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Journal articles on the topic 'Musicians, france'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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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De Oliveira, João Vicente Ganzarolli. "Louis Ciccone and his historical book on blind musicians: urgency of translation and continuity." Fragmentos de Cultura 27, no. 3 (2017): 413. http://dx.doi.org/10.18224/frag.v27i3.5617.

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This article addresses the question of Louis Ciccone’s “Les musiciens aveugles dans l’histoire” (2001) importance in the field of researches concerning the world of the blind and the very History of Culture. Ciccone was blind from birth. Extraordinary gifted as a musician, a teacher and a scholar, Ciccone was the head of the Association Valentin Haüy (Paris, France) between 1987 and 1997. Close comparison with earlier essays on the same field of research lead us to the conclusion that Ciccone’s essay in one of a kind. Let us hope that this master piece of concision and profoundness will achiev

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Ellis, Katharine. "Singing through Anticlerical Storms." Journal of Musicology 42, no. 1 (2025): 31–62. https://doi.org/10.1525/jm.2025.42.1.31.

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Amid nationwide debates in Third Republic France as to whether good Catholics could serve the church but also “rally” to the Republic, a project to set up a municipal/national music school in Moulins, to the financial detriment of the local cathedral choir school, suggests an environment of straightforward musical and confessional antagonism. The close-up view is more complex, however. Long-standing alliances among musicians and clerics turn out to be at odds with separatism at the town council, ministerial inspectors become choir school defenders, and at the national level we find different m

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WILFORD, STEPHEN. "‘Seeing’ Music in Early Twentieth Century Colonial Algeria." Twentieth-Century Music 19, no. 1 (2022): 65–92. http://dx.doi.org/10.1017/s1478572221000220.

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AbstractPostcards played an important role throughout the first half of the twentieth century in French-ruled Algeria, offering a fast and affordable means of communication between North Africa and Europe for French citizens working and travelling in the Maghreb. Alongside depictions of beautiful scenery and highly exoticized subjects, a large body of postcards portrayed musicians, musical instruments, and musical performances. This article considers how these postcards shaped French understanding of Algerian music, and Algerian culture more broadly. Algerian musicians were unlikely to appear

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HOŞCAN, Bahar. "JOSEPH BOULOGNE, THE CHEVALIER DE ST GEORGE: 18. YÜZYIL FRANSASININ UNUTULMUŞ SİYAHİ BESTECİSİ." Balkan Müzik ve Sanat Dergisi 3, no. 2 (2021): 77–96. http://dx.doi.org/10.47956/bmsd.996017.

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Joseph Boulogne, the Chevalier de St George is one of the interesting and fascinating characters of the 18th century France. He was one of the first black musicians of his time. He was a master of fencing, a classical music composer, personal music teacher to Marie Antoinette, an active abolitionist and a colonel to the Legion of Saint Georges, the first black regiment formed in France and Europe. The aim of this research to introduce this mostly forgotten and underestimated violinist and composer to the Turkish reader. Among the research done the course of this work, very little information w

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Berteaux, John Anthony. "Black France, Black America: Engaging Historical Narratives." Cosmopolitan Civil Societies: An Interdisciplinary Journal 9, no. 2 (2017): 57–71. http://dx.doi.org/10.5130/ccs.v9i2.5474.

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Abstract During the first quarter of the 20th Century a small group of black intellectuals, artists, and musicians abandoned the United States for Paris. The rumor was that the French did not believe in racist theories – that France offered blacks social and economic opportunities not available in the States. This paper critically examines that narrative as well as North America’s melting pot legend – an expression of the promise of America made popular in 1909 by playwright Israel Zangwill. The stories that we tell about ourselves as a nation are important because our moral sentiments are fre

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Tinker, Chris. "Coming out and beyond: press coverage of popular music artists Emmanuel Moire and Eddy de Pretto." Contemporary French Civilization: Volume 46, Issue 1 46, no. 1 (2021): 75–102. http://dx.doi.org/10.3828/cfc.2021.4.

