Dissertations / Theses on the topic 'Romantisme (musique) Modernisme (musique)'
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Pisani, Michael Vincent. "Exotic sounds in the native land : portrayals of North American Indians in Western music /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063830k.
Full textListe chronologique des oeuvres musicales inspirées des indiens d'Amérique du nord (1768-1946) p. 526-557. Sources et bibliogr. p. 576-604.
McGuinness, John Randolph. "Playing with Debussy's Jeux : music and modernism /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659575v.
Full textBrzoska, Matthias. "Die Idee des Gesamtkunstwerks in der Musiknovellistik der Julimonarchie /." Laaber : Laaber-Verlag, 1995. http://catalogue.bnf.fr/ark:/12148/cb366856869.
Full textBroman, Per Olov. "Kakofont storhetsvansinne eller uttryck för det djupaste liv ? : om ny musik och musikåskådning i svenskt 1920-tal, med särskild tonnikt på Hilding Rosenberg /." Uppsala : [P. O. Broman], 2000. http://catalogue.bnf.fr/ark:/12148/cb37217451k.
Full textKim, Mi-Young. "Das Ideal der Einfachheit im Lied von der Berliner Liederschule bis zu Brahms /." Kassel : G. Bosse, 1995. http://catalogue.bnf.fr/ark:/12148/cb36958986r.
Full textHänggi, Christoph E. "G.L.P. Sievers (1775-1830) und seine Schriften : eine Geschichte der romantischen Musikästhetik /." Bern ; Frankfurt am Main ; Paris : P. Lang, 1993. http://catalogue.bnf.fr/ark:/12148/cb35595760s.
Full textChèvremont, Alexandre. "Du romantisme au classique dans la musique : E. T. A. Hoffmann, Amadeus Wendt et la musique de Ludwig Van Beethoven." Lille 3, 2010. http://www.theses.fr/2010LIL30003.
Full textNobody would deny today that Beethoven's music belongs to the classical style started out by Haydn and Mozart. Yet, the obviousness of this statement hides a genuine philosophical problem : what does speaking of "classical music" imply ? The following work pursues two aims : exhuming the thought of a neglected philosopher, Amadeus Wendt, who gave the first formulation of the idea of a classical period in music in 1836 ; and proving that his aesthetics prolongs and confirms E. T. A Hoffmann's musical romanticism, which in this perspective will be given more thought. To both Hoffmann and Wendt, Beethoven's music represents the height of instrumental music, and must be clarified in this regard by their thinking about the universal history of music and art. Their aesthetics is thoroughly studied here. The confronting views of Hoffmann and Wendt about Beethoven are the exact opposite of the result of Hegel's aesthetics, who considers, at the time of Wendt's writings, that music, because of its extreme "romanticism", is on the brink of transgressing the bounds of art, and remains surprisingly silent about Beethoven. The classic, according to Wendt, must on the contrary be understood as the fulfilling of the promises of Hoffmann's romanticism about music. Beyond their thinking about the history of art, Hoffmann and Wendt suggest that music completes the essence of art, what cannot be superseded in history
Reynaud, Cécile. "La notion de virtuosité dans les écrits critiques de Franz Liszt /." Paris [C. Reynaud], 2001. http://catalogue.bnf.fr/ark:/12148/cb376614270.
Full textJost, Peter. "Robert Schumanns "Waldszenen" op. 82 : zum Thema "Wald" in der romantischen Klaviermusik /." Saarbrücken : Saarbrücker Druckerei und Verlag, 1989. http://catalogue.bnf.fr/ark:/12148/cb35093639b.
Full textSholl, Robert Peter. "Olivier Messiaen and the culture of modernity /." Boston Spa : British thesis service, 2005. http://catalogue.bnf.fr/ark:/12148/cb40036204g.
Full textMessina, Kitti. "Musica, poesia e società in Francia tra romanticismo e decadentismo : aspetti della mélodie negli anni 1830-1870 /." Pavia : Università degli studi, 2005. http://catalogue.bnf.fr/ark:/12148/cb40075001g.
Full textGastreich, Volker. "Kindheit und absolute Musik : eine literaturwissenschaftliche Untersuchung romantischer Ideale /." Frankfurt am Main : Peter Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb388871819.
Full textKertz-Welzel, Alexandra. "Die Transzendenz der Gefühle : Beziehungen zwischen Musik und Gefühl bei Wackenroder/Tieck und die Musikästhetik der Romantik /." St. Ingbert : Röhrig Universitätsverl, 2001. http://catalogue.bnf.fr/ark:/12148/cb391220747.
Full textFonseca, Aleilton. "Enredo romântico, música ao fundo : manifestações lúdico-musicais no romance urbano do Romantismo /." Rio de Janeiro : [Vitória da Conquista] : [João Pessoa] : Sette letras ; Universidade estadual do sudoeste da Bahia ; Universidade federal da Paraíba, 1996. http://catalogue.bnf.fr/ark:/12148/cb39959112n.
Full textBarkalaya, Nino. "Esthétique et technique compositionnelle de Nicolas Obouhov dans le contexte du modernisme russe et français." Paris 8, 2012. http://octaviana.fr/document/175659818#?c=0&m=0&s=0&cv=0.
