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Relevant bibliographies by topics / Vincent d'Indy

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Academic literature on the topic 'Vincent d'Indy'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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Journal articles on the topic "Vincent d'Indy"

1

Huebner, Steven. "‘Striptease’ as Ideology." Nineteenth-Century Music Review 1, no. 2 (November 2004): 3–24. http://dx.doi.org/10.1017/s1479409800001336.

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Vincent d'Indy's Istar (1897), a set of variations for orchestra, commands attention for its unusual ground plan: the variations proceed from complex textures to simple ones. Analysis reveals how certain melodic and harmonic details unfold at larger structural levels. Istar's symmetries and organic construction are set in the context not only of previous variation sets but also of Debussy's Prélude à l'après-midi d'un faune, a symphonic poem of similar dimensions that was premiered shortly before d'Indy composed his piece. Resemblances between the two works suggest that d'Indy may have intended Istar as a response to Debussy. Juxtaposition of Debussy and d'Indy provides insight into the different connotations of modernity at the fin de siècle. Istar's programme and compositional strategies reflect d'Indy's firm historicism and commitment to tradition. Yet the work was received as experimental and daring in its day. In its materials Istar paradoxically illustrates a ‘backward progression’: its stylistic allusions move backward in time, yet the tonal direction aims forward towards the concluding tonic. Such idiosyncrasies provide insight into d'Indy's aesthetics and ideology, which sought to conflate commitment to progress with adherence to Faith.

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Smith, Richard Langham, and Andrew Thomson. "Vincent d'indy and His World." Modern Language Review 93, no. 2 (April 1998): 519. http://dx.doi.org/10.2307/3735422.

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Hart, Brian J., and Andrew Thomson. "Vincent d'Indy and His World." Notes 54, no. 4 (June 1998): 923. http://dx.doi.org/10.2307/900077.

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Fulcher, Jane. "Vincent d'Indy's ‘Drame Anti-Juif’ and its meaning in Paris, 1920." Cambridge Opera Journal 2, no. 3 (November 1990): 295–319. http://dx.doi.org/10.1017/s0954586700003293.

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On 6 June 1920, a work premièred at the Paris Opéra and, unlike others preceding it that season, met with general approbation in the press. Despite reservations, newspapers as well as political and musical journals pronounced the opera sincere, deeply religious, an ‘oeuvre de foi’. The composer–librettist, Vincent d'Indy, must have been both pleased and perplexed by such praise, for he had originally conceived the work as a trenchant political critique. As planned in 1903, the opera was to show, in d'Indy's words, ‘the nauseating Judeo-Dreyfusard influence’ within a legend that accommodated this message.

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Thomson, Andrew, Quatuor Prat, Jean Dupouy, Francois Michel, Kun Woo Paik, Regis Pasquier, Bruno Pasquier, Roland Pidoux, and Huseyin Sermet. "Vincent D'Indy: Deuxieme Trio; Deuxieme Quatuor; Sextuor." Musical Times 134, no. 1803 (May 1993): 282. http://dx.doi.org/10.2307/1002458.

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6

Proksch, Bryan. "Vincent d'Indy as Harbinger of the Haydn Revival." Journal of Musicological Research 28, no. 2-3 (April 30, 2009): 162–88. http://dx.doi.org/10.1080/01411890902913131.

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Schwartz, Manuela. "Symbolic structures and elements in the operaFervaalof Vincent d'Indy." Contemporary Music Review 17, no. 3 (January 1998): 43–56. http://dx.doi.org/10.1080/07494469800640191.

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8

Pasler, Jann. "Deconstructing d'Indy, or the Problem of a Composer's Reputation." 19th-Century Music 30, no. 3 (2007): 230–56. http://dx.doi.org/10.1525/ncm.2007.30.3.230.

