Log in

Relevant bibliographies by topics / Paris Conservatory / Journal articles

To see the other types of publications on this topic, follow the link: Paris Conservatory.

Journal articles on the topic 'Paris Conservatory'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Paris Conservatory.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Gjerdingen, Robert O. "Music Theory Pedagogy: What Paul Taught Nadia." Music Theory and Analysis (MTA) 6, no. 2 (2019): 230–54. http://dx.doi.org/10.11116/mta.6.2.4.

Full text

Abstract:

The teaching of harmony in the United States, if judged objectively, has been a massive failure, even though a dedicated corps of fine musician-scholars labors to impart the curriculum to eager if not always adequately prepared students. These students are taught "about" harmony, as if the topic were really about tonality or the imaginary desires of chords. The only students who can perform and create harmony at a professional level are those who learned such skills outside the academy. The situation was not always so bleak. Nadia Boulanger, for example, learned the art of harmony from her tea

APA, Harvard, Vancouver, ISO, and other styles

2

Koroleva, Valentina A. "Desuete Names in the Musical Culture History of the Russian Far East: The Khabarovsk Professional Musical Education from the End of the 19th Century to the 1930s." Observatory of Culture, no. 4 (August 28, 2014): 82–87. http://dx.doi.org/10.25281/2072-3156-2014-0-4-82-87.

Full text

Abstract:

Deals with the first period of the musical education history in Khabarovsk, which is analysed within the frame of the general historical and cultural processes in the Far East. Basing on the local archives documents, the author reconstructs the life and activities of the Khabarovsk musical school founder Jadwiga Sventorzhezkaya, the alumna of the Paris Conservatory who was born into the noble Polish family. The names of the Khabarovsk Musical College professors Nikolsky and Shveinik persecuted in 1937 for political reasons are reintroduced to the regional culture history.

APA, Harvard, Vancouver, ISO, and other styles

3

FLETCHER, KRISTINE KLOPFENSTEIN. "THE PARIS CONSERVATOIRE CONTEST SOLOS FOR BASSOON." Music and Letters 71, no. 2 (1990): 306—b—307. http://dx.doi.org/10.1093/ml/71.2.306-b.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

JACOMY, B. "DU CABINET AU CONSERVATOIRE: Les instruments scientifiques du Conservatoire des Arts et Metiers a Paris." Journal of the History of Collections 7, no. 2 (1995): 227–33. http://dx.doi.org/10.1093/jhc/7.2.227.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Buryakova, Lyubov Aleksandrovna, and Irina Prokopyevna Dabaeva. "Musical and Theoretical Education in the Conservatoire de Paris." Общество: социология, психология, педагогика, no. 12 (2020): 180–94. http://dx.doi.org/10.24158/spp.2020.12.34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Obi-Keller, Janet. "DUTILLEUX IN CONTEXT: A STUDY OF HIS FORMATIVE YEARS." Tempo 62, no. 244 (2008): 19–32. http://dx.doi.org/10.1017/s0040298208000107.

Full text

Abstract:

It was at an interview towards the end of my research project in January 2005 that Henri Dutilleux, one of the most unique composers of the 20th and 21st centuries, granted me an exclusive opportunity to discuss aspects of his musical training. In the interview he reflects on his studies in the provinces and at the Paris Conservatoire:I did not study piano at the Conservatoire, nor did I study organ. I received my technique in the provinces. The Director of Douai tutored me well, which is why I was at a very good level when I entered the Conservatoire [Paris]. With my solid training, I was enc

APA, Harvard, Vancouver, ISO, and other styles

7

Greenberg, Michael. "La classe de contrebasse au Conservatoire de Paris 1826-1832." Revue de musicologie 86, no. 2 (2000): 301. http://dx.doi.org/10.2307/947405.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Hondré, Emmanuel. "Le Conservatoire de Paris et le renouveau du « chant français »." Romantisme 26, no. 93 (1996): 83–94. http://dx.doi.org/10.3406/roman.1996.3128.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Blanc, Alexis. "Le Musée des techniques du Conservatoire des arts et métiers, Paris." Museum International (Edition Francaise) 20, no. 3 (2009): 208–13. http://dx.doi.org/10.1111/j.1755-5825.1967.tb01755.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Spitzer, John. "The Entrepreneur-conductors and their Orchestras." Nineteenth-Century Music Review 5, no. 1 (2008): 3–24. http://dx.doi.org/10.1017/s1479409800002561.