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Through an analysis of French mediated celebrity discourse this article examines how pop musicians negotiate same-sex desire and self-disclosure in contemporary France. Coverage of Eddy de Pretto and Emmanuel Moire in popular online magazine and newspaper articles is analyzed in terms of a framework that takes into account the context of dominant and normalizing discourses. Coverage exhibits a substantial range of shared and individual approaches, effectively combining normative and queer representations, French values of republicanism, filiation, and existential authenticity, as well as Anglo

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Nugent, George. "Anti-Protestant Music for Sixteenth-Century Ferrara." Journal of the American Musicological Society 43, no. 2 (1990): 228–91. http://dx.doi.org/10.2307/831615.

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This study explores the motivations that lie behind three polyphonic works by musicians active at Ferrara and Mantua in the first half of the sixteenth century: a motet by Maistre Jhan, and a motet and mass by Jacquet. The background that links all three is the intense campaign that was waged between reform and orthodoxy. Music and visual art were sometimes put to use as propaganda. The Este and Gonzaga families who ruled the two states were related by blood and political alliances. They had strong reasons to defend the orthodox religion; they were also deeply persuaded of music's communicativ

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Romey, John. "AN INSTRUMENT ‘WITH WHICH GENTLEMEN, MERCHANTS AND OTHER MEN OF VIRTUE PASS THEIR TIME’: THE VIOLA DA GAMBA IN SIXTEENTH-CENTURY FRANCE." Early Music History 42 (October 2023): 235–75. https://doi.org/10.1017/s0261127924000056.

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AbstractIn sixteenth-century France, the viol emerged as a symbol of cultural refinement enjoyed by men of virtue and as a tool to shape bourgeois leisure to reflect noble ideals of a moral and virtuous life. Viols appeared at the French court alongside the transalpine migration of artists, artisans and musicians, the acquisition of prized Italian string instruments and the recruitment of the luthier Gaspar Duiffoprugcar, master of the latest innovations in Italian instrument building. Learning to play viol and lute became essential for the education of nobles because of the belief that they c

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Dubois, Vincent, and Jean-Matthieu Méon. "The Social Conditions of Cultural Domination: Field, Sub-field and Local Spaces of Wind Music in France." Cultural Sociology 7, no. 2 (2013): 127–44. http://dx.doi.org/10.1177/1749975512473748.

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This paper is based on research on wind music in France, where this music is situated at the lowest level in the cultural hierarchy. We examine this music from three points of view: (1) in light of its position in the musical field, (2) as a specific sub-field and (3) at the local level of concrete practices. Then, thanks to the socio-cultural mapping of the orchestras and of their musicians, we establish various combinations of these three levels in the concrete and symbolic organization of musical activities. This framework allows us to evaluate the various degrees of exposure to cultural do

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Anderson, Julian. "MESSIAEN AND THE NOTION OF INFLUENCE." Tempo 63, no. 247 (2009): 2–18. http://dx.doi.org/10.1017/s0040298209000011.

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In 1989, I bought a CD in Paris of the early piano music of André Jolivet. Like many non-French musicians, I had read the name of Jolivet but heard little of his music. Jolivet's reputation as Varèse's leading pupil and the extreme avant-gardist of the pre-World War II group La Jeune France seemed completely at odds with his conventional post-War music occasionally broadcast on Radio 3, such as the Concertos for Trumpet, Piano or Ondes Martenot–music which suggested not fully assimilated influences of Honegger or Hindemith, with little obviously adventurous about it in its rhythmically conserv

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Coulangeon, Philippe, Hyacinthe Ravet, and Ionela Roharik. "Gender differentiated effect of time in performing arts professions: Musicians, actors and dancers in contemporary France." Poetics 33, no. 5-6 (2005): 369–87. http://dx.doi.org/10.1016/j.poetic.2005.09.005.

