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Artigos de revistas sobre o tema "O cancioneiro musical de Paris"

Autor: Grafiati

Publicado: 9 de setembro de 2021

Última modificação: 9 de fevereiro de 2022

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1

Machado, Renato Ferreira. "Um canto simples, de amor e verdade: aspectos teológicos da música nativista gaúcha". Teocomunicação 48, n.º 1 (18 de setembro de 2018): 122. http://dx.doi.org/10.15448/1980-6736.2018.1.30576.

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Em nosso artigo analisamos algumas aproximações entre teologia e música nativista gaúcha, tendo como enfoque a produção teológica na América Latina à época do florescimento do Movimento Nativista. Inicialmente, contextualizamos essa cena musical no ciclo das canções de protesto latino-americanas, ocorrido entre a década de 60 e a década de 80 do Século XX, buscando, ao mesmo tempo, caracterizar o específico do cancioneiro nativista do Rio Grande do Sul. Prosseguimos com os aportes teológicos predominantes na América Latina no contexto estudado e concluímos com a análise de uma canção produzida neste cenário musical.

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Rocha, Inês de Almeida. "Caninde-Ioune: repertório de matriz indígena e africana em cancioneiro para aulas de Canto Orfeônico". RIDPHE_R Revista Iberoamericana do Patrimônio Histórico-Educativo 6 (30 de dezembro de 2020): e020030. http://dx.doi.org/10.20888/ridpher.v6i00.14832.

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O objetivo do artigo é analisar o processo de publicação e o repertório do cancioneiro Guia Prático: estudo folclórico musical, de Heitor Villa-Lobos, observando como o uso de elementos identificados nas canções de matrizes indígena, africana e europeia, revelam diversidade musical, concepções educativas e sociais do período que foram compostas. A análise se apoia em premissas estudadas pela História da Cultura Escrita, no que se refere à produção, apropriação e circulação da cultura escrita e em estudos sobre História da Educação Musical. A análise demonstrou que, m esmo com um discurso de valorização da cultura autóctone, rural e afrodescendente, a lógica hierárquica europeia estava consolidada e reforçada pela hegemonia dos elementos da música clássica ocidental.

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Ribeiro, Arilda Ines Miranda, e Jéssica Kurak Ponciano. "O discurso patriarcal através da música popular brasileira". Revista do Instituto de Políticas Públicas de Marília 4, n.º 1 (15 de agosto de 2018): 9–24. http://dx.doi.org/10.33027/2447-780x.2018.v4.n1.02.p9.

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O presente artigo pretende realizar uma discussão preliminar acerca das representações femininas contidas em canções brasileiras de diferentes gêneros musicais que popularizaram-se no país, em meados do século XX. Subsidiada pela teoria feminista, as reflexões pretendem analisar as seguintes músicas contidas no cancioneiro local popular: “Morocha”, de Mauro Ferreira e Roberto S. Ferreira; “Mulher Indigesta”, de Noel Rosa; “Cabocla Tereza”, de João Pacífico; “Me Lambe”, da banda Raimundos e “Mulheres Vulgares”, dos Racionais Mc’s explicitando os discursos patriarcais à elas relacionados, a fim de comprovar que a cultura patriarcal se naturaliza através da cultura musical no Brasil. Neste sentido, cada música eleita para a análise pertence a um gênero musical distinto, fato que corrobora com a prerrogativa de que a misoginia perpassa por todos os estilos musicais, que expressam culturas plurais e distintas. Cada uma das canções avaliadas trazem uma perspectiva diferente sobre a imagem feminina, entretanto, possuem em comum o fato de depreciarem a mulher, colocando-a em uma posição de inferioridade em relação ao homem. A visão androcêntrica reiterada e propalada através do cancioneiro popular, perpetua uma cultura de exclusão e violência contra as mulheres, neste sentido, propõem-se através destas discussões, contribuir para a desconstrução de uma visão estereotipada e convencionalista dos papéis de gênero.

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4

Bollos, Liliana Harb, Carlos Henrique Costa e Fernando Antônio de Alvarenga Corrêa. "As gravações históricas da canção “Desafinado”: desdobramentos da Bossa Nova no cenário internacional". ARJ – Art Research Journal / Revista de Pesquisa em Artes 4, n.º 1 (13 de agosto de 2017): 96–113. http://dx.doi.org/10.36025/arj.v4i1.10002.

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Este artigo analisa e compara as versões da canção “Desafinado” nos discos Chega de saudade, Jazz samba, The composer of Desafinado plays, Getz/Gilberto featuring A. C. Jobim, Sinatra/Jobim e também nas partituras impressas nos livros The Real Book, The New Real Book 1, Songbook Tom Jobim e Cancioneiro Jobim, tendo em vista os desdobramentos que ocorreram no cenário musical a partir da divulgação da Bossa Nova internacionalmente. Como resultado, identificamos que as diferenças melódico-harmônicas do disco estadunidense Jazz samba interferiram sobremaneira nas execuções posteriores dessa canção como gravações e publicações de partituras.

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5

Wright, Lesley Alison. "Paris: A Musical Gazetteer (review)". Notes 57, n.º 3 (2001): 608–9. http://dx.doi.org/10.1353/not.2001.0066.

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Silva, Júlio Henrique Nascimento da, Claudemiro de Lima Junior, Elâine Maria Santos Ribeiro e Regina Lúcia Félix de Aguiar Lima. "A biodiversidade da fauna e da flora da Caatinga no cancioneiro regional". Revista Brasileira de Educação Ambiental (RevBEA) 15, n.º 6 (28 de novembro de 2020): 154–72. http://dx.doi.org/10.34024/revbea.2020.v15.11452.

