Bibliografías temáticas / Satie

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Literatura académica sobre el tema "Satie"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 31 de julio de 2024

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Artículos de revistas sobre el tema "Satie"

1

Thomson, Andrew Hugill, Ornella Volta y Michael Bullock. "Satie Seen". Musical Times 131, n.º 1763 (enero de 1990): 35. http://dx.doi.org/10.2307/965628.

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Dickinson, Peter. "Collecting Satie". Musical Times 131, n.º 1772 (octubre de 1990): 551. http://dx.doi.org/10.2307/966518.

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Schiff, Christopher P., Robert Orledge y Roger Nichols. "Satie Remembered". Notes 53, n.º 2 (diciembre de 1996): 476. http://dx.doi.org/10.2307/900138.

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Symons, David. "Erik^Satie". Musicology Australia 11, n.º 1 (enero de 1988): 119–20. http://dx.doi.org/10.1080/08145857.1988.10420648.

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Frionnet, Christophe. "Erik Satie". Sens-Dessous 8, n.º 1 (2011): 107. http://dx.doi.org/10.3917/sdes.008.0107.

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Nichols, Roger y Robert Orledge. "Satie the Composer". Musical Times 132, n.º 1782 (agosto de 1991): 392. http://dx.doi.org/10.2307/965890.

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Smith, Richard Langham. "The Serious Satie". Musical Times 132, n.º 1782 (agosto de 1991): 393. http://dx.doi.org/10.2307/965891.

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Lesure, François, Robert Orledge y Francois Lesure. "Satie the Composer". Revue de musicologie 77, n.º 1 (1991): 137. http://dx.doi.org/10.2307/947195.

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Orledge, Robert. "Satie & America". American Music 18, n.º 1 (2000): 78. http://dx.doi.org/10.2307/3052391.

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Dickinson, Peter. "Satie & Hahn". Musical Times 131, n.º 1771 (septiembre de 1990): 488. http://dx.doi.org/10.2307/1193673.

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Tesis sobre el tema "Satie"

1

Bourgault, Mélissa. "Socrate : Autoportrait cubiste d'Erik Satie". Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31108.

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Erik Satie fut toujours considéré comme un personnage énigmatique dans le monde musical français au tournant du siècle dernier. Sa personnalité marginale et ses œuvres dépouillées aux titres étranges ont maintes fois suscité questionnements et polémique. En 1917, Erik Satie écrivit une œuvre qui ne ressembla aucunement au répertoire antérieur du compositeur. Socrate, qui fut représenté publiquement pour la première fois en janvier 1920 à la Société Nationale de Paris, laissa le public et la critique perplexe et mitigé. Qu’avait donc de si particulier cette œuvre qui, d’un côté, passa pour une blague mais qui, pour certains dont le compositeur lui-même, fut considérée comme une manifestation pure de sagesse et de sincérité ? Socrate fut conçu au même moment où Satie entretenait des liens étroits avec le monde cubiste. Pablo Picasso et Georges Braque furent désormais les maîtres d’un courant artistique qui allait révolutionner le monde artistique. De concert avec les valeurs avant-gardistes prônées par Erik Satie, les cubistes cherchèrent à bousculer les attentes du public en modifiant l’approche visuelle de manière à stimuler les différentes perceptions sensorielles. Avec le ballet Parade, représenté en mai 1917, le compositeur collabora avec Picasso et ceci eût grandement influencé son style musical puisqu’il employa des techniques se rapprochant grandement du cubisme. Comme le soutient Daniel Albright, Satie trouva dans le cubisme son analogue artistique. Selon moi, outre Parade, Erik Satie bénéficiera de l’esthétique cubiste pour développer son œuvre Socrate. Cette thèse se concentre sur la signification de l’œuvre Socrate, plus particulièrement comment celle-ci pourrait représenter un autoportrait d’Erik Satie. De surcroît, elle examine comment cette représentation est camouflée derrière des méthodes cubistes traduites musicalement. La thèse s’appuie sur une littérature variée portant sur divers sujets relatant Socrate, dont la biographie du compositeur et sa relation avec des réseaux artistiques, intellectuels et sociaux. Cette thèse est la première étude d’envergure à suggérer une possibilité d’autoportrait cubiste musical puisque peu d’auteurs se sont attardés à résoudre cette problématique. Cette thèse décrit comment Socrate est une manifestation personnelle de sincérité et d’humilité d’un compositeur qui, persécuté tout au long de sa vie, se dévoila aux yeux de tous par le recours à cette figure emblématique de l’histoire : Socrate.
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Boero, Luca <1980&gt. "Umorismo e ironia in Erik Satie". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/2785/1/Boero_Luca_Umorismo_e_ironia_in_Erik_Satie.pdf.

