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Journal articles on the topic 'Parisian music scene'

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

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

HIBBERD, SARAH. "‘Dormez donc, mes chers amours’: Hérold's La Somnambule (1827) and dream phenomena on the Parisian lyric stage." Cambridge Opera Journal 16, no. 2 (2004): 107–32. http://dx.doi.org/10.1017/s0954586704001818.

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Ferdinand Hérold's 1827 ballet-pantomime La Somnambule, written for the Paris Opéra, is generally remembered today only as a source for Bellini's 1831 opera La sonnambula. However, Hérold's work – which also inspired a series of popular vaudevilles on the same theme – illustrates the strong, voyeuristic appeal of the trance phenomenon at the end of the Bourbon Restoration. It can be viewed as encapsulating wide-ranging contemporary ideas about the relationship between sleepwalking, mesmerism, madness and the supernatural. The aims of this article are twofold. First, it seeks to introduce impor
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12

Ballico, Christina, and Allan Watson. "Place." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1114.

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The ways in which artists, musicians, filmmakers and other creative practitioners perceive, navigate and represent 'place' in their work is complex and multifaceted. Further, place-based conditions also influence the ways in which creative activity occurs in particular locales. This raises questions regarding the role of history, economics, attitudes towards and perceptions of particular forms of arts and culture, shared social and creative contexts, and the geographical location of places, in shaping and fostering creativity. While the relationship between place and creative practice is now w
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13

Sadler, Graham. "L’Air italien sur la scène des théâtres parisiens (1687–1715) Barbara Nestola." Music and Letters, March 30, 2023. http://dx.doi.org/10.1093/ml/gcad021.

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14

Canonne, Clément. "Improvisation et processus compositionnel dans la genèse de Fenêtre Ovale de Karl Naëgelen." Critical Studies in Improvisation / Études critiques en improvisation 10, no. 1 (2015). http://dx.doi.org/10.21083/csieci.v10i1.2965.

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Improvisation and Compositional Process in Karl Naëgelen’s Fenêtre Ovale
 This paper is centred around the analysis of the creative process underlying the genesis of a recent work of music by French composer Karl Naëgelen, Fenêtre Ovale (2011), written in collaboration with two free improvisers active on the Parisian scene, Ève Risser (piano) and Joris Rühl (clarinet). This piece is remarkable in that, contrary to the vast majority of works composed in a so-called “comprovisation” framework, where the interaction between the composed and the improvised elements essentially takes place dur
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15

Lord, Catherine M. "Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-Serial." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1370.

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Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, scho
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16

McCosker, Anthony, and Rowan Wilken. "Café Space, Communication, Creativity, and Materialism." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.459.

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IntroductionCoffee, as a stimulant, and the spaces in which it is has been consumed, have long played a vital role in fostering communication, creativity, and sociality. This article explores the interrelationship of café space, communication, creativity, and materialism. In developing these themes, this article is structured in two parts. The first looks back to the coffee houses of the seventeenth and eighteenth centuries to give a historical context to the contemporary role of the café as a key site of creativity through its facilitation of social interaction, communication and information
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17

Fuller, Glen. "The Getaway." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2454.

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 From an interview with “Mr A”, executive producer and co-creator of the Getaway in Stockholm (GiS) films:
 
 Mr A: Yeah, when I tell my girlfriend, ‘You should watch this, it’s good, it’s a classic, it’s an old movie’ and she thinks it’s, like, the worst. And when I actually look at it and it is the worst, it is just a car chase … [Laughs] But you have to look a lot harder, to how it is filmed, you have to learn … Because, you can’t watch car racing for instance, because they are lousy at filming; you get no sensation of speed. If you watch the World Rally Champi
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18

Brien, Donna Lee. "“Porky Times”: A Brief Gastrobiography of New York’s The Spotted Pig." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.290.

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Introduction With a deluge of mouthwatering pre-publicity, the opening of The Spotted Pig, the USA’s first self-identified British-styled gastropub, in Manhattan in February 2004 was much anticipated. The late Australian chef, food writer and restauranteur Mietta O’Donnell has noted how “taking over a building or business which has a long established reputation can be a mixed blessing” because of the way that memories “can enrich the experience of being in a place or they can just make people nostalgic”. Bistro Le Zoo, the previous eatery on the site, had been very popular when it opened almos
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