Full textNikolas Obukhov (1892-1954), as it chanced, like a lot of his compatriots, found himself in emigration; for his whole life he thought and created on an equal basis in the context of two cultures at a time – the Russian and the French. Both the works and the personality of this highly distinctive composer until nowadays arouse great interest in the musical and the scientific community. This fact is related, first of all, to the uniqueness of his fate and the originality of his creative image. Study of Obukhov’s esthetics and composing technique slightly opens to us a door to reviewing from a unique perspective of interrelations between the Russian and the French culture the arts tendencies of the first decades of the XX century. It gives us the opportunity to see the similarities and the differences between those tendencies, their interpenetration and opposition. The general propositions of the thesis are: in this work the interconnection between the esthetics of «art total» («total» art) in France and the esthetics of Superart in Russia, as well as the search for new forms of combining different kinds of art, religion and science in the beginning of the XX century are shown; consecutive review of Obukhov’s religious philosophy, esthetics and composing technique in the context of the Russian and the French Modernism is given; the specific character of the new Obukhov’s form is analyzed basing on the example of the Supercomposition unique in its scale «The Book of Life» (Le livre de vie); a method for analyzing Obukhov’s compositions on the different levels of the form is proposed; analysis of Obukhov’s musical and theoretical system is given in comparison with the systems of his contemporaries: Scriabin, Wyschnegradsky, Schönberg, Hauer, Messiaen, etc
François-Sappey, Brigitte. "Au temps du romantisme, le cas Boëly, 1785-1858 contribution à l'étude de la musique de clavier et de la musique de chambre en France." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37597718r.
Full textFrançois-Sappey, Brigitte. "Au temps du romantisme : le cas Boëly (1785-1858) : contribution à l'étude de la musique de clavier et de la musique de chambre en France." Paris 4, 1987. http://www.theses.fr/1987PA040477.
Full textAlexandre Boëly occupies a unique and paradoxical position in the French music of the first half of the 19th century. This descendant of cantors belonging to the Royal chapel took the opposite course to his time by taking up an incessant fight in favor of instrumental music and virtues of counterpoint and by becoming one of the first discoverers in France of Beethoven and Bach in addition to Haydn, Mozart and Clementi. This shrewdness combined with some exemplary talents of organist in Saint-Germain l'Auxerrois brought him the approbation of elite. Lonely, modest, Boëly is an artist whose his contemporaries didn't speak much about. His singular position acquires meaning and relief when it is integrated in its time. It is the reason why as the approach of his life, the approach of his work (piano, organ, chamber music) in which he uses the fusion of European aesthetics, is made in the double light of his own culture and of the production of his contemporaries. The spirit of his little pieces, his tormented harmonic language announce, from his start, romantism but the construction of his sonatas, the economy of utilized means show his attachment to the mastery of the classics. The work and the action of his independent man, really irreplaceable in the French music at a problematic time of its history, amply deserve rehabilitation
Li, Zheng. "Évolution de l'esthétique musicale chinoise après les rencontres entre les musiques chnoise et occidentale (fin du XIXe siècle à nos jours)." Paris 1, 2008. http://www.theses.fr/2008PA010646.
Full textMarest, Nathalie. "Les chevauchées fantastiques à l'époque romantique : étude d'un grand thème d'inspiration littéraire : peinture, musique, arts graphiques /." Paris : N. Marest, 1994. http://catalogue.bnf.fr/ark:/12148/cb35744730x.
Full textLoisel, Gaëlle. "La Musique au défi du drame : Berlioz et Shakespeare." Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0747.
Full textAs early as 1770, Shakespeare is set up as a model by the artists who consider it necessary to break away from classical aesthetics. His name is so high that he becomes a figurehead for the various forms of European romanticisms, in literature as well as in music. As the founder of the French musical romanticism, Hector Berlioz embodies the romantic approach which consists in seizing a literary figure to discard the existing aesthetical categories and thus bring about new musical forms. Right from 1827, the year the musician discovers Shakespeare, until his last opera in 1862, Béatrice et Bénédict, adapted from the comedy Much ado about nothing, Berlioz widely draws his inspiration from the English playwright and constantly refers to him in his musical, critical and even autobiographical works. The issues raised by this close relationship are threefold : the way Shakespeare’s plays were received, the problem of cultural transfer and the shift from one semiotics to another. First of all it brings forth questions about the process which leads a composer to make a literary works his own and the theoretical aspects at stake. Also, this relationship makes it necessary to see how Berlioz’s approach fits in with the way Europe received Shakespeare at the turn of the 19th century, in so far as the reference to the playwright takes place at a time when a new aesthetics of the sublime is in progress, as shows our study of the relationship between text and music. It so appears that the “Shakespearean system” enriches the composer’s reflexions on musical forms and genres
Sorbier-Rawls, Julie. "La musique dans la prose narrative moderniste espagnole." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30038/document.