Full text

Abstract:

The story of the orchestra in the nineteenth century usually focuses on two types of orchestras: theatre orchestras – such as La Scala, the Queen's Theatre (London), and the Paris Opéra – and concert societies – such as the Vienna Philharmonic, the London Philharmonic, the Société des Concerts du Conservatoire (Paris), and the New York Philharmonic. It concentrates on the conductors who led these orchestras, many of whom were also famous composers, such as Weber, Spontini, Berlioz, Mendelssohn and Wagner, whose works form a large part of today's ‘classical’ music repertory. This story is not w

APA, Harvard, Vancouver, ISO, and other styles

11

Hemmings, F. W. J. "The Training of Actors at the Paris Conservatoire during the Nineteenth Century." Theatre Research International 12, no. 3 (1987): 241–53. http://dx.doi.org/10.1017/s0307883300013705.

Full text

Abstract:

The original Ecole royale dramatique, forerunner of the Paris Conservatoire, was opened in 1786, which makes it an institution of truly venerable antiquity compared to our own stripling Royal Academy of Dramatic Art, founded relatively recently, in 1904, by Sir Herbert Tree. Its establishment on the eve of the French Revolution came as the culmination of thirty years of projects, argument and disappointment. The idea appears to have been first mooted by three of the leading actors of the Comédie-Française Lekain, Préville and Bellecourt, who on 4 September 1756 appended their signatures to a ‘

APA, Harvard, Vancouver, ISO, and other styles

12

Lévy, Sophie. "Diffuser, valoriser : la publication d’un ouvrage historique sur le Conservatoire de Paris." La Gazette des archives 231, no. 3 (2013): 257–70. http://dx.doi.org/10.3406/gazar.2013.5068.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Lervig, Philip. "Sadi Carnot and the Steam Engine: Nicolas Clément's lectures on industrial chemistry 1823–28." British Journal for the History of Science 18, no. 2 (1985): 147–96. http://dx.doi.org/10.1017/s000708740002210x.

Full text

Abstract:

Le manuscrit publié ici pour la première fois se compose des notes du cours de Chimie Industrielle professé par Nicolas Clément au Conservatoire National des Arts et Métiers à Paris en 1823, prises par le mathématicien L. B. Francoeur. Quelques extraits de ce même cours, datant de 1824–28, rédigés par J. M. Baudot, ont été ajoutés. Plusieurs de ces extraits ont déja été publiés précédemment.

APA, Harvard, Vancouver, ISO, and other styles

14

Polidori, Laurent, Elisabeth Simonetto, and Eric Labergerie. "L'Enseignement de la photogrammétrie au Conservatoire National des Arts et Métiers." Revue Française de Photogrammétrie et de Télédétection, no. 206 (June 19, 2014): 55–61. http://dx.doi.org/10.52638/rfpt.2014.39.

Full text

Abstract:

Malgré le rôle majeur du Prof. Laussedat, considéré comme le père de la photogrammétrie, cette technique n'est apparue au CNAM que dans les années 1930, avec la création de la chaire de Photogrammétrie et le recrutement d'Henri Roussilhe puis Georges Poivilliers. Après 1952, la photogrammétrie a été réservée aux formations de géomètres à Paris, Evry puis Le Mans. Cet article présente l'évolution de l'enseignement de la photogrammétrie auCNAM, des travaux pionniers d'Aimé Laussedat jusqu'à la formation des géomètres en photogrammétrie numérique.

APA, Harvard, Vancouver, ISO, and other styles

15

Kayas, Lucie. "Le Conservatoire de Paris et la médiation de la musique. Résistances et développements." Revue musicale OICRM 7, no. 2 (2020): 78. http://dx.doi.org/10.7202/1072416ar.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Campos, Rémy, and Remy Campos. "La classe au Conservatoire de Paris au XIXe siècle. Éléments pour une description." Revue de musicologie 83, no. 1 (1997): 105. http://dx.doi.org/10.2307/947033.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Bloom, Peter, and Emmanuel Hondre. "Le Conservatoire de Musique de Paris: Regards sur une institution et son histoire." Notes 52, no. 4 (1996): 1171. http://dx.doi.org/10.2307/898396.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Barlow, Jill. "London, Royal Academy of Music: Philippe Hersant." Tempo 58, no. 228 (2004): 76. http://dx.doi.org/10.1017/s0040298204350151.