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O método tradicional de ensino onde os alunos têm participação passiva no processo de ensino ainda é comum nas escolas, e para mudar esse cenário as metodologias ativas de ensino têm sido adotadas no processo educativo. Recursos didáticos como jogos lúdicos podem ser ferramentas para melhorar o processo de ensino-aprendizagem. O objetivo deste trabalho foi desenvolver um jogo musical como ferramenta didática para o ensino da diversidade da fauna e da flora da Caatinga. O jogo aborda o tema de forma lúdica estimulando os alunos o interesse sobre o tema promovendo um conhecimento mais aprofundado sobre a fauna e a flora buscando despertar nos alunos a conscientização sobre a importância da conservação da Caatinga.

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7

Carvalho, Mayra Moreyra. "Chico Buarque: citando “assim de viés”". Revista Texto Poético 17, n.º 32 (14 de fevereiro de 2021): 173–98. http://dx.doi.org/10.25094/rtp.2021n32a758.

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O artigo discute como Chico Buarque se apropria da tradição musical e literária em suas canções. A análise de “Rubato” (2011) oferece elementos que permitem considerar o jogo de roubos, trocas e retoques encenado nos versos como expressão de uma concepção que não distingue a criação das práticas de escuta e leitura. Considerando a intertextualidade para além da identificação do intertexto e assumindo que o cancioneiro buarqueano está semeado de “bifurcações”, proponho um modo de escuta de duas canções, “Pedro pedreiro” (1966) e “Construção” (1971), a partir da relação possível com a poesia dos hispano-americanos César Vallejo e Juan Gelman.

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8

Brody, Elaine. "Paris. The Musical Kaleidoscope (1870-1925)". International Review of the Aesthetics and Sociology of Music 20, n.º 2 (dezembro de 1989): 241. http://dx.doi.org/10.2307/836734.

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9

Fiuza, Alexandre Felipe, e Geni Rosa Duarte. ""La marcha de la bronca” de Miguel Cantilo". Música Popular em Revista 4, n.º 1 (29 de abril de 2017): 47–67. http://dx.doi.org/10.20396/muspop.v4i1.13017.

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Este artigo enfoca a história do músico Miguel Cantilo, expoente do rock argentino, que construiu uma carreira musical com períodos intermitentes de atuação conjunta com Jorge Durietz, formando a dupla Pedro y Pablo; vale lembrar também sua atuação ao lado dos músicos da La Cofradía de la Flor Solar. São conhecidas suas composições, como “Yo vivo en esta ciudad” (1969), “Catalina Bahia” (1971) ou “La Marcha de la bronca” (1970), sendo que a última dá título a este texto, transformada em uma espécie de hino político setentista, vencendo o Segundo Festival de la Música Beat. Miguel Cantilo, além de ser um dos precursores do rock argentino, também vem construindo uma memória sobre o período por meio da literatura. A perseguição ao seu trabalho musical e a falta de perspectivas levou-o ao exílio na Colômbia e na Espanha, o que permite ampliar o foco de análise para além do quadro nacional em que estava inserido. Por fim, analisa-se aqui o percurso trilhado pelo músico e as escolhas estéticas e políticas que deram corpo ao seu cancioneiro.

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10

Hennebelle, David. "Un paysage musical de Paris en 1785". Histoire urbaine 26, n.º 3 (2009): 89. http://dx.doi.org/10.3917/rhu.026.0089.

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11

Hosiasson, Laura Janina. "Tengo miedo torero, de Pedro Lemebel: pasodoble e melodrama". Literatura e Sociedade 24, n.º 29 (19 de setembro de 2019): 141–49. http://dx.doi.org/10.11606/issn.2237-1184.v0i29p141-149.

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Nos anos 80, Pedro Lemebel surgia no Chile como uma extravagância, como uma brincadeira licenciosa e imoral que se deixava abater sobre um meio social, cultural e politicamente estreitado. No espaço minado da ditadura, as performances, os programas de rádio e as crônicas foram as armas com as quais Lemebel exerceu sua política de resistência. Se no deboche dos espetáculos de Las Yeguas del Apocalipse (1987-1993), a denúncia do constrangimento político e sexual se propunha de uma maneira teatralizada, na escrita ela irá acolher uma diversidade de perspectivas pelas quais o problema se constrói no cainho de uma revisão histórica. Neste seu único romance, Tengo miedo torero (2001), a ditadura militar é penetrada pelo prisma do olhar periférico e marginal de um velho homossexual travesti. Lemebel convoca o expediente do cancioneiro musical do radinho de pilha da sua infância para combiná-lo acertadamente com o ritmo de melodrama. O resultado aponta para um binarismo antitético, preto no branco.

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12

Marques, Luiz Antonio Barbosa Guerra. "Um olhar sobre a tradição e o moderno nas Orquestras de Violeiros". Revista da Tulha 2, n.º 1 (16 de junho de 2016): 77. http://dx.doi.org/10.11606/issn.2447-7117.rt.2016.120516.