Full textModernist literature is by essence musical. It is meant to arouse the reader’s senses: the use of music, a suggestive art by excellence, creates the allusion. How can one insert music in literature? Stéphane Mallarmé suggests to precede the effects of music by redefining it from its origin. If the art of music is naturally expressed through a poem, how about through prose? In Spain, Ramón María del Valle-Inclán offers a prime example of musical prose in his Sonatas. Is this all that can be expected? Has there been no other echo of Mallarmé’s project in Spanish prose? Certainly the intention to do so exists; histories of literature confirm this intention but nothing more. Our work is going to be twofold: first we need to find Spanish modernist prose works, and then analyze these works through the prism of music in order to understand how the fusion of these arts (music and prose) is realized. The analysis reveals that the music of the prose, sometimes imperceptible, sharpens the senses and makes the reader more sensitive to the elegance, to the rhythm and the phrasing of a syntagm. In other words, the inner music paves the way to the ineffable. The poet’s role in society is described within this project. He presents himself as a modern times priest. Yet the myth to which he tries to subscribe lacks substance: sensitive to the realities of his time, in search of an audience keen on naturalism, the Spanish writer is not fully implicated. His prose is hesitant, often corny: this explains why it has passed unnoticed in history
Ramos, Julie. "Nostalgie de l'unité : paysage et musique dans la peinture de P. O. Runge et C. D. Friedrich /." Rennes : PUR, 2008. http://swbplus.bsz-bw.de/bsz281464790inh.htm.
Full textSchutz, Lionel. "Neue Musik : le concept de modernité en pays allemand après 1918." Université Marc Bloch (Strasbourg) (1971-2008), 2007. https://publication-theses.unistra.fr/public/theses_doctorat/2007/SCHUTZ_Lionel_2007.pdf.
Full textThe term of Neue Musik which appeared in Germany and Austria in the beginning of 20th century was linked to the emergence of a new musical repertory and ideas of the Avant-garde. The emancipation of the dissonance and the aesthetic of change around 1907 and 1910 have manifested the wish of a new expressive style and have given birth to many discussions in the earliest 1920s. Critics and musicologists were interested in this repertory and have analysed great characteristics and tendencies. This consciousness of modernity has characterized debates about new music but has lead to a confusion of terms and concepts. The production of new categories and the opposition to romantic aesthetic were tied to the will of rupture and idea of organic evolution. They served to ground laws of a new musical language. Many publications have contributed to build specific terminology and new values; they revived writings about art and contributed to amplify new theories. Periodical publications and books have reflected the chaotic progress of new music as establishment and his weakness as concept
Ramos, Julie. ""Tout le visible tient à l'invisible. . . " : paysage et musique dans le romantisme allemand : Philipp Otto Runge et Caspar David Friedrich." Paris 1, 2000. http://www.theses.fr/2000PA010688.
Full textDuhautpas, Frédéric. "L'expression en musique : entre sens et immanence : une problématique de la musique au regard du modèle du langage et au-delà." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30056.
Full textThe elements of a reflection about the notion of expression in music will be presented in this thesis. The term "expression" belongs to the current vocabulary of musical aesthetics. Yet the meaning of this term is frequently ambiguous. According to the context and the aesthetics approach, the notion of expression can be the object of different concepts. Issues concerning expressions have frequently been approached in the light of semantic and linguistic conceptions. Historical established bounds between music and language have favored this type of approach. But the notion has also been treated apart from linguistic references. In this respect, some approaches have attempted to focus on immanent proprieties of music. In the sociocritical perspective, authors like Adorno considered this category with respect to the social content of musical techniques and means. Taking into account the diversity of the uses of expression, it is the aim of this thesis to throw light on the aesthetic issues at stake behind the different stances. With respect to the importance still granted today to semantics conceptions, we first examine to what extent music can resemble a communicational language. We also will explore what is different. Specificities of musical significations (if one can speak of “signification”) also are questioned, as well as certain implications with respect to historic, social and ideological mediation underlying the musical discourse. Secondly, we will review the way modernist approaches attempted to renew and rethink expression, sometimes outside the communication models. We also seek to highlight these approaches with respect to certain psychoanalytic, social and political implications
Lascoux, Liliane. "Rossini et la vie littéraire à Paris (deux séjours parisiens 1823-1836, 1855-1868)." Rouen, 1994. http://www.theses.fr/1994ROUEL187.
Full textTéchené, Claire. "La musique dans la poésie : une figure de l'altérité chez les Romantiques anglais." Paris 7, 2011. http://www.theses.fr/2011PA070084.
Full textThis thesis studies the images of music such as metaphors in the complete poetical works of Wordsworth, Coleridge, Byron, Shelley and Keats. It endeavours to examine the occurrences of ail music-related words in order to understand the identity-alterity relationship between poetry and music in the romantic era. The two arts, that develop in time, were called the Sister Arts by the Augustans, and their common history was placed under scrutiny by the Romantics, who saw music as a real language that suggests a transcendence that man can only get a glimpse of. At the same time, sentient man developed a new relationship with the surrounding world, and poets dreamt of music as a model for expression and the Knowledge of truth and universal harmony; but it also served as a foil because of its ambiguity, nonreferentiality and ephemerality. Music could also be considered as the heir to the rhetorical tradition, and a Derridian pharmakon that only charms the ear and means nothing. The increasing significance of instrumental music at the turn of the century opened up the door, like silence, to a marvelous world of meditation, remembrance, imagination, ail conducive to poetic creativity. Music's talent for putting ideas into motion was recognised as its distinctive feature as Other. Thus poets acknowledged music as pure, elaborate sound, and turned to lyricism, that frontier between poetry and music where the former attempts to reclaim the old unity in a romantic, nostalgic move towards the golden age of song it lost trace of when it entered the realm of the written text
Belmonte, Sophie. "La réception de Rossini au théâtre-italien de 1830 à 1878 : causes et manifestations d'un déclin." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0028.