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Boero, Luca <1980&gt. "Umorismo e ironia in Erik Satie". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/2785/.

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Dossena, Pietro. "Scrittura e riscrittura in Erik Satie". Doctoral thesis, Università degli studi di Padova, 2010. http://hdl.handle.net/11577/3426522.

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Writing and rewriting in Erik Satie Erik Satie is an excellent object of study for anyone interested in genetic criticism: the examination of his numerous sketches and drafts allows not only to follow the modifications of his language en cours de route, but also to study the processes through which Satie reaches the final version of a piece. This research is structured as an alternation of two complementary attitudes: on one hand, a survey of writing and rewriting procedures in Satie’s manuscripts (in chronological order); on the other hand, a collection of dossiers, thoroughly analysing the genesis of a particular piece − or of a passage within it. Special emphasis is assigned to the inherent logic of compositional processes, in order to provide abstract representations of the various ‘genetic typologies’. The mechanics of the compositional process seems to have followed an arch shape throughout Satie’s career: both his early and his late pieces seem to comply with a linear-derivative model, while the compositions belonging to the central part of his production extensively explore the possibilities allowed by the multiplication of compositional trajectories − the acme of this tendency being the genetic logic of “key passages”. The most in-depth genetic analyses, included in the dossiers, are concrete applications of conceptual abstractions that could also be applied to other composers − if not to other forms of art. But the dossiers mainly aim at providing a contribution to the understanding of some Satie pieces (Le Fils des étoiles, Messe des pauvres, Poudre d’or, Sports & divertissements, Socrate, Le Médecin malgré lui), presented from the perspective of textual genesis.
Scrittura e riscrittura in Erik Satie Erik Satie è un eccellente oggetto di studio per chiunque si occupi di critique génétique: l'esame dei suoi numerosi manoscritti avantestuali consente non solo di seguire le modificazioni del suo linguaggio nel momento in cui iniziano a manifestarsi, ma anche di osservare i processi mediante i quali viene raggiunta la versione definitiva di un brano. Questa ricerca è strutturata come un’alternanza di due momenti complementari: da un lato, una rassegna in ordine cronologico dei procedimenti di scrittura e riscrittura nei manoscritti di Satie; dall’altro, una collezione di dossier, in ognuno dei quali viene approfondita la genesi di un determinato pezzo − o di un passaggio al suo interno. Particolare attenzione è riservata alla logica intrinseca dei processi compositivi, nell’intento di fornire rappresentazioni astratte delle varie ‘tipologie genetiche’ possibili. La meccanica del processo compositivo sembra aver seguito in Satie una traiettoria ad arco: sia le composizioni giovanili che quelle più tarde sembrano conformarsi al modello lineare-derivativo, mentre le composizioni del periodo centrale della sua attività esplorano estensivamente le possibilità insite nella moltiplicazione delle traiettorie compositive; il culmine di quest’ultima tendenza è rappresentato dalla logica genetica dei “passaggi chiave”. Le analisi genetiche più approfondite, contenute nei dossier, sono l’applicazione concreta di formalizzazioni concettuali applicabili anche ad altri compositori, se non ad altre forme d’arte. Ma i dossier mirano soprattutto a fornire un contributo alla comprensione di alcuni pezzi (Le Fils des étoiles, Messe des pauvres, Poudre d’or, Sports & divertissements, Socrate, Le Médecin malgré lui), presentati dal punto di vista della genesi testuale.
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Delor, Gilbert. "Erik Satie : la Singularité construite d'un langage musical". Paris 4, 2001. http://www.theses.fr/2001PA040154.

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Tout au long de sa carrière, Satie élabore son langage musical dans le souci permanent de se démarquer des pratiques ambiantes. Sa singularité a quelque chose de délibéré qui se concrétise dans ses choix harmoniques et formels. Les références qu'il affiche sont situées dans un passé lointain (le Moyen Age), dans un ailleurs porteur d'harmonies nouvelles (l'Orient), ou au contraire dans la trivialité des musiques populaires à la mode. Ces apports lui permettent de contourner aussi bien l'académisme que la domination du modernisme wagnérien. Sur le plan de l'écriture, cet isolement stylistique conduit Satie à recourir aux contraintes, voire à forger de véritables systèmes d'écriture. Quant à la forme, privée des ressources du développement, elle tend à privilégier deux outils qui sont analysés ici de manière détaillée : la répétition et la segmentation. Par ces deux procédés, Satie affaiblit la relation naturelle entre forme et matériau, et confère à la musique une qualité d'objet
Throughout his career, Satie elaborates his musical language with the constant aim of differenciating himself from contemporary practices. His singularity holds a firmness of intention which materializes itself in his harmonic and structural choices. .
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Storer, Stuart. "The piano music of Erik Satie and his influence on later composers /". Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09MUM/09mums884.pdf.

