Relevant bibliographies by topics / Parisian music scene

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  2. Dissertations / Theses
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Academic literature on the topic 'Parisian music scene'

Author: Grafiati
Published: 26 October 2024
Last updated: 31 July 2025

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Journal articles on the topic "Parisian music scene"

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Gutsche-Miller, Sarah. "Parisian Music-Hall Ballet through the Eyes of its Critics." Dance Research 36, no. 1 (2018): 67–90. http://dx.doi.org/10.3366/drs.2018.0221.

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In the 1890s, Paris's three pre-eminent music halls – the Folies-Bergère, the Olympia, and the Casino de Paris – staged ballets on a nightly basis alongside circus acts and song-and-dance routines. As music-hall ballet librettos and scores show, these productions were closely related to ballets staged by the Paris Opéra, with similar large-scale structures, scene and dance types, and dramatic, choreographic, and musical conventions. What music-hall ballets looked like, however, is less clear: they have left few visual traces, and virtually no prose descriptions of choreography or staging. The
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Nataraja, Dionysius Arya. "Encounter with The Other: The Serialists and The Spectralists." Jurnal Kajian Seni 7, no. 1 (2021): 20. http://dx.doi.org/10.22146/jksks.57953.

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Musik kontemporer di Paris pada tahun 1970an didominasi oleh musik serial, dan spektralisme hadir memberi alternatif. Di tulisan ini, saya berargumen bahwa fenomena naiknya musik spektral ini bukan hanya sekedar masalah domestik musik kontemporer Eropa, tetapi fenomena ini berkaitan erat dengan masalah hubungan dengan yang “Liyan”, termasuk dengan budaya musik non-Barat. Dalam analisis saya, saya menemukan tendensi pada komposer musik serial untuk menjadi eksklusif melalui apa yang saya sebut mekanisme Othering, yang muncul pada tulisan-tulisan Schoenberg dan Boulez. Sebaliknya, komposer spekt
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Rickards, Guy. "London, Coliseum: Martinů's ‘Julietta’." Tempo 67, no. 264 (2013): 70–71. http://dx.doi.org/10.1017/s0040298213000107.

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If I had to sum up Martinů's opera Julietta in one word, it would be ‘strange’. Strange and wonderful, strange bordering on the weird, the otherworldly, the dream-like. This last redefinition is apt, since the opera is based on Georges Neveux's play Juliette, ou La clé des songes – the Key to Dreams, a benign nightmare where a Parisian bookseller, Michel, searches for, finds, loses and finally searches again for a girl encountered briefly three years earlier. The action opens with his return and discovery that she lives in a town where no one has much depth of memory beyond the previous ten mi
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Szilágyi, Ana. "From ‘musique concrète’ and Acousmatic Art to the ‘New Music Theater’. The Austrian Composer Dieter Kaufmann." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 1 (2024): 133–43. http://dx.doi.org/10.24193/subbmusica.2024.spiss1.08.

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This article follows the way the Austrian composer Dieter Kaufmann has gone with his conceptions taken from musical and extra-musical domains, as literature, visual arts, religion and politics, describing some of his theatrical works. For him the function of music is to improve the society and therefore his works are a critic to politics or to religion. Having studied in Paris by Olivier Messiaen, Pierre Schaeffer, François Bayle and René Leibowitz, he contributed to the development of the electronic music in Austria with his creation and his teaching of electroacoustic composition at the Univ
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Doe, Julia. "Musical Sociability, Atlantic Slavery, and the Portraiture of Carmontelle." Journal of Musicology 41, no. 1 (2024): 1–40. http://dx.doi.org/10.1525/jm.2024.41.1.1.

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This article addresses the transatlantic financing of pre-revolutionary French salons and the amateur music-making that featured within them. It does so by reconstructing the context of a paradigmatic image of enlightened leisure: a portrait by Louis Carrogis (known as Carmontelle) inscribed “Mlle Desgots, from Saint-Domingue, with her Black servant Laurent, 1766.” The likeness is representative of Carmontelle’s style in subject and setting. It features a fashionable noblewoman—the French-Caribbean heiress Charlotte Louise-Desgots—who plays a gilded harpsichord. What is unusual about the scene
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YANG, MINA. "Moulin Rouge! and the Undoing of Opera." Cambridge Opera Journal 20, no. 3 (2008): 269–82. http://dx.doi.org/10.1017/s095458670999005x.