Full text

Abstract:

Philippe Hersant (b. 1948 in Rome, graduated Paris Conservatoire, studied with André Jolivet), has been working with the French national radio station France-Musique since 1973 and has received many honours as composer in France. In February 2004 Radio France presented a ‘retrospective’ of his prolific output as well as the première of his Violin Concerto, a Radio France commission. His new opera, Le Maine Noir, based on Anton Chekov's story, will be premièred in May 2005.

APA, Harvard, Vancouver, ISO, and other styles

19

Hopkins, Bill. "Portraits of a Sonata." Tempo, no. 186 (September 1993): 13–14. http://dx.doi.org/10.1017/s004029820000303x.

Full text

Abstract:

Travelling to Paris in September 1964, the French Government having enabled me to present myself at the Conservatoire as a prospective pupil of Messiaen, I brought with me the ambition to meet Jean Barraque. He was, above all else, the composer of a Sonata, to a recording of which I had listened repeatedly, intently, and with an overwhelming apprehension of living greatness. If music meant anything today, only here was that meaning fully grasped, and it was to a like ideal that my own work falteringly aspired.

APA, Harvard, Vancouver, ISO, and other styles

20

Ginouvès, Véronique, Florence Descamps, and Florence Gétreau. "Du musée instrumental du Conservatoire de Paris au musée des Arts et Traditions populaires." Bulletin de l’AFAS, no. 46 (May 4, 2020): 154–65. http://dx.doi.org/10.4000/afas.4196.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Khruleva, Irina A. "The teaching practice of ornamentation in the treatise "A Singing Method.. of Paris Conservatoire." South-Russian musical anthology, no. 1 (2021): 104–12. http://dx.doi.org/10.52469/20764766_2021_01_104.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Rasmussen, Sasha. "Musicians, Students, Listeners: Women and the Conservatoire in pre-war Paris and St Petersburg." Cultural and Social History 18, no. 2 (2021): 221–42. http://dx.doi.org/10.1080/14780038.2021.1902608.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Ferrer Gallego, Pedro Pablo, and Emilio Laguna. "Typification of Celastrus senegalensis and C. europaeus (Celastraceae, Celastroideae)." Acta Botanica Malacitana 45 (September 14, 2020): 197–202. http://dx.doi.org/10.24310/abm.v45i.8967.

Full text

Abstract:

The nomenclatural types of Celastrus senegalensis Lam., basionym of the current name Maytenus senegalensis (Lam.) Exell, and C. europaeus Boiss., basionym of M. senegalensis subsp. europaea (Boiss.) Rivas Martínez ex Güemes & M.B. Crespo (Celastraceae, Celastroideae), are discussed. A specimen preserved in the herbarium P, at the Museum national d’Histoire naturelle of Paris, is treated in this work as the neotype of M. senegalensis, and a specimen kept in the herbarium G, at the Conservatoire et Jardin botaniques of Genève, is designated as the lectotype of M. senegalensis subsp. europea

APA, Harvard, Vancouver, ISO, and other styles

24

Ferrer Gallego, Pedro Pablo, and Emilio Laguna. "Typification of Celastrus senegalensis and C. europaeus (Celastraceae, Celastroideae)." Acta Botanica Malacitana 45 (September 14, 2020): 197–202. http://dx.doi.org/10.24310/abm.v45i.8967.

Full text

Abstract:

The nomenclatural types of Celastrus senegalensis Lam., basionym of the current name Maytenus senegalensis (Lam.) Exell, and C. europaeus Boiss., basionym of M. senegalensis subsp. europaea (Boiss.) Rivas Martínez ex Güemes & M.B. Crespo (Celastraceae, Celastroideae), are discussed. A specimen preserved in the herbarium P, at the Museum national d’Histoire naturelle of Paris, is treated in this work as the neotype of M. senegalensis, and a specimen kept in the herbarium G, at the Conservatoire et Jardin botaniques of Genève, is designated as the lectotype of M. senegalensis subsp. europea

APA, Harvard, Vancouver, ISO, and other styles

25

Garel, Gilles. "Enseigner le management de l’innovation au musée des Arts et Métiers." Revue Française de Gestion 47, no. 296 (2021): 27–48. http://dx.doi.org/10.3166/rfg.2021.00528.

