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Статті в журналах з теми "Compositors italians":

1

Oliveira, Katya Beatriz de, and Laura Rónai. "A prática musical religiosa no Brasil e em Portugal na segunda metade do século XVIII: paralelo e fundamentação para a interpretação vocal da música de José Joaquim Emerico Lobo de Mesquita." Per Musi, no. 24 (December 2011): 151–66. http://dx.doi.org/10.1590/s1517-75992011000200016.

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Na busca da sonoridade histórica e estilisticamente embasada para a interpretação vocal da música sacra mineira da segunda metade do século XVIII e início do XIX, tornase necessário um paralelo com a música realizada em Portugal durante o século XVIII, que constate a influência desta sobre a música mineira setecentista. Neste artigo pretendemos investigar as similaridades estilísticas entre a música do compositor mineiro José Joaquim Emerico Lobo de Mesquita, particularmente no solo de soprano de sua Missa em Mi bemol, com o solo de soprano de uma Missa a cinco vozes do compositor David Perez e o primeiro movimento do moteto Care Deus si respiro, para soprano solo e cordas, de Niccolò Jommelli, compositores italianos da escola napolitana atuantes em Portugal na segunda metade do século XVIII. Temos como objetivo justificar a utilização de tratados europeus para a fundamentação dos aspectos interpretativos da música mineira.
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Teixeira, Thiago Plaça. "Recepção e influência de Lorenzo Perosi (1872-1956) na música religiosa de Alberto Nepomuceno (1864-1920)." Revista Música 19, no. 2 (November 24, 2019): 17–43. http://dx.doi.org/10.11606/rm.v19i2.160085.

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O presente artigo visa analisar a possível influência musical do compositor italiano Lorenzo Perosi (1872-1956) na música sacra e religiosa do brasileiro Alberto Nepomuceno (1864-1920). Após contextualizar a recepção da música de Perosi no Brasil entre o final do século XIX e as primeiras décadas do século XX, apresenta-se uma análise de diferentes aspectos musicais de obras de Nepomuceno que evidenciam uma influência direta de Perosi, via intertextualidade musical, ou uma comum referência estilística para ambos os compositores. Verificou-se este último tipo de influência no tratamento dado à harmonização do canto gregoriano e no uso de tópicas e elementos representativos em obras instrumentais e corais de Nepomuceno; e a intertextualidade musical na sua Missa a duas vozes, sobretudo no Sanctus.
3

Yáñez Navarro, Celestino. "Música para pianoforte, órgano y clave, en dos cuadernos zaragozanos de la primera mitad del siglo XIX." Anuario Musical, no. 62 (December 30, 2007): 291. http://dx.doi.org/10.3989/anuariomusical.2007.62.27.

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El presente artículo versa sobre el estudio y análisis de dos cuadernos de música de tecla que fueron copiados por el entonces propietario -el organista, violinista y compositor- Benigno Cariñena Salvador (*Calahorra -La Rioja-, 13-II-1829; †Zaragoza, 27-VII-1886) y que actualmente se encuentran depositados en el Archivo de Música de las Catedrales de Zaragoza (E: Zac). Los manuscritos recopilan una tipología heterogénea de obras destinadas a diversos instrumentos de tecla: órgano, clave y pianoforte, con un evidente carácter “funcional”. El repertorio está constituido por composiciones litúrgicas, sonatas, tríos, transcripciones de oberturas o fragmentos de óperas italianas, variaciones y composiciones para solistas vocales con el acompañamiento para teclado. Los compositores que aparecen son locales -R. Ferreñac, F. Garcés y V. Metón-, nacionales -J. Lidón- y extranjeros -F. J. Haydn, J. L. Adam, V. Bellini, G. A. Rossini, G. Paccini, L. Ricci, G. Donizetti-.
4

Capdepón Verdú, Paulino. "Música de tecla en la España del siglo XVIII: Domenico Scarlatti y el padre Antonio Soler." Cuadernos de Estudios del Siglo XVIII, no. 21 (October 5, 2017): 7–34. http://dx.doi.org/10.17811/cesxviii.21.2011.7-34.