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AbstractWhile Moulin Rouge! (2001) riffs on and even exaggerates conventions from classic Hollywood backstage musicals, it owes a clear debt to an even earlier musico-dramatic genre – the opera. Combining operatic and film musical elements with those of pop videos, contemporary cinema and the rave scene, Baz Luhrmann's film engages with many of the thorny issues that have concerned opera critics of late, such as power, gender, exoticism, authorship, and identity construction and performance. The spotlight on the central love triangle of a consumptive courtesan, a writer and a wealthy patron ma
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Bischin, Maria-Roxana. "Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes." Sæculum 47, no. 1 (2019): 153–67. http://dx.doi.org/10.2478/saec-2019-0015.

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AbstractThe purpose of this article is to demonstrate that Wassily Kandinsky’s geometrical paintings were inspired by the ballet world, and by the body movements of the ballerina. Moreover, painting and ballet communicate with each other. And geometry has helped that. Then, the idea of this article starts with the necessity in relating Kandinsky’s Spiritual theory on non-materiality exposed in Über das Geistige in der Kunst with Sergei Diaghilev’s Ballets Russes brought on Parisian scene between 1909s and 1929s. Ballets Russes is the term which names all the ballet representations thought and
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Newark, Cormac, and Ingrid Wassenaar. "Proust and music: The anxiety of competence." Cambridge Opera Journal 9, no. 2 (1997): 163–83. http://dx.doi.org/10.1017/s0954586700005243.

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Propped up in his bed, for all the world the quintessential fin-de-siècle invalid, Marcel Proust listened to the perplexing sound of music far away. He heard it from beyond the walls of his room, through a connecting tube: the famous théâtrophone, a permanent subscription telephone line that could connect Proust's apartment in the boulevard Haussmann to a number of Parisian theatres, opera houses and concert halls. The operatic scenes that succeeded in penetrating those walls were not scenes at all: they were disembodied voices, issuing instructions for the visual imagination. Those moments th
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Smart, Mary Ann. "Parlor Games: Italian Music and Italian Politics in the Parisian Salon." 19th-Century Music 34, no. 1 (2010): 39–60. http://dx.doi.org/10.1525/ncm.2010.34.1.039.

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Abstract Among a community of Italian political leaders and artists who settled in Paris after the failed Italian revolutions of 1831 was Count Carlo Pepoli, author of the libretto for Bellini's I puritani. During his years in Paris, Pepoli also wrote the poetry for two song collections: Rossini's Soiréées musicales and Mercadante's Soiréées italiennes. Both collections are conceived as a series of picturesque images of Italian locales interspersed with pastoral scenes; they are also linked by allusions to a character named Elvira, perhaps a projection of the heroine of I puritani. This articl
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Vilkner, Nicole. "The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche." Cambridge Opera Journal 32, no. 1 (2020): 90–114. http://dx.doi.org/10.1017/s0954586720000130.

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AbstractIn the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of
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Dissertations / Theses on the topic "Parisian music scene"

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Mazen, Alice. "Portrait de la scène publique klezmer dans le contexte parisien actuel : exploration ethnomusicologique du « revival » klezmer parisien." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL071.pdf.

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La musique klezmer, autrefois pratiquée par les musiciens juifs ashkénazes pour animer les célébrations liées à la vie juive en Europe de l'Est, s'est enrichie par les migrations et appauvrie par les nombreux pogroms subis par le peuple juif. Parallèlement au « revival » de la musique klezmer aux États-Unis dans les années 1970, la scène musicale klezmer parisienne a connu un renouveau et elle s'est depuis lors développée avec divers ensembles pratiquant exclusivement la musique klezmer, d'autres combinant musique klezmer et chant yiddish, et des ensembles pédagogiques. La scène musicale klezm
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Nestola, Barbara. "L'air italien sur la scène des théâtres parisiens (1687-1715)." Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2026.

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La thèse traite la réception de l’air italien à Paris 1687 et 1715. Elle est structurée en deux parties : la première est consacrée à l’analyse des recueils d’airs italiens, manuscrits et imprimés, produits et circulant à Paris entre les deux siècles la seconde, à la pratique des airs dans le contexte du théâtre parisien (Comédie Italienne, Comédie Française et Opéra) entre la mort de LuIIy (1687) et celle de Louis XIV (1715). En complément du travail de réflexion, on présente le catalogue du corpus étudié. Le corpus choisi place l’air italien du dernier quart du siècle au cœur du phénomène de
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Demeilliez, Marie. "« Un plaisir sage et réglé ». Musiques et danses sur la scène des collèges parisiens (1640-1762)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040163.