Full text

Abstract:

Cet article présente une pédagogie oubliée, dite de la « démonstration », développée lors de la création du Conservatoire des arts et métiers à Paris en 1794 selon l’idée qu’il faut faire voir, montrer des objets, des machines en mouvement plutôt que d’expliquer abstraitement. En quoi un format imaginé à la fin du XVIIIe siècle peut-il contribuer aujourd’hui à la formation en management de l’innovation ? L’objectif est de présenter et de généraliser une innovation pédagogique consistant à déambuler dans les espaces du musée des Arts et Métiers pour comprendre les processus de gestion l’innovat

APA, Harvard, Vancouver, ISO, and other styles

26

Boivin, Jean. "Olivier Messiaen et le Québec : une présence et une influence déterminante sur la création musicale de l’après-guerre." Canadian University Music Review 17, no. 1 (2013): 72–97. http://dx.doi.org/10.7202/1014694ar.

Full text

Abstract:

À sa classe du Conservatoire de Paris, Olivier Messiaen a enseigné l’harmonie, l’analyse musicale ou la composition à un nombre important de musiciens et de compositeurs canadiens, pour la plupart nés ou vivant au Québec. Sa musique et ses idées ont eu un impact réel sur la création musicale d’avant-garde au Québec ainsi que sur l’enseignement de la composition surtout au cours des 15 années qui ont suivi la Seconde Guerre mondiale. Plusieurs des élèves québécois de Messiaen (par exemple Serge Garant, Clermont Pépin et Gilles Tremblay), sont devenus à leur tour des pédagogues et ont contribué

APA, Harvard, Vancouver, ISO, and other styles

27

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

28

Board, Editorial. "A Town Planner, Architect and Great Initiator Economic Develop." Global Journal of Enterprise Information System 8, no. 4 (2017): 104. http://dx.doi.org/10.18311/gjeis/2016/15781.

Full text

Abstract:

As a Deputy Mayor of Paris he is in charge of town planning, architecture, economic development and competitiveness will give a special lecture about Reinventer Paris, one of worlds biggest and most ambitious urban development projects fully based on participation that defined new use for as many as 23 sites. Jean- Louis Missika has been successively Adviser to the President of the French public broadcaster Antenne 2 (1979-1984), Research Director at the Prospective Research Department of the INA (National Institute of radio and television) (1985-1986), Editor of the journal Mediaspouvoirs (19

APA, Harvard, Vancouver, ISO, and other styles

29

Duchêne-Thégarid, Marie. "L’enseignement musical québécois à travers le prisme de la France : apprentis musiciens canadiens-français à Paris (1911-1943)." Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no. 1-2 (2017): 97–111. http://dx.doi.org/10.7202/1039616ar.

Full text

Abstract:

Pendant l’entre-deux-guerres, les pouvoirs publics et les pédagogues français s’efforcent d’attirer à Paris les élèves musiciens étrangers considérés par Henri Rabaud, directeur du Conservatoire, comme les « plus utiles propagateurs de la culture française ». Signe de cet intérêt, la fondation et le développement de l’École normale de musique et du Conservatoire américain de Fontainebleau, écoles dédiées à l’accueil de musiciens étrangers, coïncident avec ceux de l’Association française d’action artistique (AFAA), organisme chargé de la diffusion, à l’étranger, de l’art français. Le transfert

APA, Harvard, Vancouver, ISO, and other styles

30

Francis, Kimberly, and Sofie Lachapelle. "The Medical and the Musical: French Physiology and Late Nineteenth-Century Operatic Training." Cambridge Opera Journal 28, no. 3 (2016): 347–62. http://dx.doi.org/10.1017/s0954586716000458.

Full text

Abstract:

AbstractIn 1892, physician Achille Gouguenheim (1839–1901) was invited to teach a course on the physiology and hygiene of singing at the Paris Conservatoire. By that time, scientists had been interested in the mechanics of the ‘invisible’ singing voice for years, initially experimenting on human and animal cadavers using strings and weights to make dead larynges sing. By mid-century, with the development of better quality artificial lighting and mirrors, physicians and physiologists finally developed a better understanding of the relationship between voice and physiology. Meanwhile, by 1890, a

APA, Harvard, Vancouver, ISO, and other styles

31

Leonov, Valerij P. "Library Cape town (Following the Colloquium of the International Association of Bibliophiles)." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (June 28, 2015): 89–94. http://dx.doi.org/10.25281/0869-608x-2015-0-3-89-94.