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Perhaps more than any of his contemporaries in turn-of-the-century France, the composer Vincent d'Indy fashioned an identity based on opposition. Understanding the dynamic of oppositional politics, he defined himself, his music, and the music school he directed, the Schola Cantorum, through difference. This has led both his successors and his critics up through the present to associate him with defiant ultra-conservatism. However, d'Indy was also a man of alliances, alliances that served the composer and the state well. In "Deconstructing d'Indy," I throw into question the attitudes that have accumulated about him and suggest a more nuanced view of the man and his politics based on his practices, particularly before 1900. I show how he allowed government officials to use his difference to help them combat monopolies and bridge conflict with the Republic. The article argues that in misconstruing the nature and function of political differences in France and their relationship to reputation-building strategies, we risk substituting ideology and our own projections of its meaning for a composer's identity and importance in his or her times.

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Gibbons, William. "Iphigénie à Paris: Positioning Gluck Historically in Early Twentieth-Century France." Articles 27, no. 1 (September 13, 2012): 3–15. http://dx.doi.org/10.7202/1013158ar.

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In December 1907, Gluck's opera Iphigénie en Aulide was produced in Paris at the Opéra-Comique, the last of his major operas to be revived in France. The ensuing critical reception pitted Vincent d'Indy, who harshly criticized the production, against its director, Albert Carré; d'Indy further responded by conducting the overture to Iphigénie only a few weeks later as a musical corrective to the performance at the Opéra-Comique. This unusual event highlights the historiographie problem Gluck presented to early twentieth-century critics in France: did his music look backwards to the tragédies lyriques of Lully and Rameau, or did it prefigure the Wagnerian music-dramas of the nineteenth century? The 1907 Opéra-Comique production of Iphigénie and its aftermath encapsulate the struggle to incorporate Gluck into newly developing and often competing narratives of music history.

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10

WHEELDON, MARIANNE. "Debussy and La Sonate cyclique." Journal of Musicology 22, no. 4 (2005): 644–79. http://dx.doi.org/10.1525/jm.2005.22.4.644.

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ABSTRACT In 1915, Debussy returned to the genre of chamber music for the first time since the String Quartet of 1893 and composed the only sonatas of his career. What draws these early and late chamber works together is that they are all cyclic in construction. While Debussy's quartet clearly bears the imprint of Céésar Franck's cyclic procedures, his sonatas engage with this tradition more cautiously. Comparing the string quartet with the sonatas elucidates Debussy's uneasy rapprochement with a style he had formerly embraced. Debussy's underplaying of the cyclic tradition was motivated by what the cyclic sonata had come to represent in the intervening years, in particular its appropriation by Franck's student Vincent d'Indy. In his teachings and publications, d'Indy promulgated a nationalistic view of the cyclic sonata, one that declared Franck and the modern French school as the only comprehending heirs of Beethoven. Reluctant to participate in this particular heritage, Debussy diverted attention from the cyclic procedures used in the sonatas by explicitly emphasizing their stylistic affiliation with the French 18th century and by implicitly aligning himself with Franck rather than with d'Indy. In this way Debussy sought to carve out a place for his sonatas within a less contentious tradition.

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Dissertations / Theses on the topic "Vincent d'Indy"

1

Neal, Paul Andrew. "A survey of the choral works of Vincent D'Indy, including the chansons of opus 82, 90 and 100." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495960051&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Groth, Renate. "”Revivre l'art”. Zur Geschichtsauffassung in der Kompositionslehre Vincent d'Indys." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38319.

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Holstein, Jean-Paul. "Le renouveau de la symphonie francaise, 1870-1900 : les oeuvres." Paris 4, 1991. http://www.theses.fr/1990PA040066.