Full textAfter a hegemony period in the 1820s in Paris, Rossini's works are maintained in the repertoire of the "Théâtre-Italien" alongside other lyrical aesthetics until the closure of the"Ventadour" hall in 1878. Despite their bias, the press reviews report on performances and represent incontrovertible sources to understand how this art is perceived by an era. Through extensive research, we tried to identify the various matters which arise around the production of Rossini, at the perception and representation level. Several aspects emerge from the chronics and highlight the way of the reception of these operas. We will therefore focus on how these works from 1830 to 1878 had been received as weIl as on the parameters on which this reception depended. The work, the libretto and the piace reserved to the Rossini's repertoire at the "Théâtre-Italien" are apprehended differently according to the different periods and different critics. Furthermore, the performance comments allow to understand ti). E main role of the singers and their ability to maintain the bel canto despite the aesthetic imperatives of romanticism which generate a new view of the master's works and create some new expectations. We tried to understand how the operas resist to time and what are the mechanisms involved in their graduaI decline, the press aI\d the public being both actors and witnesses of this phenomenon
Cotton, André. "Virtuosité des pianistes de jazz américains, de Jelly Roll Morton à Brad Mehldau : histoire parallèle et héritage du Romantisme européen." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2071/document.
Full textThe aim of this thesis is to question the possible impact of romantic paradigms for soloist improviser pianists coming from the jazz scene. From the soloist virtuosity to the style and more generally to the romantic spirit, is it possible to find in their work a certain heritage, whether it is overtly admitted or not? However, 19th century classical music virtuosi and jazz pianists from the following century are so different that it seems natural to wonder whether the word ‘heritage’ is the proper one to use. Yet, the contribution of written classical music to improvised music pieces shouldn’t be overlooked, especially when examining thepianistic domain. Every improviser pianists have been faced with pieces from the classical, romantic or contemporary repertoire to some extent, at the very least during their piano studies which, for some of them, were extremely advanced. Through the Latin virtus connecting dexterity and transcendence – the prerogative of the Promethean hero stealing fire as a present for humanity - could it be possible to find in the playing of certain virtuosi the influence of the two great romantic geniuses, Chopin the intimist and Liszt the extrovert, whose characters were so different? Improvised music is frequently a moment of sharing (soloists’ recitals being the exception) and it is the moment when a few chosen ones can reach the status of heroes, emphasizing energy, action and human knowledge. From Jelly Roll Morton, self-proclaimed “inventor” of jazz music, the stride pianists and Art Tatum,to the complete improvisation of the post-bop era, romanticism is represented through many different protean aspects such as the emancipation of functional aspects connected to dance or again the programmatic concerns of a certain Brad Mehldau, reminiscing about Schumann
Leduc, Alain. "L'idéal, le réel et le vécu : la problématique du sens dans l'oeuvre de Gustav Mahler." Paris 12, 1996. http://www.theses.fr/1996PA120006.
Full textAn emblematic figure at the turn of the viennese era, the composer gustav mahler (1860-1911) considered himself a philosopher as much as a musician. As many biographies and commentaries show, all of his work is filled and imbibed with the 19th century german school of thougt and in particular with the fully idealistic and metaphysical tradition found in the constant search for 'superior' truths such as those incarned by goethe, holderlin, schopenhauer and others such as wagner or nietzsche. Mahler, however, would not have been singled out from most other austro-german romantic or postromantic composers had his music - in a unique manner in the history of western art - not contributed itself to the development of a new, more authentic sense, thus rendering the capacity to become language and a support for ideas the object of critical and relentless contemplation, albeit more or less instinctive. By proposing to analyse the maherian sense which results from this confrontation of the world of form and the world of ideas, the present study raises, once again, the thorny question of the relationship between music and language
Bystritskaya, Alina. "Les oeuvres de S. Rachmaninov d'apres des textes d'A. Pouchkine." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080012.
Full textThe research work presented in our dissertation, Rachmaninov's works on Pushkin's texts, is based on a large literary corpus. It isa matter of understanding how musical transposition of literary works occurs. The guiding thread of the dissertation is basically thefruitful dialogue between the text and the music. Within this dissertation, our interest mainly focused on the musical creation oftwo operas: Aleko and The Miserly Knight. We also contributed to the study of short pieces, such as romances. The reflection wehave carried out throughout this dissertation is based on the musical adaptation of written texts. Therefore, it is important tounderstand how the meeting between two languages occurs, and to perceive the creative act by which Rachmaninov succeeds tomake Pushkin's written works “sing”. It is from the texts studies that the musical analysis of Rachmaninov’s operas got realized.The booklet of the Aleko opera inspired by the long poem The Gypsies is set fo the success of an academic test. On the contrary,the composer freely took possession of the text of The Miserly Knight to adapt it to the opera. Each of these two texts containsmany constraints. To what extent did Rachmaninov succeeded in maintaining the meaning of these works? For The MiserlyKnight, the question arises less than for Aleko’s. In fact, the long poem of Pushkin, The Gypsies, transformed into a booklet underthe title Aleko, contains many romantic motifs specific to the exiled youth of the poet. Written in a bubbling period that echoes toByron and to romanticism which extends in Europe as a huge cultural and political movement, this poem is carried by a particularbreath. It is not certain that opera has maintained this original dazzling around the notion, then much debated, of freedom. On theother hand the work of the composer makes it possible to echo the collective soul of the Gypsies and the lyricism disenchanted bycombining voices and orchestra. There is a real quest for sound effects in Rachmaninov's adaptation, at the expense of the firstsense and original meaning of the poem. With Aleko, the composer follows a certain tradition, with The Miserly Knight, he takeshis own marks and fully enters in a claimed form of modernity. This piece famed as impossible to adapt musically enables thecomposer to enrich his thought. Indeed, he is inspired by the work previously carried out by Stanislavskii for the staging of adrama that sounds really tragic. The adaptation is a real aesthetic challenge to the opera’s laws of the genre. Rachmaninov takes upthe challenge, this time, without disowning the text. Then, the originality of the musical creation consists in the harmony foundbetween the male voices of the opera and the orchestra.Thus, the notion of word painting appears as central and essential in our research work. If the term belongs more to the analysis ofbaroque music, it keeps its full meaning in the context of a study devoted to the painter of feelings such as Rachmaninov. Thecomposer style fully relies on the use of these word paintings when he adapts Pushkin. The thesis shows that if Rachmaninov hasfound a musical style, both singular and powerful, it is all due to the Pushkin’s work
Guelpa, Lucie-Hélène. "La nature et sa traduction musicale dans la tragédie lyrique française de "Cadmus et Hermione" (1673) aux "Boréades" (1764)." Paris 4, 1988. http://www.theses.fr/1987PA040425.
