixteenth century, musicians, printers, and poets associated with the French court developed a sizeable repertory for the four-course guitar that was both charming and distinctive, and the instrument enjoyed a decades-long period of immense popularity. By the dawn of the seventeenth century, however, the guitar had fallen so out of fashion that it had to be virtually reintroduced—this time as the five course Spanish guitar, and this time, it seems, by a Spanish guitarist, Luis de Briceño.
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Tyler, James, and Paul Sparks. "The Mandoline in France." In The Early Mandolin. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198163022.003.0007.

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Abstract The eighteenth century was for France a period of massive economic decline, with the French people becoming increasingly unwilling to foot the bill for royal extravagance and for the disastrous series of wars in which the country was engaged. By the end of the Seven Years War (1756-63) fought against Britain and Prussia, France was virtually bankrupt.But against this backdrop of national insolvency, the elegant life of the titled and wealthy continued unabated, refusing to recognize the mounting economic crisis in France. Art, and in particular music, was eagerly patronized by the pri
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Hart, Brian J. "Session 32: Early Twentieth-Century France." In Musicology And Sister Disciplines Past,Present,Future. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0125.

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Abstract During the first decade of this century, music in France was strongly influenced by political concerns that developed as a result of the Dreyfus Affair. Musical genres became subject to political interpretation, and among these the symphony incited particular controversy. Political interests affected the symphony in three ways. First, many musicians projected partisan qualities upon the symphony and either lauded the genre as the embodiment of tradition or damned it as the musical incarnation of political reaction and German hegemony. Second, some symphonies contained political messag
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Gjerdingen, Robert O. "The Beaux-Arts Framework." In Child Composers in the Old Conservatories. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0020.

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The Institute of France has for centuries controlled royal or public support for the arts in France. Under its wings it has both a School of Fine Arts for the visual arts and the Paris Conservatory for music, as well as many other institutions. The schools of fine arts and music were set up along the similar lines. The goal was to train the next generation of artists and musicians in the classic arts of a past golden age. For visual artists, sculptors, and architects, this meant the art of ancient Greece and Rome. For musicians, this meant the art of sixteenth- to eighteenth-century Italy. For
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Conference papers on the topic "Musicians, france"

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Pettaway, Charles. "Introducing an Unknown African Composer to the World- at- Large During the Age of Enlightenment." In 5th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2024. http://dx.doi.org/10.62422/978-81-968539-1-4-036.

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Joseph Bologne, Le Chevalier de Saint- Georges was a Gemini (June 9,1745). His historical background as a biracial man of color who took France by storm, England and even the second president, of the United States, John Adams stated; “St Georges was such an incredible shot that he could hit a tiny button on the coat or waistcoat of the greatest masters.” “He could even hit a coin as it was tossed in midair.” I will discuss his early upbringing on the island of Guadeloupe from a union of a wealthy white Frenchman and a slave woman named Nanon. In France, he rose to unbelievable heights as a fen
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"New Tool for a Musician." In June 20-21, 2018 Paris (France). Universal Researchers, 2018. http://dx.doi.org/10.17758/uruae2.ae06184024.

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Iatesen, Loredana. "MODERN RECEPTION OF THE MUSICIAN FRANCIS POULENC." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.028.

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Müller, Welleda. "Figures du musicien dans l’art gothique en France Instruments et corps mis en jeu." In Figure(s) du musicien. Corps, gestes, instruments en texte. Fabula, 2016. http://dx.doi.org/10.58282/colloques.4069.

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Paulo, Avner, Carlos Eduardo Oliveira De Souza, Bruna Guimarães Lima e Silva, Flávio Luiz Schiavoni, and Adilson Siqueira. "Black Lives Matter." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10459.

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The Brazilian police killed 16 people per day in 2017 and 3/4 of the victims were black people. Recently, a Brazilian called Evaldo Rosa dos Santos, father, worker, musician, and black, was killed in Rio de Janeiro with 80 rifle bullets shot by the police. Everyday, the statistics and the news show that the police uses more force when dealing with black people and it seems obvious that, in Brazil, the state bullet uses to find a black skin to rest. Unfortunately, the brutal force and violence by the state and the police to black people is not a problem only in this country. It is a global real
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Reports on the topic "Musicians, france"

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Keogh, Brendan, Dan Golding, and Taylor Hardwick. Australian Music and Games 2023 Benchmark. Queensland University of Technology and Swinburne University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.243139.

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Digital games are a global cultural force, of which music is a foundational aspect. Music is crucial for digital games to develop atmosphere, convey narratives, and frame player interactions. At the same time, digital games provide musicians exciting new opportunities to experiment with dynamic, adaptive, and non-linear music structures. However, writing, producing, licensing, and implementing music for digital games also poses new challenges to existing screen music practices and business models. This benchmark is the first ever investigation into the scope and scale of Australia’s game music
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