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Donnellon, Deirdre Caitriona. "Debussy, Satie and the Parisian critical press (1890-1925)". Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367092.

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Hanlon, Ann-Marie. "Satie and the French musical canon : a reception study". Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/2124.

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Satie was the first French composer to completely reject the musical tradition of Romanticism in all its forms: technically, aesthetically and ideologically. The methods through which Satie attacked tradition were highly unorthodox and often presented in an aphoristic and humorous fashion, an approach that caused his pivotal role in the emergence of the early French avant-garde to be neglected. The primary research question that informs this thesis asks what were the mechanisms by which Satie was consistently excluded from the canon during his public career (1911-1925)? Within a primary framework of canon theory, this reception study challenges the dominance of the canon on discourses surrounding Satie during his lifetime and lays the foundations for a reassessment of his role as an avatar of French modernism. This study addresses the canon in explicit terms and challenges canonic influence over methodology, terminology and ideology in musical discourse. In doing so many traditional beliefs and images concerning Satie are re-examined, for example: that analyses of his music are a futile pursuit as the musical ideas were considered more important than the music itself. The historicity of various images of Satie that collectively formed his public identity in the press are examined and, where necessary, re-evaluated. Through an analysis of a wide range of primary sources, including concert programmes and critical reviews, this research addresses the themes that predominate in Satie’s reception and impacted significantly on his reputation: professionalism, humour, gender, nationalism, class politics and religion. Particular attention is given to the role of humour and various methods are suggested for directly dealing with the comic in Satie’s music. The canonic implications of programming practices and Satie’s involvement in inter-art events are also explored. Through a direct confrontation of the canon, an alternative historiographic model for this period of French musical history is proposed.
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Harbec, Jacinthe 1955. "Parade : les influences cubistes sur la composition musicale d'Erik Satie". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63792.

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Scott, Emily. "Avant-garde across a Century: Erik Satie and Sonic Youth". Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/996.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Music
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Libros sobre el tema "Satie"

1

Wehmeyer, Grete. Erik Satie. Reinbek bei Hamburg: Rowohlt, 1998.

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Gillmor, Alan M. Erik Satie. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10162-7.

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Gillmor, Alan M. Erik Satie. Basingstoke: Macmillan, 1988.

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Gergorin, Romaric. Erik Satie. Arles: Actes sud, 2016.

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Volta, Ornella. Erik Satie. Paris: Hazan, 1997.

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Robert, Orledge, ed. Satie remembered. Portland, Or: Amadeus Press, 1995.

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Wehmeyer, Grete. Erik Satie. Kassel: Bosse, 1997.

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Orledge, Robert. Satie remembered. London: Faber and Faber, 1995.

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Volta, Ornella. Satie sur scène. Honfleur: Musée Eugène Boudin, 2000.

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Bassi, Adriano. Erik Satie: L'antiaccademico. Sannicandro Garganico (FG): Gioiosa, 2003.

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Capítulos de libros sobre el tema "Satie"

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Gillmor, Alan M. "Ars Gallica: Sources of a Style". En Erik Satie, 1–25. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10162-7_1.

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Gillmor, Alan M. "Monsieur le Pauvre". En Erik Satie, 26–51. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10162-7_2.

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Gillmor, Alan M. "Montmartre and the Chat Noir". En Erik Satie, 52–70. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10162-7_3.

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Gillmor, Alan M. "The Rosicrucian Adventure". En Erik Satie, 71–106. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10162-7_4.

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Gillmor, Alan M. "The Velvet Gentleman". En Erik Satie, 107–42. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10162-7_5.

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Gillmor, Alan M. "Chapters Turned Every Which Way". En Erik Satie, 143–86. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10162-7_6.

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Gillmor, Alan M. "The Cock and the Harlequin". En Erik Satie, 187–212. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10162-7_7.

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Gillmor, Alan M. "Socrate". En Erik Satie, 213–36. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10162-7_8.

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Gillmor, Alan M. "The Late Ballets". En Erik Satie, 237–64. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10162-7_9.

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Cope, David. "Satie & Dante". En Coming Home, 112. Totowa, NJ: Humana Press, 1993. http://dx.doi.org/10.1007/978-1-4615-8160-4_73.

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Actas de conferencias sobre el tema "Satie"

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Lepain, Philippe. "SATIE". En the fourth ACM international conference. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/244130.244444.