Full textFrom Lully to Rameau, the evocation of nature is constant within the eighty five French lyrical tragedies which have been studied. The librettists are using nature for their scene in which they introduce mythological, or not, characters, directly linked themselves to nature. Through the harmony of the verse, the poets are filling up their librettos with pictures derived from a hostile or kind nature. The composers are introducing in their music various components of nature: heaven and earth, water, day and night, seasons, wind, tempest, thunder-storm, and birds. In search of imitating nature, they are using the means of rhythm, melody, harmony and instrumentation. This imitation is not really a mere copy of nature but rather the way the musician is representing nature to himself, and even a subjective misrepresentation. Through the exaltation of nature, especially in its hostile form, the French lyrical tragedy is yet developing themes which will be revived and developed further more by the romantics. The strong union between the heroes and nature demonstrates that the spirit of the artists of that period is discovering the romantic nature
Palazzetti, Nicolo'. ""Le musicien de la liberté." Le réception de Béla Bartók en Italie (1900-1955)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0085.
Full textThis thesis focuses on the reception of Béla Bartók’s music and figure in Italy during the first half of the twentieth century. From a musicological standpoint, the analysis of Bartók’s influence on the works of several Italian composers (from Alfredo Casella to Bruno Maderna) invites us to reconsider the evolution of artistic modernism in Italy, as well as the foundations of Bartók’s poetics – which is informed by Hungarian nationalism, the “purity” of peasant folklore, and the utopia of “night music”. Furthermore, the study of the forms of transmission and criticism of one of the canonical composers of the last century raises broader issues concerning cultural history, such as: the continuity between artistic modernism and totalitarianism, the forms and meanings of cultural resistance, the relation between music and diplomacy, and the construction of the antifascist myth of Bartók.This thesis argues that the Bartókian Wave, which emerged in Italy during the early Cold War period, was the result of the fusion between the Bartók myth – i.e. the “musician of freedom” celebrated by the critic Massimo Mila – and the myth of national regeneration: a fusion that had its origins in the soundscape of Fascist dictatorship and the Resistenza
Crochu, Mariette. "L’Atelier du lied romantique : poétique de la ballade de la Goethezeit." Thesis, Rennes 2, 2020. http://www.theses.fr/2020REN20022.
Full textWhen we look at the poems called ballads, which have been furiously popular in the Germanic world since the Sturm und Drang, we encounter a general lack of agreement on their specificity. The Romantic Lied was partly forged in this multifaceted poetic-musical space. Franz Schubert (1797-1828) spent his early composing years setting long ballads to music, and was to return to do so until the end of his life; Carl Loewe (1796-1869) became a master of this art. The ductility of the genre and its resistance to all attempts at defining it in the two fields of literature and music (Sulzer 1771-1774, Koch 1802, Hegel 1818-1830, Häuser 1833…) jeopardize its own durability, but also make it an extraordinary experimental field for the vibrant musical lyricism. It is in tune with many of the issues at stake in 19th-century music, including the vocal practice of performers, reciters and singers, the issue of musical narration, and the connections between salon music and lyric stage performance, between the vocal and instrumental realms. This dissertation attempts to shed light on the becoming of Kunstlied through the prism of one of its key development settings. The ballad, a strange hybrid of storytelling without an identifiable storyteller, of music and stageless drama, broadens the dimensions of the traditional German Lied until the emergence of Kunstlied; better still, it shatters the emotional unity of the latter from the outset. Our research retraces this unpredictable process and the questions it raises, in order to better understand not the accomplished object that would be “the romantic Lied”, but rather the exciting work of artistic creation, the progressive modelling of a musical object, between the genres, in its multiple expressions over time
Milli, Pietro. "Giacomo Manzoni : son oeuvre et sa poétique." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR045.