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Rubinoff, Kailan R. "Toward a Revolutionary Model of Music Pedagogy." Journal of Musicology 34, no. 4 (2017): 473–514. http://dx.doi.org/10.1525/jm.2017.34.4.473.

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Established in 1795 in the aftermath of the French Revolution, the Paris Conservatoire emerged from a training school for National Guard musicians. Aligned with the French Republic’s broader educational reforms, the Conservatoire was marked by its secularization, standardized curriculum, military-style discipline, and hierarchical organization. Among its most ambitious achievements was the publication of new instruction treatises from 1799 to 1814. Covering elementary theory, solfège, harmony, and all the major instruments, these methods articulated the Conservatoire’s pedagogy and circulated

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Wathey, Andrew. "The peace of 1360–1369 and Anglo-French musical relations." Early Music History 9 (October 1990): 129–74. http://dx.doi.org/10.1017/s0261127900001017.

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The Treaty of Brétigny, concluded in May 1360, inaugurated the longest period of peace between England and France that the century had yet seen. Although the English success in this agreement later turned out to be less than complete, the king and higher nobility in England could now look to the consolidation of their position in the overseas dependencies of Brittany, Gascony and Ponthieu, to the enjoyment of their new-found wealth at home, and to a superficially more amicable relationship with French magnates. External relations were thus transformed, and the period between 1360 and 1369 also

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Panov, Alexey A., and Ivan V. Rosanoff. "Performing Ornaments in English Harpsichord Music. Part I." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 381–92. http://dx.doi.org/10.21638/spbu15.2021.302.

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The article deals with the problems of interpreting English ornaments (embellishments, graces) of the second half of the 17th century in the process of their evolution. The authors consistently analyze the recommendations of the early English musicians Edward Bevin, Christopher Simpson, Matthew Locke, John Playford, and Henry Purcell. Emphasis in this study is allotted to the first ever published in England full table of ornaments with their execution written by Christopher Simpson in his The Division-Violist (London, 1659). Detailed consideration here is given to the ornament named “Shaked Be

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Agapova-Strizhakova, Elena A. "Gregorian Chant in Organ Sonatas by J.-N. Lemmens." Contemporary Musicology, no. 2 (2022): 107–19. http://dx.doi.org/10.56620/2587-9731-2022-2-107-119.

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The 1860s played a special role in the history of organ music in Belgium and France. This period was marked by the active development of substantive repertory and the establishment of the Franco-Belgian organ school. All the advances of this period could not be possible without the contribution of the Belgian composer, organist and teacher Jacques-Nicolas Lemmens. Brought up on the traditional for Catholic Belgium Gregorian chants and the organ works by Johann Sebastian Bach, Lemmens managed to organically transfer Bach's principles of working with Lutheran chant to completely different materi

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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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Aterianus-Owanga, Alice. "Dancing an Open Africanity: Playing with “Tradition” and Identity in the Spreading of Sabar in Europe." Open Cultural Studies 3, no. 1 (2019): 347–61. http://dx.doi.org/10.1515/culture-2019-0030.

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Abstract This paper describes one of the constructions of African identity that occur through the spreading of sabar in European cities. Basing on a multi-sited fieldwork between Dakar, France and Switzerland, this paper traces the local roots and transnational routes of this Senegalese dance and music performance and presents the “transnational social field” (Levitt and Glick-Schiller) that sabar musicians and dancers have created in Europe. It analyses the representations of Africanity, Senegality and Blackness that are shared in Sabar dances classes, and describes how diasporic artists cont

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Șabac, Karina. "The Forgotten Sounds of a Century. Romanian Music and Lithographies From the 19th Century: Reflections on Half a Century of Censorship." Musicology Today: Journal of the National University of Music Bucharest XIV, no. 55 (2025): 207–35. https://doi.org/10.69608/mt.55.05.