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Makomaska, Sylwia. "HOW TO �FURNISH� THE PUBLIC SPACE WITH (ARTISTIC) BACKGROUND MUSIC� ERIK SATIE AND BRIAN ENO". En 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s16.060.

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Oliveira, Ana Marcela França de. "Arte e vida em mirrored cubes e na música de mobiliário: tensões no entorno". En Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3853.

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A arte contemporânea, tanto a brasileira quanto a internacional, se encontra, em sua maioria, intimamente relacionada à vida, à realidade comum. Sua aplicação ou mesmo existência no mundo é dada através de sua abertura para a realidade cotidiana, onde o espaço da galeria se torna, muitas vezes, insuficiente. Instalações, performances, happenings e outras formas de manifestações artísticas, criam, então, uma temporalidade produzida pelo encontro entre arte, espectador-participante e espaço, tornado-se a obra as ações simultâneas proporcionadas pela duração desse mesmo encontro. Deste modo, dicotomias e hierarquias desaparecem para dar lugar ao acaso e a indeterminação, uma vez que a obra de arte nunca volta a ser exatamente aquilo que já fora antes. Para tanto, buscaremos na Música de mobiliário (c. 1920), de Erik Satie e em Mirrored Cubes (1965), de Robert Morris, alcançar o entendimento desse constante processo de abertura, como também analisaremos as tensões provocadas nos artistas que de alguma forma compartilharam deste mesmo pensamento – como em John Cage, Richard Serra, entre outros.
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Ganti, Raghu K., Praveen Jayachandran, Tarek F. Abdelzaher y John A. Stankovic. "SATIRE". En the 4th international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1134680.1134693.

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Hong, Jason I. y James A. Landay. "SATIN". En the 13th annual ACM symposium. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/354401.354412.

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Harper, Simon, Sean Bechhofer y Darren Lunn. "SADIe:". En the 8th international ACM SIGACCESS conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1168987.1169044.

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Bayle, Yann, Pierre Hanna y Matthias Robine. "SATIN". En CBMI '17: International Workshop on Content-Based Multimedia Indexing. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3095713.3095716.

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Lunn, Darren. "SADIe". En the 9th international ACM SIGACCESS conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1296843.1296904.

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Hong, Jason I. y James A. Landay. "SATIN". En ACM SIGGRAPH 2006 Courses. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1185657.1185768.

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Whittemore, Jesse, Joonyoung Kim y Karem Sakallah. "SATIRE". En the 38th conference. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/378239.379019.

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Informes sobre el tema "Satie"

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Black, Paul E. y Athos Ribiero. SATE V Ockham Sound Analysis Criteria. National Institute of Standards and Technology, marzo de 2016. http://dx.doi.org/10.6028/nist.ir.8113.

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Black, Paul E. y Kanwardeep Singh Walia. SATE VI Ockham Sound Analysis Criteria. National Institute of Standards and Technology, mayo de 2020. http://dx.doi.org/10.6028/nist.ir.8304.

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Okun, vadim, Romain Gaucher y Paul E. Black. Static analysis tool exposition (SATE) 2008. Gaithersburg, MD: National Institute of Standards and Technology, 2009. http://dx.doi.org/10.6028/nist.sp.500-279.

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Ogata, Michael. Static Analysis Tool Exposition (SATE) VI:. Gaithersburg, MD: National Institute of Standards and Technology, 2023. http://dx.doi.org/10.6028/nist.ir.8462.

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Reger, D. R. y C. R. Campbell. Preliminary report, 1985, Sakie Bay Cave, CRG-230. Alaska Division of Geological & Geophysical Surveys, 1985. http://dx.doi.org/10.14509/1129.

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Delaitre, Aurelien. SATE VI Report: Bug Injection and Collection. Gaithersburg, MD: National Institute of Standards and Technology, 2023. http://dx.doi.org/10.6028/nist.sp.500-341.

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Reger, D. R. y C. R. Campbell. Early historic use of Sakie Bay Cave, CRG-230. Alaska Division of Geological & Geophysical Surveys, 1986. http://dx.doi.org/10.14509/1223.

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Okun, vadim, Aurelien Delaitre y Paul E. Black. The second static analysis tool exposition (SATE) 2009. Gaithersburg, MD: National Institute of Standards and Technology, 2010. http://dx.doi.org/10.6028/nist.sp.500-287.

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Bond, Nathaniel. Lessons in Immorality: Mishima's Masterpiece of Humor and Social Satire. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.988.

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Okun, Vadim, Aurelien Delaitre y Paul E. Black. Report on the Static Analysis Tool Exposition (SATE) IV. National Institute of Standards and Technology, enero de 2013. http://dx.doi.org/10.6028/nist.sp.500-297.

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