Full textThis thesis, which consists of three parts, represents an introduction to Giacomo Manzoni’s (Milan, 1932) musical ideas. First part deals with eight dimensions of his work from an analytical point of view (material, time, dynamics, timbre, form, sound shapes, space and text). In the second part, which contains an analysis of Per Massimiliano Robespierre (1974) and Doktor Faustus (1988), two main axes of his poetics were examined: commitment and innovation. Last part conceptualizes the notion of materialism in his poetics, as it constitutes the basis of his musical praxis. To this end, Atomtod (1964), his third work for the stage, was analysed. Unpublished documents, like sketches of his works and a correspondence with Luigi Nono, were commented throughout the thesis. Appendices include a chronological and thematic catalogue of his works, a bilingual critical edition of the texts which he set to music, a French translation of his last book (Parole per musica) and a discography
Lehmann, Michel. "Giuseppe Verdi : la Trilogie (Rigoletto - Il Trovatore - La Traviata) et ses "posizioni" : éléments pour une dramaturgie générative sous l'influence du drame romantique." Paris 4, 1996. http://www.theses.fr/1995PA040136.
Full textThe grouping together of Rigoletto, il Trovatore and la Traviata as a trilogy is both a popular and scholarly tradition. However, there is no convincing definition to corroborate this concept. The three operas attest to Verdi’s interest in French romantic drama, more particularly in its dramaturgy. This interest of his appears in what Verdi calls "posizione", to designate a single dramatic sequence. Verdi's generative dramaturgy is developed from this concept of "posizione" to which he subordinates all the different languages, literary, musical, and dramatic proper. This enables him to integrate the characteristics of the French romantic drama. Verdi's approach is at the root of a dramatic conception common to all three operas, therewith providing a new working definition for the trilogy
Langlois, Sylvain. "Les opéras de Rossini, Bellini et Donizetti au Théâtre des Arts de Rouen à l'époque romantique : direction de théâtre, répertoire, production et réception." Rouen, 2009. http://www.theses.fr/2009ROUEL014.
Full textDuring the second quarter of the nineteenth century, the lyric repertoire of the Théâtre des Arts of Rouen had known a progressive evolution. Previously composed of light operas, the lyric programming of the theatre was diversified thus allowing the opera-going public of Rouen to discover news genres : operas-traductions (translations) by Rossini, grands-operas by Auber, Meyerbeer, Halevy etc. . . Early in 1839, the direction of the theatre proposed two translations of Italian operas : Anne de Boulen by Donizetti and La Somnambule by Bellini. These two creations were the starting point of certain craze on behalf of the Theatre for these two composers. During six years, the successive directions scheduled several operas by Donizetti, Bellini, Rossini. "Italian Lyric repertoire" performances increased considerably and represented more than a third of the global repertoire during years 1843-1844. This sudden "italophony" resulted from the meeting between various protagonists such as directors, conductors, singers, stage designers, etc. The success of Italian romantic opera allowed the development of the means of production of the Theatre in order to meet the requirements of this new genre. Several operas by Donizetti fully integrated the lyric repertory of the theatre and ranked among the most performed plays throughout the nineteenth century. A chronology of events between 1869 and 1844 made from the examination of Rouen Periodicals allowed to assess the importance of the arrival of this "Italian repertoire" on a provincial stage, while determining its share of Italianity
Lebarbier, Amandine. "“Cette jolie muse chrétienne” : la figure de sainte Cécile dans la littérature et les arts en Europe au XIXe siècle." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100147.
Full textThis thesis aims to show the important role played by the figure of Saint Cecilia in the European musical psyche in the 19th century. The first part of this work is devoted to the historiography of Saint Cecilia, from the fifth century to the 19th century, and to the inclusion of the figure in the European cultural space. Various media have contributed to make this legendary Roman patrician a celebrated and famous patron saint but, first and foremost, is the picture of Raphael, The Ecstasy of St. Cecilia. During the first half of the 19th century this artistic European heritage artwork is the subject of a true fascination for the writers, musicians and painters. This thesis tries to understand the reasons why. In the second phase, this thesis shows that the figure of Saint Cecilia is a trope figure, a vivid allegory, used by many writers to construct a discourse on music, art and the relationship between the arts. During the 19th century there were several strong phases of focus on Saint Cecilia, each leading to recharge the figure with a vivid breath. She then imposes herself, no longer as a figure of persistence only, but rather as the possibility of thinking about transcendence and of constructing an aesthetic discourse. The third axis of this research focuses on gender studies. Heiress to several types of feminine representations, Saint Cecilia appears as an analogical tool, rich in ideological presuppositions on the representation of women and women musicians. Representation of an eternal feminine fantasy, the female musicians associated to Saint Cecilia are the guarantors of an ideological memory which encloses the female musician in a very restricted area of the musical practice
Mirensky, Shaul. "L'approche spatio-polyphonique dans les interprétations des pianistes de la deuxième moitié du XIXe siècle et la première moitié du XXe siècle." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3061/document.
Full textThe aim of this work is to study the performing art of several generations of pianists who were trained in the 19th Century but who extended their artistic activity throught the 1st half of the 20th Century. The rise of the art of interpretation which marked this period gave the artistes who - following their great masters - have left a considerable number of records where their plaiyng conjures up an image of the romantic composition that may be more authentic, though it is quite different from that of today.Based on the idea that the rise of the pianism at the turn of the 20th Century comes largely from the remarkable expansion of the 19th Century performing arts, we hypothesize that it is precisely in the aesthetic positions and the vision of the world inherent in the Romantic era that we should look for the sources of such a rise. Chief among the important features of the style of interpretation of the pianists of the 2nd half of the 19th Century, was their creative thinking, but also the surprising freedom they enjoyed to improvise and modify compositions. Other features include the intellectualism of their approach to the performed composition. Analyses of certain peculiarities of style, of the ways of playing typical of the 19th Century (such as rubato, the « pointillism » etc.) reveal the real polyphonic thougth of the Romantic era. This is not only the polyphonic writing itself, but a polyphonic principle in a broader sense, manifesting itself through the style of interpretation which, in turn, defines the specific spatio-temporal perception of these several decades
Leflot, Thomas. "La correspondance des arts chez Vincent d’Indy : étude de ses pratiques musicales, picturales et de ses écrits au regard de son environnement socio-culturel, philosophique et artistique." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040120.