Full text

Abstract:

International Association of Bibliophiles (IAB), established in 1961 in Paris, brings together librarians, publishers, collectors of rare books, conservators, conservation specialists, bookbinders, businessmen, lawyers, and diplomats. The Library of the Russian Academy of Sciences (BAN) is the Member of the IAB since 1994. BAN became the organizer of the Colloquium in St. Petersburg. Meetings of bibliophiles are held annually in different countries. The article presents the activities of the Colloquium of bibliophiles in Cape town (South Africa) in 2002. There are described the exhibitions of

APA, Harvard, Vancouver, ISO, and other styles

32

Lizun, Damian, Teresa Kurkiewicz, and Bogusław Szczupak. "Exploring Liu Kang’s Paris Practice (1929–1932): Insight into Painting Materials and Technique." Heritage 4, no. 2 (2021): 828–63. http://dx.doi.org/10.3390/heritage4020046.

Full text

Abstract:

This paper presents the results of an extensive study of 14 paintings by the pioneering Singapore artist Liu Kang (1911–2004). The paintings are from the National Gallery Singapore and Liu family collections. The aim of the study is to elucidate the painting technique and materials from the artist’s early oeuvre, Paris, spanning the period from 1929 to 1932. The artworks were studied with a wide array of non- and micro-invasive analytical techniques, supplemented with the historical information derived from the Liu family archives and contemporary colourmen catalogues. The results showed that

APA, Harvard, Vancouver, ISO, and other styles

33

de Pascual, Beryl Kenyon, and Florence Getreau. "Aux origines de la Musee de la Musique. Les collections instrumentales du Conservatoire de Paris 1793-1993." Galpin Society Journal 51 (July 1998): 202. http://dx.doi.org/10.2307/842773.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Loeser, Martin. "Zur Rezeption der Oratorien Haydns in Paris zwischen 1800 und 1850: Institutionelle und ästhetische aspekte." Studia Musicologica 51, no. 1-2 (2010): 201–13. http://dx.doi.org/10.1556/smus.51.2010.1-2.14.

Full text

Abstract:

In German speaking countries Haydn’s oratorios, and particularly TheCreation , have played an important role in the repertoire of choral societies and music festivals since the 1810s. However, in France, and also in Paris — “the capital of the 19th century” —, Haydn’s oratorios were performed only on rare occasions, and then they were given mostly in parts. The reasons for these circumstances can be seen in the institutional and esthetical context of the Parisian concert life. With respect to professional concert societies, like the Société des Concerts du Conservatoire , rigid obstacles were

APA, Harvard, Vancouver, ISO, and other styles

35

Kroger, Carolyn, and Elizabeth Hellmuth Margulis. "“But they told me it was professional”: Extrinsic factors in the evaluation of musical performance." Psychology of Music 45, no. 1 (2016): 49–64. http://dx.doi.org/10.1177/0305735616642543.

Full text

Abstract:

This study investigated the performance preferences of listeners without formal training in music. Specifically, it asked whether the quality of the performance (as represented by the status of the performer), the order of presentation of the performances, and extrinsic information about the quality of the performance impacted preferences. In Experiment 1, participants heard pairs of performances of solo piano music and were informed that one was played by a conservatory student, and one by a world-renowned professional. After each pair, they selected the one they thought had been performed by

APA, Harvard, Vancouver, ISO, and other styles

36

Rozwadowska, Alicja. "The French Art of the Natural Horn Playing and the Adaptation of Valve Mechanisms in the 19th Century." Kwartalnik Młodych Muzykologów UJ, no. 45 (2) (2020): 5–22. http://dx.doi.org/10.4467/23537094kmmuj.20.028.13901.

Full text

Abstract:

The article is an attempt at identifying issues related to the problem of the adaptation of valve mechanisms in Parisian orchestras and Conservatoire. Opinions and postulates of supporters and opponents are being presented, as well as the concepts of combining the valve instrument with the use of the natural horn playing technique. In this context, the perspective of natural horn players, who contributed to the significant delay in the adaptation of valve horns in Paris, are being discussed. Further parts of the text explain the construction of natural horns commonly used in the discussed peri

APA, Harvard, Vancouver, ISO, and other styles

37

Gaunt, Helena. "Understanding the one-to-one relationship in instrumental/vocal tuition in Higher Education: comparing student and teacher perceptions." British Journal of Music Education 28, no. 2 (2011): 159–79. http://dx.doi.org/10.1017/s0265051711000052.