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Towards 1850, a fully developed industry of editors, lithographers, instrument-manufacturers from UK, Germany, France, and Austria arrived with its 400 years old legacy to a region deeply steeped in folklore and Byzantine traditions: the Romanian Principalities. At this point we see arguably one of the fastest cultural transformations of a nation, the process of assimilation of occidental standards being greatly catalyzed by the instauration of a new constitutional monarchy in Romania with King Carol I (1866-1914) and the innovative Queen Elisabeth (1869-1916). As my research revealed, she has

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Elekes, Marta-Adrienne. "Párizsi járvány és művészvilág." Symbolon 23, SI (2022): 11–23. http://dx.doi.org/10.46522/s.2022.s1.2.

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When reading music history writings, music textbooks a while ago, we quickly skipped those statements as “in that year cholera was raging in the city”, or “everybody who had the possibility moved to the countryside away from the epidemic”. Today however, as a global pandemic hit us as well, we are getting caught up in these findings, and we are reading every detail with special attention. It is a fact that in the spring of 1832, Paris suffered a widespread cholera epidemic, resulting in 18,400 deaths in the city and nearly 100,000 in France. We wonder how this affected the contemporary art lif

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Huebner, Steven. "Classical Wagnerism." Journal of Musicology 34, no. 1 (2017): 115–47. http://dx.doi.org/10.1525/jm.2017.34.01.115.

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The works of Richard Wagner have been celebrated for their impact on progressive elements in European culture, as a bridge from romanticism to modernism. In France the influence of Wagner on symbolist writers and artists, and musicians sympathetic to them, has emerged as particularly significant. But there was also a conservative response to Wagner that has received much less attention in the scholarly literature. This filiation is exemplified in the figure of Albéric Magnard and his opera Bérénice (1911), which he claimed was influenced by a “classical” Wagner. This article considers the clas

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GUERPIN, MARTIN. "From the History of Jazz in Europe towards a European History of Jazz: The International Federation of Hot Clubs (1935–6) and ‘Jazz Internationalism’." Journal of the Royal Musical Association 147, no. 2 (2022): 582–94. http://dx.doi.org/10.1017/rma.2022.27.

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‘Hot clubs’ proliferated all over Europe and the United States during the 1930s. For a brief period (1935–6), they joined forces in an International Federation of Hot Clubs (IFHC), the main purpose of which was to link together devotees in search of American hot jazz recordings at a time when they were difficult to find and buy in Europe, since that sub-genre was less popular and commercially successful than what was then called ‘straight’ jazz. The expression ‘hot jazz’ was coined by jazz musicians at the end of the 1920s and referred to a style based on performance and improvisation rather t

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Nazarska, Georgeta. "Emigrants, Travelers, and Escapers: the Haidutoff Family between Occident and Orient." Balkanistic Forum 30, no. 2 (2021): 166–84. http://dx.doi.org/10.37708/bf.swu.v30i2.10.

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The article examines the migrations of young Bulgarians abroad in the 1920-1930s, caused by the Great Depression and in particular the labor migrations of Bulgarian musicians in Egypt and the Near East and their cultural and social interactions with the Bulgarian diaspora there and with the local population. The focus of the study is the travels of the Haidutoff family – a musical trio that has made a living in Egypt for many years, and in the 1920s-1930s traveled and gave concerts in Argentina, France, Italy, Germany, Belgium, Switzerland, Australia and Java island, then returned to Bulgaria

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Grier, James. "Adémar de Chabannes (989–1034) and Musical Literacy." Journal of the American Musicological Society 66, no. 3 (2013): 605–38. http://dx.doi.org/10.1525/jams.2013.66.3.605.