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Em meio ao recente movimento cultural da viola caipira, destacam-se as Orquestras de Violeiros. Desde a criação pioneira da Orquestra de Violeiros de Osasco, em 1967, dezenas de agrupações musicais semelhantes surgiram e se espalharam pela região centrosul do Brasil. Trata-se de uma formação musical composta por vários violeiros, com repertório constituído majoritariamente pelo conhecido cancioneiro caipira. Participam das Orquestras instrumentistas de diferentes faixas etárias, escolaridade, sexo, formação musical, origens e contextos sociais, reunidos em torno da cultura e valores caipiras, com o objetivo de manutenção da tradição, aprendizado do instrumento e transmissão de técnicas de viola. As Orquestras têm sido guardiãs do repertório e da tradição da viola, contribuindo para a sobrevivência da música sertaneja raiz à margem da indústria fonográfica. Por outro lado, elas trazem consigo inovações na linguagem musical do repertório caipira, através de novos arranjos instrumentais orquestrados. Conclui-se que as Orquestras engendram uma forma muito particular de sociabilidade, onde se encontram a tradição e o moderno, o rural e o urbano. Constituem-se, ao mesmo tempo, em espaços de renovação do instrumento e preservação da memória e valores da cultura rural. Representam, enfim, uma síntese das transformações recentes da viola caipira. Tendo em vista a enorme quantidade de violeiros que hoje participam das Orquestras, torna-se essencial um mapeamento e investigação aprofundada sobre esse fenômeno. Este trabalho apresenta um panorama dessas agrupações musicais no Brasil e reflexões que sirvam de base para uma pesquisa que vise à compreensão dos aspectos sociais e musicológicos das Orquestras.

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13

Macdonald, H. "Review of books. Paris: a Musical Gazetteer. N Simeone". Music and Letters 82, n.º 3 (1 de agosto de 2001): 465–66. http://dx.doi.org/10.1093/ml/82.3.465.

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14

Wright, Lesley Alison. "Musical Encounters at the 1889 Paris World's Fair (review)". Notes 63, n.º 2 (2006): 364–66. http://dx.doi.org/10.1353/not.2006.0169.

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15

Fauser, A. "Visual Pleasures--Musical Signs: Dance at the Paris Opera". South Atlantic Quarterly 104, n.º 1 (1 de janeiro de 2005): 99–121. http://dx.doi.org/10.1215/00382876-104-1-99.

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16

Buryakova, Lyubov Aleksandrovna, e Irina Prokopyevna Dabaeva. "Musical and Theoretical Education in the Conservatoire de Paris". Общество: социология, психология, педагогика, n.º 12 (2020): 180–94. http://dx.doi.org/10.24158/spp.2020.12.34.

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17

Hunt, John N. "Jurors of the Guild of Musical Instrument Makers of Paris". Galpin Society Journal 51 (julho de 1998): 110. http://dx.doi.org/10.2307/842763.

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18

Clark, Maribeth. "The Quadrille as Embodied Musical Experience in 19th-Century Paris". Journal of Musicology 19, n.º 3 (2002): 503–26. http://dx.doi.org/10.1525/jm.2002.19.3.503.

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During the 1830s in Paris the quadrille, a five-movement figure dance, became musically omnipresent to the distress of many critics, who saw the genre as detrimental to French music and musical taste. Discussions of the dance in journalism and literature associate bourgeois women and girls and working-class men with promotion of the genre. As a figure dance with walking steps, the quadrille was enjoyed by respectable women who experienced it as a safe frame for civilized social interaction, although their male counterparts found the dance boring and uninviting. In contrast, working-class men were known for their engaging and energetic performances as cancanneurs, improvisatory dancers exhibiting a lack of control associated with political instability and revolution. Quadrilles were perceived to have a negative influence on musical education for girls, who resembled the cancanneurs in their mechanical and animalistic qualities, and who preferred quadrilles over more ambitious pieces for piano. More serious was the perceived damage that arrangements of operas as quadrilles inflicted on the original, reducing great works to the banal through simplification. By serving as an example of all that stands in opposition to art in French music, the quadrille contributed to the formulation of the concept of music as art.

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Rae, C. "In Havana and Paris: The Musical Activities of Alejo Carpentier". Music and Letters 89, n.º 3 (1 de agosto de 2008): 373–95. http://dx.doi.org/10.1093/ml/gcn033.

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Campbell, Stuart. "The Russian Paris of Sergei Rachmaninoff". Muzikologija, n.º 30 (2021): 75–104. http://dx.doi.org/10.2298/muz2130075c.

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This article addresses Rachmaninoff?s activities in Paris, both a musical capital of the world and unrivalled cultural centre of the Russian emigration until 1940. It looks at the small number of concerts performed by the pianist there and places them in the context of the French press. It attempts to understand his ambiguous personal relationship to the city, the activity of his publishing company ?TAIR?, and finally assesses the extent of the composer?s charitable endeavours for the Russian community. The article concludes Rachmaninoff was of monumental significance for the ?Russian? Paris.

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Bazinet, Geneviève B. "The Musical Encart of the Royal Printers Le Roy & Ballard in the 1583 Hours of Jamet Mettayer Held in the Musée de l’Amérique francophone in Quebec City". Renaissance and Reformation 39, n.º 4 (5 de abril de 2017): 253–83. http://dx.doi.org/10.33137/rr.v39i4.28165.