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Suite et prolongement de la these precedente " le renouveau de la symphonie francaise - 1870-1900 - le mouvement de 1886 " , sous le titre " le renouveau de la symphonie francaise - 1870-1900 - les oeuvres", cette deuxieme these aborde, sous l'angle analytique, les six symphonies representatives de ce renouveau: la symphonie en re mineur de c. Franck, la symphonie cevenole en sol majeur de v. D'indy, la symphonie avec orgue en ut de c. Saint-saens, la symphonie en sol mineur d'e. Lalo, la symphonie en si bemol majeur de. Chausson, la symphonie en ut majeur de p. Dukas. Pour chaque oeuvre, l'ensemble du materiau thematique est d'abord presente puis etudie, theme par theme, cellule cyclique par cellule cyclique. A partir de ce catalogue, la forme est decrite, les langages sont expliques, sous l'angle melodique, rythmique, harmonique, contrapuntique et instrumental. L'objet de cet ouvrage est de proposer a la fois un outil de travail, une recherche exhaustive sur des oeuvres parfois meconnues, une voie nouvelle pour une analyse nouvelle, ou cohabitent harmonieusement technique et esthetique. C'est le point de vue d'un compositeur et d'un analyste, soucieux de penetrer les secrets de la creation musicale
This thesis , entitled "the revival of the french symphony - 1870-1900works " , tackles , in an analytic vision, six symphonies which are representative of the revival of french symphony. ( it is the continuation and the extension of a previous thesis entitled " the revival of the french symphony - 1870-1900 - the mouvement in 1886 " ): the symphony in d minor by c. Franck, the cevenol symphony in g major by v. D'indy, the symphony with organ in c by g. Camille saint-saens, the symphony in g minor by e. Lalo, the symphony in b major by e. Chausson, the symphony in c. Major by p. Dukas. For each piece, we first show the whole of the thematic material, then we study it, theme after theme, cyclic element after cyclic element, from this catalogue, form is described, the languages are expressed in their entire conception: melodic, rythmic, harmonic, contrapuntic and instrumental. This work aims to propose at the same time a workingtool, a complete research into sometimes little known works, a new outlook for a new analysis, which would happily couple technique and aesthetics. This is the point of view of a composer and analyst, concerned with the secrets of musical creation

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Schwartz, Manuela. "Wagner-Rezeption und französische Oper des Fin de siècle : Untersuchungen zu Vincent D'Indys Fervaal /." Sinzig : Studio Verl.Schewe, 1999. http://catalogue.bnf.fr/ark:/12148/cb37661523w.

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5

"An analysis of three French piano quartets of the 1870s: Camille Saint-Saens Piano Quartet, Op. 41, Gabriel Faure Piano Quartet, Op. 15, and Vincent d'Indy Piano Quartet, Op. 7." THE UNIVERSITY OF OKLAHOMA, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=3304213.

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Books on the topic "Vincent d'Indy"

1

Thomson, Andrew. Vincent D'Indy and his world. Oxford: Clarendon Press, 1996.

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2

Trumble, Robert. Vincent d'Indy: His greatness and integrity. Caulfield North, Vic: R. Trumble, 1994.

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3

Trumble, Robert William. The compositions of Vincent d'Indy: A detailed survey. N Caulfield, Victoria: Dr RW Trumble, 2000.

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4

Pommiès, Elisabeth. Vincent d'Indy (1851-1931): Au service de la musique. Biarritz: Séguier, 2001.

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5

Vincent d'Indy: L'homme, le musicien, le chef d'orchestre, 1851-1931. Morges, Suisse: [The Author], 1987.

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6

Maillard, Jean. Vincent d'Indy: Le maître et sa musique : la Schola Cantorum. Paris: Zurfluh, 1994.

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7

Ferraton, Yves. Vincent d'Indy, 1851-1931: Dessins et aquarelles, images de l'Ardèche et d'ailleurs. Langres: Guéniot, 2003.

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8

Seiberts, Ruth. Studien zu den Sinfonien Vincent d'Indys. Mainz: Are Edition, 1998.

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9

Schwartz, Manuela. Wagner-Rezeption und französische Oper des Fin de Siècle: Untersuchungen zu Vincent d'Indys Fervaal. [Sinzig]: Studio, 1999.

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10

Vincent d'Indy et son temps. Sprimont: Mardaga, 2006.

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Book chapters on the topic "Vincent d'Indy"

1

Huebner, Steven. "Vincent d'Indy and Moral Order." In French Opera at the Fin de Siecle, 301–7. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780195189544.003.0020.

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