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El presente artículo se centra en la música española del siglo XVIII,que vive una de las etapas más brillantes de su historia. A ello contribuyó sin duda el esplendor logrado por la música de teclado, que alcanzó un extraordinario grado de desarrollo desde la llegada a España del compositor napolitano Domenico Scarlatti (1685-1757), maestro de clave de la reina de España Bárbara de Braganza. Scarlatti ejerció una influencia decisiva en la implantación del género sonata monotemática en un solo tiempo y en la introducción del estilo galante. Precisamente fue uno de los alumnos predilectos de Scarlatti, el padre Antonio Soler (1729-1783), el continuador de la obra scarlattiana en el ámbito de la sonata de tecla. Maestro de clave del infante don Gabriel y maestro de capillaorganistadel monasterio real de El Escorial, su proximidad a la corte permitió almonje catalán conocer las principales novedades musicales propiciadas por la estancia en España de compositores italianos como el propio Scarlatti o Boccherini. Sin embargo, Soler supo evolucionar y otorgar su propio estilo a su producción para teclado: en la última etapa de su producción artística incorporó varios movimientos a sus sonatas, lo que sitúa al compositor español en la órbita de Haydn y Mozart. En este artículo, después de una introducción sobre la música española del siglo XVIII en general y de la música de teclado en particular, se estudian las trayectorias vitales de ambos compositores, así como sus respectivas aportacionesal ámbito de la sonata de tecla, que constituyen una de las cimas artísticas de la música española del siglo XVIII.PALABRAS CLAVE: Siglo XVIII. Tecla. Estilo galante. Sonata. Scarlatti. Soler. Corte de Madrid. Monasterio de El Escorial.
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Zanardi, Nicoletta. "Cohesion in Italian adult learners’ and native speakers’ compositions." Australian Review of Applied Linguistics 17, no. 2 (January 1, 1994): 22–50. http://dx.doi.org/10.1075/aral.17.2.02zan.

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Abstract This paper presents data from a cross-sectional study of the use of cohesion in Italian texts written by L2 adult learners and by native speakers. Twenty-six free compositions were analysed for cohesion: eighteen by anglophone learners of Italian attending first, second, third and fourth year of Italian at Sydney University, and eight by native speakers of Italian divided in two groups: one of students, who have either done their schooling in Italy or recently arrived in Australia, the other of Italian professionals living in Sydney. More specifically, cohesion was analysed for the three categories of reference, conjunction and lexical cohesion. The objective of the study is twofold: a) to compare learners and native speakers in their use of cohesion, and b) to observe the developmental sequences in the use of cohesion in the six different groups. Examples from the texts are given and a tentative interpretation of the data is presented.
6

Béjar Bartolo, Alejandra, and Fabrizio Ammetto. "Las composiciones de Francesco Antonio Pistocchi (1659-1726): listado actualizado de su obra." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 6, no. 11 (May 20, 2017): 313. http://dx.doi.org/10.23913/ricsh.v6i11.120.

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El cantante, compositor y didacta (maestro de canto) Francesco Antonio Pistocchi (Palermo 1659 - Bolonia 1726) fue un músico ampliamente reconocido por sus contemporáneos (Giuseppe Torelli, Pier Francesco Tosi, Johann Joachim Quantz, entre otros) y, hoy en día, es digno de ser considerado entre los mejores compositores de música vocal del Barroco italiano. Aunque no está todavía catalogada de manera sistemática, su producción merece ser ampliamente estudiada, analizada y ejecutada. Hasta la fecha no existe un catálogo exhaustivo que registre de manera puntual toda su obra, por tal razón, en este estudio se presenta por primera vez un listado actualizado de su amplia producción –que incluye óperas, serenatas, oratorios, cantatas, duetos, tercetos, madrigales, misas (o secciones de misa), salmos, responsorios, cánticos, letanías, himnos, antífonas, motetes, lamentaciones, pastorales y secuencias, además de una colección de música instrumental–, en donde se especifica la localización de su música que ha llegado hasta nuestros días (actualmente resguardada en alrededor de treinta diferentes bibliotecas de Alemania, Austria, Bélgica, Francia, Italia, Reino Unido y Estados Unidos de América). Cabe hacer hincapié que muchas de las composiciones de Pistocchi se han identificado y enlistado por primera vez en esta investigación.
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Soler Campo, Sandra. "Vittoria Aleotti e Isabella Leonarda, compositoras del barroco italiano." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 9, no. 18 (February 16, 2021): 254–65. http://dx.doi.org/10.23913/ricsh.v9i18.235.