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The Heures de Nostre Dame, a l’usage de Rome: selon la Reformation de Nostre S. Pere pape Pie VI pour la Congregation roiale des penitens de l’Annonciation de Nostre Dame, printed at the request of King Henri III by Royal Printer Jamet Mettayer (Paris, 1583) and held at the Musée de l’Amérique francophone in Quebec City, is a rare example of a Book of Hours that contains music. The musical encart printed by the Royal Printers of Music Le Roy & Ballard (Paris, 1583) follows the texts of the Hours and totals thirty-six pages. This article focuses on the music in the encart and its relationship to the rest of the book, and on references to music in the statutes of the Congrégation. The musical encart is an essential part of this Book of Hours as it provides music for the Hours of the Virgin and the other offices celebrated by the Congrégation, as well as insight into their musical performance practices. Les Heures de Nostre Dame, a l’usage de Rome: selon la Reformation de Nostre S. Pere pape Pie VI pour la Congregation roiale des penitens de l’Annonciation de Nostre Dame, imprimées à la demande du roi Henri III par l’imprimeur royal Jamet Mettayer (Paris, 1583) et conservées au Musée de l’Amérique francophone dans la ville de Québec, sont un exemple rare d’un livre d’Heures contenant de la musique. L’encart musical imprimé par les Imprimeurs royaux en musique Le Roy et Ballard (Paris, 1583) suit le texte des Heures et compte trente-six pages. Cet article porte sur la musique de l’encart, ainsi que les références à la musique dans les statuts de la Congrégation. L’encart musical est une partie essentielle de ce livre d’Heures puisqu’il comprend la musique des Heures de la Vierge et des autres offices célébrés par la Congrégation, et ouvre une fenêtre sur les esthétiques d’interprétation de la Congrégation.

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rudi, jøran. "‘from a musical point of view, the world is musical at any given moment’: an interview with bill fontana". Organised Sound 10, n.º 2 (agosto de 2005): 97–101. http://dx.doi.org/10.1017/s1355771805000737.

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bill fontana is an american composer and artist who has been working with large-scale sound installations since the 1970s. in his installations he recontextualises sounds by transmitting them from one location to another, and uses the transported sounds as acoustical ‘overlay’, masking the sounds naturally occurring in the installation spaces. his installations often occur in central urban environments, and he has, for example, been commissioned in conjunction with the fifty-year anniversary of d-day (1994, paris), and the 100-year anniversary of brooklyn bridge (1983, new york city).

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Koroleva, Valentina A. "Desuete Names in the Musical Culture History of the Russian Far East: The Khabarovsk Professional Musical Education from the End of the 19th Century to the 1930s". Observatory of Culture, n.º 4 (28 de agosto de 2014): 82–87. http://dx.doi.org/10.25281/2072-3156-2014-0-4-82-87.

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Deals with the first period of the musical education history in Khabarovsk, which is analysed within the frame of the general historical and cultural processes in the Far East. Basing on the local archives documents, the author reconstructs the life and activities of the Khabarovsk musical school founder Jadwiga Sventorzhezkaya, the alumna of the Paris Conservatory who was born into the noble Polish family. The names of the Khabarovsk Musical College professors Nikolsky and Shveinik persecuted in 1937 for political reasons are reintroduced to the regional culture history.

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Watt, Paul. "Musical and Literary Networks in the Weekly Critical Review, Paris, 1903–1904". Nineteenth-Century Music Review 14, n.º 1 (10 de janeiro de 2017): 33–50. http://dx.doi.org/10.1017/s1479409816000276.

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Published in 1903 and 1904 the Weekly Critical Review was a typical ‘little magazine’: it was produced on a shoestring with a small readership, with big editorial ambition. Its uniqueness lay in its claim to be a literary tribute to the entente cordiale (and it enjoyed the imprimatur of King Edward VII), but more importantly, it was a bilingual journal, which was rare at the time even for a little magazine. The Weekly Critical Review aimed to produce high-quality criticism and employed at least a dozen high-profile English and French writers and literary critics including Rémy de Gourmont (1858–1915), Arthur Symons (1865–1945) and H.G. Wells (1866–1946). It also published articles and musical news by four leading music critics: English critics Alfred Kalisch (1863–1933), Ernest Newman (1868–1959) and John F. Runciman (1866–1916) and the American James Huneker (1857–1921).Why did these critics write for the Weekly Critical Review? What did the articles in the WCR reveal about Anglo-French relations, about the aspirations of the English and French music critics who wrote for it, and about the scholarly style of journalism it published – a style that was also characteristic of many other little magazines? And in what ways were those who wrote for it connected? As a case study, I examine the ways in which Ernest Newman’s literary and musical networks brought him into contact with the journal and examine the style of criticism he sought to promote.

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Pasler, Jann. "Review: Musical Encounters at the 1889 Paris World's Fair by Annegret Fauser". Journal of the American Musicological Society 61, n.º 2 (2008): 438–45. http://dx.doi.org/10.1525/jams.2008.61.2.438.

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Riddell, Fraser. "Queer Music in the Queen’s Hall: Teleny and Decadent Musical Geographies at the Fin de Siècle". Journal of Victorian Culture 25, n.º 4 (16 de junho de 2020): 593–608. http://dx.doi.org/10.1093/jvcult/vcaa016.

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Abstract This article examines the significance of music and musical performance in Teleny, or the Reverse of the Medal (1893), an anonymous pornographic novel attributed by some scholars to Oscar Wilde. It draws upon historical material on late-Victorian concert venues, queer literary sub-cultures and sexology to illuminate the representation of musical spaces in the text. Teleny exists in two different versions: an English text, which is set in Paris, and a French text, which is set in London. The opening section of the article suggests that Teleny’s dynamic engagement with cosmopolitan cultural exchange between Paris and London is brought into sharper focus by situating the musical performances in the novel in the precise built environment of London’s Queen Hall. The second section explores the novel’s concern with queer geographies (the Orient, Eastern Europe) in the context of other texts that address music and homosexual identity in the period. The third section examines the significance of space in the novel’s presentation of musical listening, arguing that its focus on the materiality of sound and the haptic transmission of desire responds to sexological conceptions of embodied musical response by homosexual subjects. The significance of this sensory experience of listening is understood in the light of Sara Ahmed’s theorization of ‘queer phenomenology’. Finally, the article traces the significance of musical allusions to songs by Franz Schubert to show how they form part of the novel’s broader concerns with the spatial articulation of same-sex desire and the representation of queer urban geographies.