Full text

Abstract:

The power of one-to-one tuition in Higher Music Education is evidenced by its continuing place at the heart of conservatoire education. The need to examine this student–teacher relationship more closely has been emphasised in the last decades by increasing understanding of processes of student learning in Higher Education as a whole, and in particular the impact which student–teacher relations have on learning. Literature on PhD supervision, for example, has highlighted the depth of applied craft skills made possible in one-to-one interaction, and has also drawn attention to a range of potenti

APA, Harvard, Vancouver, ISO, and other styles

38

PASLER, Jann. "Classe sociale, genre et formation musicale : préparer le prix de Rome au Conservatoire de Paris entre 1871 et 1900." Romantisme 153, no. 3 (2011): 85. http://dx.doi.org/10.3917/rom.153.0085.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Lévy, Sophie. "Le fonds d’archives du Conservatoire national supérieur de musique et de danse de Paris : état des lieux et perspectives." La Gazette des archives 229, no. 1 (2013): 85–94. http://dx.doi.org/10.3406/gazar.2013.5192.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Lepoutre, F. "Instrumentation Interdisciplinary Colloque, “C2I 2001”, hosted by “Conservatoire National des Arts et Métiers”, Paris, January 31–February 1, 2001." European Physical Journal Applied Physics 20, no. 2 (2002): 133. http://dx.doi.org/10.1051/epjap/2002202133.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Baker, F. W. G. "CO2 and Pourquoi-Pas?" Polar Record 48, no. 2 (2011): 198. http://dx.doi.org/10.1017/s0032247411000313.

Full text

Abstract:

During the explorations of Pourquoi-Pas?, commanded by Jean Baptiste Charcot, in the Southern Ocean in the period 1908–1910, Ensign R.-E. Godfroy collected, between latitudes 64°09'S and 70°05'S, eleven samples of air, according to instructions given by Muntz and Luné (1911) for measuring the concentrations of CO2 in the atmosphere. The samples were later analysed in the laboratories of the Conservatoire des Arts et Metiers, Paris using basically the same methods as for the samples collected by the French First Polar Year expedition 1882–1883 (Baker 2009). The maximum concentration of CO2 was

APA, Harvard, Vancouver, ISO, and other styles

42

Messing, Karen, Ana María Seifert, Nicole Vézina, Ellen Balka, and Céline Chatigny. "Qualitative Research Using Numbers: An Approach Developed in France and Used to Transform Work in North America." NEW SOLUTIONS: A Journal of Environmental and Occupational Health Policy 15, no. 3 (2005): 245–60. http://dx.doi.org/10.2190/f2qb-p8yx-mvwu-tyaw.

Full text

Abstract:

Qualitative research is often opposed to quantitative research. But numbers can play an important role in illustrating analyses in qualitative research. Their persuasive, concrete nature can help ensure the success of a workplace intervention, especially in the North American context, where numbers are treated very seriously. We describe a method of work analysis and transformation developed at the Conservatoire national des arts et métiers in Paris, where the meaning of the numbers used is critical. We think that the numbers used in work analysis have a different meaning from that in a “pure”

APA, Harvard, Vancouver, ISO, and other styles

43

Loeser, Martin. ""Mit dem Konzertrepertoire ist es wie mit der Bildergalerie..."." Die Musikforschung 58, no. 1 (2021): 3–10. http://dx.doi.org/10.52412/mf.2005.h1.603.

Full text

Abstract:

Das Museum war in der ersten Hälfte des 19. Jahrhunderts in Paris eine sehr populäre Institution, der nicht zuletzt im Zusammenhang mit dem aufblühenden Historismus allgemeine Bedeutung zugebilligt wurde. Seine Funktion erschöpfte sich nicht im Konservieren von Kunstwerken und deren Darbietung zur ästhetischen Kontemplation, sondern wurde auch in der vorbildlichen Demonstration zur Vermittlung ästhetischer Bildung gesehen. Dies ging so weit, dass das Museumskonzept unmittelbar als Mittel zur generellen Stimulierung des künstlerischen wie wirtschaftlichen Fortschritts, als Vehikel der Zivilisat

APA, Harvard, Vancouver, ISO, and other styles

44

Rousseau, Céleste. "Pré-étude qualitative sur les troubles musculosquelettiques liés à l’exécution musicale chez l’étudiant jazz (du Conservatoire National Supérieur de Paris)." Kinésithérapie, la Revue 18, no. 194 (2018): 45. http://dx.doi.org/10.1016/j.kine.2017.12.013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Morabito, Fabio. "Theatrical Marginalia: Pierre Baillot and the Prototype of the Modern Performer." Music and Letters 101, no. 2 (2020): 270–99. http://dx.doi.org/10.1093/ml/gcz110.