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Aux XVIIe et XVIIIe siècles, des représentations théâtrales sont régulièrement donnés dans les différents collèges parisiens de plein exercice, les dix attachés à la faculté des arts de l’université de Paris, comme celui tenu par les jésuites (le collège de Clermont devenu Louis-le-Grand), avec un faste et un retentissement variables, où la musique et la danse peuvent prendre une large place. Cette thèse est consacrée aux pratiques musicales et de danses en usage dans ce théâtre collégien. À l'issue d'une recension des représentations (établissement d’un catalogue des représentations et d’un r
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Manenti-Ronzeaud, Claudia. "Édition de HARNALI, N, I, ni OH ! QU'NENNI : Les parodies d'Hernani sur les scènes des théâtres secondaires en 1830." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10113.

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L’étude du fonctionnement des reprises parodiques d’Hernani en 1830 et l’édition de Harnali, N, I, ni et Oh ! Qu’Nenni, établie à partir des manuscrits, des rapports de la censure et de différentes versions imprimées, permettent de constater que les parodies d’Hernani sont à la fois déterminées par la pièce qui sert de modèle référentiel initial et par des intertextes contemporains avec lesquels elles dialoguent. Les conventions des spectacles du temps, le goût du public, font que la parodie sert paradoxalement d’imitation subversive au service d’une norme. En effet, la déconstruction parodiqu
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Books on the topic "Parisian music scene"

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"Grandeur et finesse": Chopin, Liszt and the Parisian musical scene. Brepols, 2013.

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Wheeldon, Marianne. Debussyism, Anti-debussyism, Neoclassicism. Oxford University Press, 2018. http://dx.doi.org/10.1093/acprof:oso/9780190631222.003.0003.

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Chapter 3 considers the effects of the contingencies of music and cultural history on reputation. The arrival of new artists or aesthetic tendencies on the Parisian scene forced writers to reconsider the recent musical past and to reshape it in accordance with present-day concerns. Cocteau, Les Six, Stravinsky, and Schoenberg all had significant implications for Debussy’s posthumous reception as historical frameworks were revised to integrate or denigrate Debussy’s position vis-à-vis recent musical developments. Chapter 3 examines three musical currents of the 1920s—debussyism, anti-debussyism
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Book chapters on the topic "Parisian music scene"

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Roust, Colin. "Withdrawing from the Parisian Music Scene." In Georges Auric. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.003.0005.

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After a dispute with Diaghilev over money and after a long-standing feud with fellow music critic Emile Vuillermoz, Auric abruptly made several shifts in his career in the late 1920s. He briefly moved out of Paris into the suburbs. He began collaborating frequently with avant-garde theatre companies and, beginning in 1930, would compose his first three film scores. He also dreamed of composing major works of absolute music, resulting in his 1930–31 Sonate en fa. In 1930, he married the painter Nora Vilter and the two settled in Hyères, in a home given to them by Charles and Marie de la Noaille
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Hess, Carol A. "Copland in Chile." In Aaron Copland in Latin America. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252044854.003.0007.

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In Santiago, Copland met composer Domingo Santa Cruz who, both at home and in the United States, advanced the idea that Chilean music was fundamentally “occidental” (i.e., European). For Copland nearly all Chilean composers were too indebted to Europe, especially Pedro Humberto Allende, in whose music Copland sensed little more than a “Parisian veneer” and “lack of … vitality.” In an interview with the journalist and jazz enthusiast Pablo Garrido, Copland learned of the capital city’s thriving jazz scene. (Garrido also reported in the Chilean press on Copland’s left-wing activism of the 1930s.
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Magaldi, Cristina. "Sounds of Urban Worlds." In Music and Cosmopolitanism. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780199744770.003.0011.

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Abstract This chapter focuses on the composer Aurélio Cavalcanti. A main figure in Rio de Janeiro’s entertainment venues, he worked as a pianist in salons, dance halls, and movie theater waiting rooms, and as a musical director and conductor of one of the most prestigious movie theater orchestras. Cavalcanti had the experience and creativity to instantly adapt many musics to the fast-moving scenes of silent movies, a skill that he used to write music suggestive of many peoples and places, even if he had never met the people or had never been to the places that his works were set to portray. Ca
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