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ROGERS, VANESSA L. "John Gay, Ballad Opera and theThéâtres de la foire". Eighteenth Century Music 11, n.º 2 (7 de agosto de 2014): 173–213. http://dx.doi.org/10.1017/s1478570614000049.

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ABSTRACTDaniel Heartz was the first musicologist to link John Gay'sThe Beggar's Opera(1728) withopéras comiques en vaudevilles, light musical theatre entertainments popular at the annual Paris fairs. Other scholars such as Edmond Gagey and Calhoun Winton had also suggested that Frenchcomédies en vaudevillesmight have been models for Gay's ‘original’ new genre of the ballad opera, but were unable to find compelling evidence for their suspicions. This article shows that the music ofPolly(1729), Gay's sequel toThe Beggar's Opera, can finally provide a link between ballad operas and thecomédies en vaudevilles, as four of the unidentified French airs in the opera can now be identified as popular Frenchvaudevilles. I investigate the fruitful exchange between Paris and London in the early eighteenth century (despite prevailing anti-French sentiment in Britain), focusing on musical borrowings, translations and the performers who worked in both cities. We shall see that ballad opera and thecomédies en vaudevillesshare common ground, includingvaudevilles finals, common tunes sung by actor-singers and the use of musical parody and double entendre. A closer examination of Gay's (and his contemporaries') knowledge of thecomédies en vaudevillesilluminates previously unknown French contributions to eighteenth-century English popular musical theatre, and demonstrates the unique way in which French practices were appropriated in early eighteenth-century England.

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ZUR NIEDEN, GESA. "The internationalization of musical life at the end of the nineteenth century in modernized Paris and Rome". Urban History 40, n.º 4 (10 de abril de 2013): 663–80. http://dx.doi.org/10.1017/s0963926813000357.

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ABSTRACT:This article examines the relationship between the processes of urban renovation in European capitals and the internationalization of musical theatre productions, using the example of theatres constructed in Paris and Rome at the end of the nineteenth century. Due to the limited availability of governmental and municipal funding, the more popular theatres in both capitals came to provide an important space for musical productions on an avant-garde level, with international repertoires and casts.

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TYRE, JESS. "Music in Paris during the Franco-Prussian War and the Commune". Journal of Musicology 22, n.º 2 (2005): 173–202. http://dx.doi.org/10.1525/jm.2005.22.2.173.

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ABSTRACT The years 1870––71 marked the beginning of dramatic changes in French political and cultural life. A few short months witnessed defeat to Germany in the Franco-Prussian War and the fall of the Second Empire, as well as the rapid rise of the Paris Commune and its subsequent violent suppression through the establishment of republican government. The Parisian musical world, while severely affected by the events of war and deprived of performers and audiences, did not come to a standstill. Indeed, these years ushered in a remarkable increase in the number of institutions and concert societies dedicated to supporting French music and to making what would become the standard repertoire more accessible to the average citizen. Music heightened reactions to the turmoil of war and revolution in Paris at this crucial moment in France's history. Because of their stringent governmental control and largely middle- and working-class audiences, entertainments organized initially by wartime concert societies, and then under the aegis of the Commune, provide us with the greatest opportunity for understanding the political and social contexts in which music operated. Through investigation of the contemporary French press it can be shown that: (1) the perceived function of musical performance was adjusted to suit the practical and symbolic needs of a besieged city; (2) all the factions competing for power during the war and the post-war insurrection in Paris appropriated the connotations of civilization, social stability, and good taste that surrounded ““art music””; (3) the Commune's sudden rejection of the Austro-German musical tradition marked a brief but significant moment in which nationalistic preoccupations supplanted historically cosmopolitan attitudes toward foreign art. The study concludes with a meditation on Alfred Roll's painting of the execution of a Communard trumpeter, in which we find one of the strongest images relating war and rebellion to music in the France of 1871.

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NIEBUR, LOUIS. "‘There is Music in It, But It is Not Music’: A Reception History ofMusique Concrètein Britain". Twentieth-Century Music 15, n.º 2 (junho de 2018): 211–30. http://dx.doi.org/10.1017/s1478572217000299.

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AbstractThe traditional narrative of the development ofmusique concrèteandelektronische Musiktells a story of esoteric, academic branches of musical modernism emerging out of Paris and Cologne in the 1950s. But this narrative clouds our understanding of the unique ways this music developed in Britain, largely filtered through the BBC, as a relatively populist, accessible iteration of Continental techniques. This article explores how British reactions to contemporary music and, in particular,musique concrèteandelektronische Musik, reflected on the one hand continued suspicion towards Continental music and on the other a deep insecurity about Britain's musical position in the world. The predominantly hostile attitude towards electronic music from within establishment musical cultures betray profound concerns about trends that were seen to exert a harmful influence on British musical society.

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MAWER, DEBORAH. "Jazzing a Classic: Hylton and Stravinsky's Mavra at the Paris Opéra". Twentieth-Century Music 6, n.º 2 (setembro de 2009): 155–82. http://dx.doi.org/10.1017/s1478572210000150.