Full textThe celebrated composer and professor Vincent d'Indy is less well-known for his lifelong interest in the arts. He drew and painted for many decades, and he travelled throughout Europe looking for the most beautiful historical sites as well as the most famous museums. Associating with artists and patrons of art in salons and exhibitions enabled him to benefit from contact with numerous painters or sculptors. His constant reference to nature in his watercolours was also apparent in his symphonic poems or operas. This rustic theme places him in a field of romantic influence in which compositions blaze a trail. Also, his approach to the history of music is heightened by the many aesthetic references which throw light on his influences, such as Émile Mâle, John Ruskin or Félicité de Lamennais
Venter, Dawid Johan. "Die aristokraat-virtuoos in die moderniteit : die ontwikkeling van die Franse Fluitskool in die laat negentiende eeu (Afrikaans)." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23578.
Full textDissertation (MMus)--University of Pretoria, 2010.
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Hassid, Sarah. "L'imaginaire musical et la peinture en France entre 1791 et 1863 : mythes, pratiques et discours." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H065.
Full textThroughout the first half of the 19th century, broadly-defined, music is instituted as a poetic and aesthetic model. Artists are challenged by its invisible, impalpable and ephemeral ideal. From The Sleep of Endymion by Girodet to The White Girl by Whistler, this thesis focuses on understanding the origins, the rationale as well as the different aspects of the dialogue that took place in France between a revivified musical imaginary and the field of painting. It aims at extracting its founding myths and its concrete manifestations in works, expressions, and discourses. From Saint Cecilia to the civilising poet to the musical virtuoso, the art of sounds is personified by inspirited or captivated figures who contribute to model a new image of the artist. Moreover, as it gradually becomes considered as a guiding light for the Fine arts, music offers original arguments in favour of regulating or, alternatively, subverting artistic techniques. The different modes of appropriation rising from this new paragone unveil two main tendencies. As early as the beginning of the 1790s, several artists like Valenciennes, David, Girodet or Prud'hon use a mythical ideal of music to lay the foundations for their lyricism. This lyricism is characterised by sentimental subject matters, an increase in landscape productions, a passion for Correggio’s misty manner or the representation of inner dramas. Another form of pictorial musicality arises from the 1820s onwards. It materialises through a positive re-evaluation of the painter's hand, either in emulation of or as a rival to the musician's. From Vernet to Ingres to Delacroix, the degree of finish of the artist’s interpretations or his “symphonic” manner to arrange shapes and colours, regardless of mimetic contingencies, express his “signature” on the canvas. Absorbed from the 1860s by the followers of Baudelaire and Wagner, this artistic passion and the speculative musicalities it generated seem to offer, once put to light, a new avenue to explore pictorial Romanticism and its historiography
Caux, Grégoire. "Les dernières pièces pour piano de Franz Liszt. Pour une étude de la notion de fin d’œuvre." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040127.
Full textIn his late piano pieces, Franz Liszt tends to destabilize the traditional codes of the cadential procedures. He aims to avoid the general configuration of consonance, relaxation and quiescence. Several semantic categories can be defined, each of them having its own stylistic characteristics: female, past, sinister, macabre, even if death seems to be the most efficient principle, from a point of view of aesthetics. It is to propose a reflection into the meanings of these endings. To do this, we resort to poïtic intentions of the composer with the esthesic expectations and interpretive collaboration of the listener. The first part of this thesis is devoted to process of denudation and threshold notion, whereas the second part raises questions about the principle of increase, related to mephistophelian, sinister and gypsy-Hungarian topoï. At last, the third part focuses on several topics: open ending, experimental form, expectation, the unexpected and romantic fragment. These avenues of reflection attempt to identify a paradox of the ending in Liszt’s late piano pieces, between closed structure and threshold principle
Walker, Julie. "Le dernier style de Chopin : contexte, analyse et stratégies narratives des œuvres tardives." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC028/document.
Full textThis thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer
Nishimura, Yukio. "Les Notes sur Chopin d’André Gide et leur époque : un écrivain « classique » face à un musicien « romantique » ?" Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100031.