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Abstract In the second half of 1027, Adémar de Chabannes contributed the musical notation to the production of an elaborate liturgical manuscript (currently Paris, Bibliothèque nationale de France, MS latin 1121) at the scriptorium of Saint Martial in Limoges. While doing so, he introduced the innovative technique of placing the neumes in strict alignment along the vertical axis of writing in accordance with their relative pitch. The accurate heighting of the neumes revolutionized the teaching of music at Saint Martial, and eventually throughout Aquitaine. Instead of relying on the rote commun

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HAINES, JOHN. "Living troubadours and other recent uses for medieval music." Popular Music 23, no. 2 (2004): 133–53. http://dx.doi.org/10.1017/s0261143004000133.

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This essay aims to expand on existing narratives of medieval music performance by exploring recent interpretations of the troubadours. Recent advances in the field of ethnomusicology, popular music and medieval music reception suggest the need to view medieval music performance in ways other than the conventional narrative of early music performance. This article focuses on the troubadours, originally song-makers in the late medieval Midi, or South of France. Based on my interviews with recent ‘living troubadours’ in the United States and France, I present evidence for multifarious musical int

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Navarrini, Lucia, and Annarosa Vannoni. "L’œuvre de Dante Alighieri comme source d’inspiration pour Augusta Holmès et Franz Liszt." Studia Musicologica 54, no. 4 (2013): 397–416. http://dx.doi.org/10.1556/smus.54.2013.4.6.

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Both Franz Liszt and Augusta Holmès wrote symphonic-choral works inspired by Dante; they composed them, however, in different periods. In this study we wish to associate the two composers not only for their respect and friendship that lasted several years, but because they have both offered an interpretation of Dante’s work, the Divina Commedia, that proved to be a significant source of inspiration for nineteenth-century musicians. What we find particularly important is not so much the substantial difference in their choice and interpretation of the text — that one could say was inspired by th

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Issiyeva, Adalyat. "Dialogues of Cultures." Revue musicale OICRM 3, no. 1 (2019): 71–92. http://dx.doi.org/10.7202/1060122ar.

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The influence of the Saisons Russes, with its utterly Orientalist appeal in defining French modernism and Western avant-garde culture in general, is widely known and discussed by many researchers from multiple perspectives (Schaeffner 1953, Garafola 1989, Davis 2010, Bellow 2013). Less emphasised to date is the fact that Russian Orientalism emerged from European stimuli and, in many respects, its very existence is indebted to French Orientalism. As the famous Russian Orientalist Vasily Bartol’d complained, “The Orient’s neighbour, Russia, despite its geographical proximity, often preferred rea

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McGowan, Margaret M. "The Arts Conjoined: a Context for the Study of Music." Early Music History 13 (October 1994): 171–98. http://dx.doi.org/10.1017/s0261127900001340.

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The conditions of artistic production in late sixteenth-century France required musicians and poets, composers and painters, choreographers and performers to work together. They shared the same objectives and they worked from the same aesthetic principles. Their common experience suggests that, as historians and analysts, we can enlighten the study of one art form – music or the dance, for example – by placing it within the context of others, assessing their interaction and their shared purpose. If this assumption is accepted we must consider issues of production, that is those practical matte

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Asan, Elmaz. "Elite culture of Early Modern Crimean Khanate: Western Travellers' Perceptions." Bitig Edebiyat Fakültesi Dergisi 4, no. 7 (2024): 31–42. http://dx.doi.org/10.69787/bitigefd.1413754.

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The statehood of the Crimean Tatars indigenous people of Crimea is little known worldwide. In the era of the Crimean Khanate, the Crimean Tatars cultivated elite culture characterised by a synthesis of European customs and Islamic religious traditions. The term "elite culture" refers specifically to the cultural society of the established aristocracy, the educated upper class, political influencers, and individuals active in fields such as education, art, literature, architecture, philosophy and the military. Elite culture in the Crimean Khanate can be described as the confluence of various in

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Gibson, Jonathan. "““A Kind of Eloquence Even in Music””: Embracing Different Rhetorics in Late Seventeenth-Century France." Journal of Musicology 25, no. 4 (2008): 394–433. http://dx.doi.org/10.1525/jm.2008.25.4.394.