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AbstractThis article focuses upon an arrangement of part of Stravinsky's Mavra made for the British dance-band leader Jack Hylton (1892–1965), which, on its presentation at the Paris Opéra in 1931, marked a notable, yet ultimately unsuccessful, attempt at ‘jazzing a classic’. For the French critic Pierre Leroi the failure was a direct consequence of combining different musics (‘La confusion de genres aboutit toujours à un résultat mauvais’). But while the ‘contest’ of style and genre undoubtedly played its part in the negative critical reception of the transcription, the reasons for its failure were not entirely straightforward.Drawing on Fauconnier and Turner's models of ‘conceptual blending’ and their recent applications in theories of musical ‘multimedia’, I compare Stravinsky's source and the Hylton band's jazz translation in terms of their intrinsic musical ‘attributes’, their relationship, and their potential emergent meanings. The exercise identifies commonalities and discrepancies, revealing problems with the original, the reworkings, and the resulting performances. The main issue is, however, not so much one of mixture (‘confusion’) as of imbalance between the elements invoked: ultimately, it is argued, Hylton's reading was insufficiently ‘jazzique’.

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Sweeney, Regina M. "Performing Propaganda: Musical Life and Culture in Paris During the First World War". French History 33, n.º 2 (junho de 2019): 320–21. http://dx.doi.org/10.1093/fh/crz061.

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Carbonnier, Youri. "Le personnel musical de l'Opéra de Paris sous le règne de Louis XVI". Histoire, économie et société 22, n.º 2 (2003): 177–206. http://dx.doi.org/10.3406/hes.2003.2316.

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Cowart, Georgia. "Carnival in Venice or Protest in Paris? Louis XIV and the Politics of Subversion at the Paris Opéra". Journal of the American Musicological Society 54, n.º 2 (2001): 265–302. http://dx.doi.org/10.1525/jams.2001.54.2.265.

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Abstract After Louis XTVs banishment of the Comédie-Italienne in 1697, its costumes and masks became increasingly fashionable among a public disenchanted with absolutist politics. This article reveals the manner in which the plots, characters, and subversive satire of the Comédie-Italienne inform two ballets of André Campra, Le Carnaval de Venise (1699) and Les Fêêtes vénitiennes (1710). Following the satiric strategies used by the Comédie-Italienne, Campra and his librettists employ an exotic Venetian setting as a mask for the libertine entertainments of a French public sphere. Reversing the ideology of Louis XIVs courtly fêêtes, they deconstruct his official image in three ways: through a literary web of allusion, satire, and parody; through an Italianate musical style that serves to undermine the French language of absolutism; and through the thematic celebration of a new public audience as the subversive heir to the royal prerogative of pleasure.

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MORDEY, DELPHINE. "Moments musicaux: high culture in the Paris Commune". Cambridge Opera Journal 22, n.º 1 (março de 2010): 1–31. http://dx.doi.org/10.1017/s0954586711000012.

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AbstractDuring the Paris Commune of 1871, four spectacular concerts took place at the Tuileries Palace. Although the musical genre most often associated with the Communards is popular song, these Tuileries concerts primarily featured instrumental works and operatic numbers. Indeed, during much of their short reign the Communards sought to nurture elite music, in particular through attempts to control the Paris Opéra and its repertory. This article treats the Tuileries concerts as a starting point for understanding the Commune's brief direction of the Opéra, exploring ways in which the movement's attitude towards elite music at both venues engaged with a number of its central preoccupations. It suggests that Communards, often depicted as merely destructive, were anxious to rehabilitate their reputation and legitimise their status through the appropriation of high culture.

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Bevilacqua, Gregorio, David Catalunya e Nuria Torres. "THE PRODUCTION OF POLYPHONIC MANUSCRIPTS IN THIRTEENTH-CENTURY PARIS: NEW EVIDENCE FOR STANDARDISED PROCEDURES". Early Music History 37 (outubro de 2018): 91–139. http://dx.doi.org/10.1017/s0261127918000049.

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Modern understanding of the production and dissemination of thirteenth-century polyphony is constrained by the paucity of manuscript sources that have been preserved in their entirety; the panorama of sources of medieval polyphony is essentially fragmentary. Some of the surviving fragments, however, were torn from lost books of polyphony that were to some extent comparable to well-known extant codices. The fragment of polyphony preserved in the binding of manuscript 6528 of the Biblioteca Nacional de Madrid is illustrative in this respect. This fragment displays a number of codicological and musical features that are strikingly similar to those of the Florence manuscript (F). Both sources share format and mise-en-page, make use of similar styles of script, notation and pen-work decoration, transmit the pieces in the same order, and present virtually identical musical readings. The Madrid fragment thus provides new evidence for a standardised production of polyphonic books in thirteenth-century Paris. The study provides a detailed account of the fragment’s codicological and philological features, and explores the hypothesis that it originated in the same Parisian workshop that produced F.

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RAMEL, SYLVIE. "Conservation and restoration of electroacoustic musical instruments at the Musée de la Musique, Paris". Organised Sound 9, n.º 1 (abril de 2004): 87–90. http://dx.doi.org/10.1017/s1355771804000111.