Full text

Abstract:

Abstract In Western art music, the idea of the professional performer as a versatile interpreter of someone else’s music consolidated around the turn of the nineteenth century. The institutionalization of instrumental training in dedicated schools (such as the Paris Conservatoire, established in 1795) favoured an increasing specialization of composers and performers in their respective tasks. Scholars have often traced the development of these modern professional identities to fundamental innovations in the fabric and conceptions of musical notation. The newly detailed scores by Haydn, Mozart,

APA, Harvard, Vancouver, ISO, and other styles

46

Obi-Keller, Janet. "‘BARQUE D'OR’ — AN EARLY DUTILLEUX SONG REDISCOVERED." Tempo 59, no. 233 (2005): 38–44. http://dx.doi.org/10.1017/s0040298205000227.

Full text

Abstract:

It was with surprise and delight that, whilst on a research trip to Paris about a year ago, I accidentally discovered a score dating from Henri Dutilleux's Conservatoire period in the 1930s. What I stumbled upon was a song, titled Barque d'Or, written for soprano and piano. Dutilleux's father, Paul Dutilleux, who owned his own printing firm in Douai, published Barque d'Or in 1937. Roger Nichols has quoted Dutilleux's recollection of his father's work:All that ties in too with the craftsmanship I witnessed in my father's workshop, especially at the bench of one old engraver. We had a great resp

APA, Harvard, Vancouver, ISO, and other styles

47

CHAPIN, KEITH. "ALEXANDRE PIERRE FRANÇOIS BOËLY (1785–1858), SES CONTEMPORAINS ET LE STYLE SÉVÈRE, CONSERVATOIRE À RAYONNEMENT RÉGIONAL DE PARIS, 4–5 DECEMBER 2008." Eighteenth Century Music 6, no. 2 (2009): 306–9. http://dx.doi.org/10.1017/s1478570609990340.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Thompson, Brian C. "Opera Production and Civic Musical Life in 1870s Montreal." Nineteenth-Century Music Review 11, no. 2 (2014): 219–38. http://dx.doi.org/10.1017/s1479409814000354.

Full text

Abstract:

This article explores the origins and productions of the Société Canadienne d'Opérette et d'Opéra de Montréal, a short-lived opera company active in the late 1870s. Headed by Calixa Lavallée and Frantz Jehin Prume, the Société was established in part as a result of a decree that forbade the use mixed choirs throughout the archdiocese, and consequently made obsolete Lavallée's choir at Saint-Jacques Church. Following the success of their first production, Lavallée and Prume realized that the company might be used as a stepping-stone to the creation of a government-funded music school, modelled

APA, Harvard, Vancouver, ISO, and other styles

49

Bailey, Candace. "Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177." Royal Musical Association Research Chronicle 32 (1999): 119–35. http://dx.doi.org/10.1080/14723808.1999.10540986.

Full text

Abstract:

The circumstances surrounding the compilation of many seventeenth-century English keyboard manuscripts remain unknown. The most concrete information exists for the early-seventeenth-century repertory, and scholars have also identified several copyists from sources dating from the end of the century. Without considering the question of repertory, the focus on the earlier manuscripts can be explained in part for the following reasons. A few volumes are associated in some way or another with famous composers (for example, Thomas Tomkins and his autograph Conservatoire National de Musique (in Bibl

APA, Harvard, Vancouver, ISO, and other styles

50

Galindo, Humberto. "Editorial." Revista Música, Cultura y Pensamiento, no. 8 (January 1, 2020): 4. http://dx.doi.org/10.52085/rev.mcp.08002019.

Full text

Abstract:

Con la presente edición de la Revista Música, cultura y Pensamiento, anunciamos el fin de una primera época desde la producción editorial en papel, para convertirnos en una revista digital académica especializada en música. Gracias a nuestra participación en la última cohorte del Curso Curriculo del Editor convocada por Colciencias Publindex, fue posible contar con el asesoramiento indicado para esta transición, inaplazable en la búsqueda de un mejor acercamiento a las comunidades beneficiarias de nuestra publicación. Acogiendo las directrices del estándar internacional, confiamos en que este

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!