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Abstract French rhetoricians of the seventeenth century——among them Franççois Féénelon, Bernard Lamy, Renéé Bary, and Renéé Rapin——brought about a profound shift in the landscape of their discipline. Their texts call into question the centrality of rhetorical figures (part of the elocutio), the dispositio, and other artful rhetorical precepts, while placing increased emphasis on delivery (pronuntiatio). In most cases, they realized this new emphasis via one of two novel approaches: the first relied upon a Cartesian taxonomy of the passions, whereas the second sought to abandon precepts altoget

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David-Guillou, Angèle. "Early Musicians' Unions in Britain, France, and the United States: On the Possibilities and Impossibilities of Transnational Militant Transfers in an International Industry." Labour History Review 74, no. 3 (2009): 288–304. http://dx.doi.org/10.1179/096156509x12513818419655.

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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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Nechesnyi, Ihor. "Etienne Ozi – «a great bassonist of incredible talent»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 68, no. 68 (2023): 33–53. http://dx.doi.org/10.34064/khnum1-68.02.

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Statement of the problem. Etienne Ozi stands out as a bassoonist due to his significant creative achievements in various spheres of his multifaceted activities. As a bassoonist soloist, he successfully debuted in the “Concerts Spirituels” and for more than two decades was actively performed in front of Parisians in the best halls of the capital. An equally significant achievement of Ozі as a teacher was the preparation of the first instructional manual for the specialists “Nouvelle m&#233;thode de basson adoptue par le Conservatoire” (1803), which remained the main official publication of

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Fader, Don. "The Manuscript Source of Philippe II d'Orléans's Cantates françaises: A New Light on Early Eighteenth-Century Transnational Networks of Connoisseurship and Collecting." Eighteenth Century Music 21, no. 2 (2024): 129–56. http://dx.doi.org/10.1017/s1478570624000010.

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AbstractThe rediscovery of a unicum manuscript source of cantates françaises by Philippe II d'Orléans in the Württembergische Landesbibliothek, Stuttgart, provokes a re-evaluation of not only the provenance of the collection to which it belongs, but also the role played by diplomacy, sociability and cultural exchange in the history of the cantate française. The manuscript's contents all reflect Philippe's use of international connections to acquire music and engage musicians in the period 1701–1706. The manuscript forms part of a corpus of French scores that belonged to Marie-Thérèse de Lannoy

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Maja, M. Vasiljevic. "Srpske vojne muzike u zemljama saveznika u Velikom ratu (1916-1918)." Vojnoistorijski glasnik/Military Historical Review, no. 2 (December 14, 2014): 20–41. https://doi.org/10.5281/zenodo.7436857.

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This paper results from research of archival collections and periodicalson orchestras and prominent musicians of Serbian Army in the Great War. An author extensively considers organization, conception and achievements of the military division orchestras/bands of the Kingdom of Serbia in the Great War. Most prominent orchestra of Serbia Army, Music of the Royal Guard and their conductor, composer Stanislav Binički, successfully toured France in September 1916. Author also examines the dynamic concert activities of the Music of the Cavalry Division conducted by Dragutin F. Pokorni in North Afric

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Minenko, Anatolii. "“School” of trombone playing as a means of developing European trombone art of the 19th century." Aspects of Historical Musicology 28, no. 28 (2022): 38–63. http://dx.doi.org/10.34064/khnum2-28.03.

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Statement of the problem. The historical context of the influence of trombone players on the performance style of European schools has not yet been studied despite the widespread use of method books “The schools of trombone playing” by all musicians, from amateurs to professionals. However, in the past, leading teachers and methodologists mainly from conservatories presented the performance trends of that time and developed new ones in their works, which guided the further development of the future generations’ performers. Recent research and publications. The issue of method books and their i

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Yermak, I. "Treatise by Aman Vanderhagen “Nouvelle méthode de flute” as a reflection of the performing arts of France in the second half of the 18th century." Musical art in the educological discourse, no. 3 (2018): 80–88. http://dx.doi.org/10.28925/2518-766x.2018.3.8088.