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The Museum of Music in Paris possesses a collection of 280 instruments from the twentieth century. Most of them belong to the general families of electric and electronic musical instruments, which we will call ‘electrophones’, in deference to the name chosen by Curt Sachs (1940). The instruments are gathered in families so that the whole collection illustrates the milestones of the twentieth century; for instance, the museum has a large set of diverse Ondes Martenot. However, due to its scarcity, the Trautonium is represented by one of Oscar Sala's Mixtur-Trautonia.Like any museum, we have to encourage the conservation of this heritage. To maintain a large collection of electrophones like the one we have, a specific knowledge base has to be developed. We have been working on this aspect of the project for the past two years. From the onset, it was decided to start the collection with the Ondes Martenot. Our aim was to define a model approach that could also be applied to other electric and electronic instruments. This work involves organising the instruments, studying them in order to outline conditions of appropriate conservation, and determining which kind(s) of restoration should be undertaken.A first step has been to gather all information necessary to understanding the instrument and its mode of performance. With this goal in mind, we have taken a complete inventory of our collection with the aim of coming up with a first assessment of the state of the instruments and determining whether to allow performers to play them. Thanks to this work, we were able to start taking precautionary measures against degradation; we are now also able to answer many questions relevant to the restoration and conservation of this collection.

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Hibberd, S. "Murder in the Cathedral? Stradella, Musical Power, and Performing the Past in 1830s Paris". Music and Letters 87, n.º 4 (1 de novembro de 2006): 551–79. http://dx.doi.org/10.1093/ml/gcl081.

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Phillips, A. "Performing Paris: myths of the city in Robert Siodmak's emigre musical La Vie Parisienne". Screen 40, n.º 3 (1 de setembro de 1999): 257–76. http://dx.doi.org/10.1093/screen/40.3.257.

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Pereverzeva, Marina V. "Genre Specifics of the Musical and Its Reflection in Stage Practice (Experience in Staging the Performance by College Students)". Uchenye Zapiski RGSU 20, n.º 1 (30 de março de 2021): 164–71. http://dx.doi.org/10.17922/2071-5323-2021-20-1-164-171.

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Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. Annotation. Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. As far as graduates of the College of Music and Theater master the skills of stage skills and singing in the process of training, the practice of their participation in theatrical productions as musical theater actors shows. In this case, the participation of college graduates in the most famous musical in Russia “Notre-Dame de Paris” is considered.

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Fulcher, Jane. "Vincent d'Indy's ‘Drame Anti-Juif’ and its meaning in Paris, 1920". Cambridge Opera Journal 2, n.º 3 (novembro de 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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Grier, James. "Adémar de Chabannes (989–1034) and Musical Literacy". Journal of the American Musicological Society 66, n.º 3 (2013): 605–38. http://dx.doi.org/10.1525/jams.2013.66.3.605.

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Abstract In the second half of 1027, Adémar de Chabannes contributed the musical notation to the production of an elaborate liturgical manuscript (currently Paris, Bibliothèque nationale de France, MS latin 1121) at the scriptorium of Saint Martial in Limoges. While doing so, he introduced the innovative technique of placing the neumes in strict alignment along the vertical axis of writing in accordance with their relative pitch. The accurate heighting of the neumes revolutionized the teaching of music at Saint Martial, and eventually throughout Aquitaine. Instead of relying on the rote communication of melodies from more experienced singers, younger musicians could turn to the visual transmission of chant through the medium of notation, now made more transparent by the use of accurate heighting. This article investigates the musical and intellectual context in which Adémar introduced the innovation of accurate heighting to the scriptorium at Saint Martial, the role of tonaries (now equipped with precise intervallic information) in musical pedagogy, and the impact of these devices on musical practices at Saint Martial through the eleventh century.

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Taylor, Chris. "Paris: A Musical Gazetteer2001124Nigel Simeone. Paris: A Musical Gazetteer. New Haven, CT and London: Yale University Press 2000. 300 pp, ISBN: 0 300 08053 0; 0 300 08054 9 paperback £26.00; £12.50 paperback". Reference Reviews 15, n.º 2 (fevereiro de 2001): 57. http://dx.doi.org/10.1108/rr.2001.15.2.57.124.

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Duchesneau, Michel. "French Musicology and the Musical Press (1900–14): The Case of La revue musicale, Le mercure musical and La revue musicale SIM". Journal of the Royal Musical Association 140, n.º 2 (2015): 243–72. http://dx.doi.org/10.1080/02690403.2015.1075807.

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ABSTRACTThis article uses the case study of the Revue musicale, founded by Jules Combarieu and Romain Rolland in 1901, to analyse the shape of French musicology at the outset of the twentieth century and, in particular, how social issues surrounding research in the social sciences had an important influence on the orientation of the discipline in subsequent decades. Occupying a position at the heart of French musicological activity in the early years of the century, the project was quickly challenged, leading to the creation of the Mercure musical in 1905, which would eventually become the Revue musicale SIM, published by the Société Internationale de Musique (Section de Paris), in November 1909. After an initial presentation of the journal's editorial project, the article then analyses the founders’ intellectual objectives and explores the links between the journal's structure, its anticipated objectives and the evolution of the discipline through the various publications that followed.

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Rosow, Lois. "From Destouches to Berton: Editorial Responsibility at the Paris Opéra". Journal of the American Musicological Society 40, n.º 2 (1987): 285–309. http://dx.doi.org/10.2307/831518.

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From the death of Lully until the mid-1770s, revivals of old works, edited to conform to contemporary taste, formed a substantial part of the repertory of the Paris Opéra. Examination of the eighteenth-century administrative history of the Opéra shows that the editorial work-modest in scope before 1753 but considerably more extensive after the Guerre des Bouffons -was the responsibility of the inspecteur général from 1713 to 1757 but, as a result of a gradual shift in the administrative structure of the organization, was subsequently carried out by a variety of Opéra officials. The most important editors were André Cardinal Destouches (whose editorial work is evident in a newly-identified musical autograph), François Francoeur, François Rebel, and Pierre Montan Berton.