Full textAndré Gide loves Frederic Chopin so deeply that he even writes a book the whole content of which is dedicated to analyze this musician: Notes on Chopin (1931, 1948). Our thesis aims to study his thoughts on Chopin and to locate them in the history of the French reception of the musician. Regretting that his music is interpreted "falsely", Gide strives to present a true" figure of the composer. In this attempt, although Chopin’s art is generally regarded as "romantic", the novelist finds his aesthetic ideal - "classicism" – in it. When Gide discusses Chopin, the term "classicism" is related to three concepts which compose Gide's aesthetic and ethic: elitism, "anti-romanticism", and cultural nationalism. Consider that this image of a "classical" Chopin created by Gide does not seem very strange if we take into account Chopin's discourse at the time of the preparation of the Notes (1892-1931). People at the period began to approach the musician in more varied and more scientific ways, by relativizing the clichés connected to him (decadent, unhealthy, sentimental). As a result, they have come to pay attention to several aspects of Chopin's style, including his "classicism". So, it is not very surprising that Notes are accepted positively on the whole. Moreover, we confirm the ideas explained in Notes aren’t totally contradictory to the ones shared with the critics who are hostile to Gide, nor to those of Alfred Cortot whose so-called “romantic” performance the novelist rejects. These facts allow us to reconsider the possible contemporaneity of the Notes in the inter-war period, even though its content seems to be completely independent of the cultural situation of that time
Cortot, Pierre. "Darius Milhaud et les poètes." Phd thesis, Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2003. http://tel.archives-ouvertes.fr/tel-00825871.
Full textLamontagne, Véronique. "Échos wagnériens : musique et organicité dans Le jeu des perles de verre de Hermann Hess et Docteur Faustus de Thomas Mann." Thèse, 2006. http://hdl.handle.net/1866/17958.
Full textLebeau-Henry, Charles. "L'expression musicale chez Nietzsche." Thèse, 2016. http://hdl.handle.net/1866/18791.
Full textThe object of this thesis is the notion of musical expression as it appears in the works of Friedrich Nietzsche. As an amateur player and composer, Nietzsche was throughout his life fascinated by the power of music, and thus wrote extensively on the subject. However, his views on music itself did not remain identical during this time. His published work is framed by opposed judgments on the person and the music of Richard Wagner, in The Birth of Tragedy and The Case of Wagner; and more than just a simple change of taste, it is his comprehension of music’s working itself that changes between the two books. The notion of expression was then as it still is today a topic of debate in musical aesthetics, and it is largely by taking position in such a debate, that between Wagner and Eduard Hanslick, that Nietzsche came to formulate his own philosophical positions on the subject. Initially a “romantic”, and as such defending the lofty and “metaphysical” expressive power of music with his first masters, Arthur Schopenhauer and Wagner, Nietzsche then sided with Hanslick to maintain that music does not possess any peculiar expressive properties apart from those that we can ourselves project on objects in general. He ultimately reconsiders the question in his later writings, and allows for music to express the physiological tendencies of its creator, and as such considers it a symptom of his specific organizational state. We here submit an interpretation of representative texts for each of those positions, which aims to clarify their significations and their implications.
Mouratidis, Maria. "The Aesthetics of Madame de Staël and Mary Shelley." Thèse, 2012. http://hdl.handle.net/1866/10097.
Full textThe Aesthetics of Madame de Staël and Mary Shelley discusses the art of improvisation and the concept of enthusiasm in the writings of these two authors. In this project, I explore Madame de Staël’s aesthetics of improvisation and enthusiasm as represented in Corinne by drawing from her other novel Delphine, her play Sapho, and her short stories as well as her philosophical texts such as De l’Allemagne, De l’influence des passions, and De la littérature. I argue that Madame de Staël embraces through Corinne an anti-utilitarian aesthetic. I maintain that she represents a cosmopolitanism that values indigenous culture as opposed to Napoleon’s Imperialism. Furthermore, I examine how Corinne’s improvisations derive from an enthusiasm that can be associated to Plato’s elucidation of the term in Phaedrus and in Ion. This is evident by Madame de Staël’s own definition of enthusiasm as presented in the closing chapters of her De l’Allemagne. I interpret Corinne’s illness that is manifested in the loss of her genius as having psychosomatic origins and as being a slow suicide that is an expression of anger against patriarchy. The character of Corinne allows Madame de Staël to explore the conflict that women artists faced between having an artistic career and adhering to the domestic ideology. Chapter two focuses on the interest that Shelley takes in the art of improvisation as is manifested in her letters about the improvisator Tommaso Sgricci. Despite her fascination with extempore poetry, she regrets that this art form is evanescent. Moreover, I examine her enthusiastic response to another artist, Nicolò Paganini. Her fascination with this virtuoso violinist is linked to discourses about the unnatural talent of improvisatores. I argue there is a continuum of improvisation from the ballad form of the common people to the high-cultured improvisatore. I hold that the Shelleys were collaborating in defining the theory of inspiration through their interest in the art of improvisation. Chapter three considers the link between cosmology and aesthetics of inspiration through the function of music, especially Joseph Haydn’s The Creation, in Shelley’s The Last Man. I examine the representation of the sublimity of the Alps in the narrative through discourses that associate the Alps with the primordial forces of creation. The roles of Necessity, Prophecy, and Time can be understood in the novel by taking into account the notion of the music of the spheres. Chapter four explores the different meanings of the word enthusiasm in Shelley’s writings, primarily in Valperga and The Last Man. I discuss Shelley’s views on Madame de Staël as presented in Lives. I analyze Corinne-inspired characters in Shelley’s texts. In addition, I consider the meaning of enthusiasm in Shelley’s writings in relation to the English Civil War and the French Revolution. I present how enthusiasm was linked in the seventeenth-century to medical discourses about melancholia and how this is reflected in Shelley’s characters.
de, Oliviera Bottas Paulo Vitor. "Brasília – Sinfonia da Alvorada d’Antonio Carlos Jobim : enjeux esthétique et idéologique d’une commande de l’état brésilien." Thèse, 2017. http://hdl.handle.net/1866/20543.
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