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For adequate reading of ancient musical texts, it is necessary to study the historical and cultural context and the specifics of the performing practice of that time when musical work has been written. It becomes possible when we study the treatises of past centuries, in which the main issues of musical theory and practice, technique and style are considered.No flute treatise has yet been translated into Ukrainian. Works by S. Ganassi, J.-M. Hotteterre, J. J. Quantz and J. G. Tromlitz are available in Russian. However, there are still about two hundred untranslated methodological treatises of

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Markstrom, Kurt. "The Eventual Premiere of Issipile: Porpora and the Palchetti War." Articles 33, no. 2 (2015): 53–69. http://dx.doi.org/10.7202/1032695ar.

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“Where Porpora is concerned, misfortune is bound to ensue. Beware, in faith, of having anything to do with his company.” Metastasio’s damning indictment of Nicola Porpora in a letter published in his Opere (the offending passage omitted from Charles Burney’s English translation) is put into the context of the “Palchetti Wars” in Rome in 1732/33 and a court case against the impresario Francesco Cavanna of the Teatro della Dame. The court case was filed by a group of musicians, presumably led by Porpora, after the cancellation of the premiere of his Issipile during the spring of 1732 as a result

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Andriuţa, Viorica. "3. Pianist Aurelia Simion - Talent, Creativity, Performance." Review of Artistic Education 25, no. 1 (2023): 16–21. http://dx.doi.org/10.2478/rae-2023-0003.

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Abstract Coming from a family of musicians, the descendant of a dynasty that traces its roots back to the 19th century, had Lia Oxinoit as a teacher at the pre-university cycle and Ludmila Vaverco at the Gavriil Musicescu State Conservatory from Chisinau. The artistic career of the pianist Aurelia Simion is impressive, ascending, marked by important professional successes realized in concerts and solo recitals or in collaboration with soloists, teachers, students and pupils, with participation in the Musical Olympics, in national and international competitions as an accompanist, member or pres

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Authelain, Gérard. "Music Education in France in Primary Schools." British Journal of Music Education 9, no. 3 (1992): 233–37. http://dx.doi.org/10.1017/s0265051700009116.

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‘Le musicien intervenant’ is a concept that has been developed in France especially to increase the scope of musical education, particularly in the elementary and pre-elementary schools. The ‘intervenants’ are not substitute teachers but are trained to work with school teachers as part of a team, offering children a high quality introduction to music. Intervenants also help to develop other musical activities in the localities where they work. Nine institutions throughout France (Centres de Formation de Musiciens Intervenant – CFMI) offer diploma courses. The author of this article is Director

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Parent, Arnaud. "Užsienio mokslininko adaptacija Lietuvos Didžiojoje Kunigaikštystėje: dr. Jeano-Emmanuelio Gilibertʼo atvejis". Lietuvos Didžioji Kunigaikštystė Luomas. Pašaukimas. Užsiėmimas, T. 5 (14 листопада 2019): 212–28. http://dx.doi.org/10.33918/23516968-005010.

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ADAPTATION OF A FOREIGN SCIENTIST IN THE GRAND DUCHY OF LITHUANIA: CASE OF DR JEAN-EMMANUEL GILIBERT On the basis of correspondence between Jean-Emmanuel Gilibert and the King of Poland and Grand Duke of Lithuania Stanislaw August, the article reveals issues of adaptation of a foreign scientist in the late eighteenth-century Grand Duchy of Lithuania. The attention is focused on the life of J.-E. Gilibert, his financial situation, his life and work conditions with the emphasis on health problems and psychological situation of the scientist, as well as the circumstances of his return to France.

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