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SOLER CAMPO, SANDRA. "Guillaume Apollinaire: a reference in the life and musical works of the Spanish composer José Soler Casabón". ARTSEDUCA, n.º 28 (28 de dezembro de 2020): 228–41. http://dx.doi.org/10.6035/artseduca.2021.28.16.

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This article summarizes the biography of José Soler Casabón, an Aragonese composer who lived and developed his artistic career during the first decades of the 20th century between Barcelona and Paris. From the different works of the author, the Ballet L'homme sans yeux sans nez et sans oreilles (HOSYNO) will be described. This ballet was based on the poem Le musician de Saint Merry written by the french poet Guillaume Apollinaire and its sets were commissioned to Pablo Picasso. For various reasons, such as the war context and the change of the director of the opera house in Paris, the ballet was never performed.

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SOLER CAMPO, SANDRA. "Guillaume Apollinaire: a reference in the life and musical works of the Spanish composer José Soler Casabón". ARTSEDUCA, n.º 28 (28 de dezembro de 2020): 228–41. http://dx.doi.org/10.6035/10.6035/artseduca.2020.28.16.

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This article summarizes the biography of José Soler Casabón, an Aragonese composer who lived and developed his artistic career during the first decades of the 20th century between Barcelona and Paris. From the different works of the author, the Ballet L'homme sans yeux sans nez et sans oreilles (HOSYNO) will be described. This ballet was based on the poem Le musician de Saint Merry written by the french poet Guillaume Apollinaire and its sets were commissioned to Pablo Picasso. For various reasons, such as the war context and the change of the director of the opera house in Paris, the ballet was never performed.

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Morabito, Fabio. "Theatrical Marginalia: Pierre Baillot and the Prototype of the Modern Performer". Music and Letters 101, n.º 2 (3 de fevereiro de 2020): 270–99. http://dx.doi.org/10.1093/ml/gcz110.

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Abstract In Western art music, the idea of the professional performer as a versatile interpreter of someone else’s music consolidated around the turn of the nineteenth century. The institutionalization of instrumental training in dedicated schools (such as the Paris Conservatoire, established in 1795) favoured an increasing specialization of composers and performers in their respective tasks. Scholars have often traced the development of these modern professional identities to fundamental innovations in the fabric and conceptions of musical notation. The newly detailed scores by Haydn, Mozart, and Beethoven specify articulation, phrasing, and even fingerings, suggesting a growing authority of the composer over the performer’s moves, and the score itself as an increasingly important focus of the musical event (scripting both what performers should do and what listeners, ideally, should discern). Rather than focusing on how music was notated by composers, this article proposes to explore the perspective of the performers handling it: how they understood their role in bringing the score to life, and the realms of commentary they inspired in Parisian debates about the progress of the art and the mechanization of performance in the early nineteenth century. At the core of the Paris Conservatoire’s universal pedagogical project, the violinist Pierre Baillot (1771–1842) devised a prototype professional figure for the future of instrumental performance across genres: not a puppet-musician controlled via invisible strings, but an architect of musical impersonations, able to stimulate images or stories in the listeners’ minds and leave them theatrically spellbound.

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Johnson, Janet. "Donizetti's first ‘affare di Parigi’: an unknown rondò-finale for Gianni da Calais". Cambridge Opera Journal 10, n.º 2 (julho de 1998): 157–77. http://dx.doi.org/10.1017/s0954586700004912.

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Donizetti's involvement with Paris has been understood to date from February 1834, when Rossini, acting as the Théâtre Italien's music director, commissioned Marino Faliero for performance the following winter. Though written in Italy, the work was substantially revised in Paris during the two months Donizetti spent there before the première on 12 March 1835, hence William Ashbrook's assertion that Donizetti ‘wrote for the first time for Paris, absorbing the musical tastes of that city, when he presented Marino Faliero at the Théâtre Italien’. While this opera unquestionably remains the one that officially launched the composer's Parisian career, new manuscript and printed musical sources reveal that Donizetti's ties to the city actually date back to 1833, when plans were laid for productions of two of his earlier operas: Gianni di Parigi (1831) and Gianni da Calais (1828). Like Marino Faliero, the first of these works was composed in Italy with a Paris (or a London) première in mind, Donizetti having hoped diat Giovanni Battista Rubini would introduce it at one of his benefit performances soon after rejoining the Italiens (part of the troupe spent spring and summer seasons at the King's Theatre). A close study of the work might shed light on the composer's understanding (or ignorance) of operatic practice in the city at this point in his career; indeed, it was precisely because Gianni di Parigi was so French at least in terms of its libretto (Felice Romani's adaptation of Claude Godard d'Aucour de Saint-Just's libretto for Boieldieu's classic and closely protected Jean de Paris, in the repertory of the Opéra-Comique since 1812) that the comic melodramma was never mounted in Paris. But it was the second work, composed for the Teatro del Fondo in Naples (where it was premièred on 2 August 1828), and performed at the Théâtre Italien twice, on 17 December 1833 and 4 January 1834, that Donizetti actually helped adapt to Parisian taste.

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Forman, Edward. "Musical Aliens and Alien Music: Perceptions of Italian and French Music in Seventeenth-Century Paris". Seventeenth-Century French Studies 17, n.º 1 (janeiro de 1995): 211–21. http://dx.doi.org/10.1179/c17.1995.17.1.211.

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