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En el presente artículo se realizará un recorrido histórico del barroco musical Italiano en el que se describirán cuáles eran las posibilidades de algunas mujeres músicas en este periodo así como las posibilidades que tenían para formarse y posteriormente dedicarse a la composición. Así también, se hará mención de la vida y obra de Vittoria Aleotti e Isabella Leonarda, dos de las compositoras más representativas de los siglos XVI y XVII del barroco italiano. Sus obras fueron fundamentalmente vocales y se escribieron para una, dos, tres y/o cuatro voces. Todo ello tuvo lugar en un momento histórico en el que la voz femenina era cada vez más aclamada por el público.
8

Talbot, Michael. "Maurice Greene's Vocal Chamber Music on Italian Texts." Royal Musical Association Research Chronicle 48 (2017): 91–124. http://dx.doi.org/10.1080/14723808.2016.1271573.

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Maurice Greene (1696–1755), best known for his sacred and secular vocal music on English texts, left a substantial corpus of vocal chamber music set to Italian texts that remained unpublished during his lifetime and has not been studied in detail until now. It comprises ten cantatas for soprano and continuo, one cantata and seven chamber arias for voice, violin and continuo, four chamber duets and a cycle, scored variously for soprano and bass voice with continuo, of 15 settings of Anacreontic odes translated into Italian by Paolo Rolli. Greene was the only major English composer contemporary with Handel to produce such a quantity and variety of ‘Italian’ vocal music, and these compositions, which evidence a very good knowledge of the Italian language and Italian musical style, are of a quality to match their Handelian counterparts. They are subtle, responsive to the text and in certain respects very distinctive and original.
9

Krekovics, Diana. "Análisis de errores de e/le referentes a las partículas, pronombres y adverbios en las producciones de alumnos italianos." Acta Hispanica 13 (January 1, 2008): 109–33. http://dx.doi.org/10.14232/actahisp.2008.13.109-133.

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The paper proposes to present and analyze the error patterns of Italian native speaker university students with an average level of Spanish in relation with definite and indefinite articles, personal, possessive and demonstrative pronouns, prepositions and adverbs in Spanish. After presenting the principal characteristics of contrastive analysis and error analysis, the author focuses on the analysis of the error patterns. The basis for this is provided by a grammar test prepared by the author, relying on related academic work and personal experience. Apart from this, the paper also relies on data compiled from free compositions prepared by the students. The author provides an analysis and classification of the grammatical errors committed in the tests and compositions, and, after a brief summary of the relevant grammatical rules in Italian, elaborates on the possible causes of the errors.
10

ony Mitchell, T. "Paolo Conte: Italian ‘Arthouse Exotic’." Popular Music 26, no. 3 (October 2007): 489–96. http://dx.doi.org/10.1017/s0261143007001390.

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AbstractPaolo Conte is the most internationally successful of the Italian singer-songwriters who emerged in the 1960s and 1970s. He is also among the most idiosyncratic, eclectic and unusual exponents of what Franco Fabbri has defined as the canzone d’autore (author’s song). Nonetheless he remains a rather arcane, cult figure in the Anglophone world – an example of what Simon Frith has called ‘the unpopular popular’. A combination of apparent opposites – the provincial and the cosmopolitan – his music appropriates a global sweep of influences without being definable as ‘world music’. Characteristics of both his rough, untrained singing style and wry, ironic and opaque compositions have strong affinities with US singer-songwriters like Tom Waits and Randy Newman, and he draws heavily on early American jazz influences, although he remains quintessentially Italian. This makes him difficult to categorise in the world music market.

Дисертації з теми "Compositors italians":

1

Jiménez, Carmona Susana. ""Fragmente-Stille, an Diotima" de Luigi Nono: escuchar lo imposible." Doctoral thesis, Universitat de Girona, 2015. http://hdl.handle.net/10803/671778.

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This thesis presents an analysis of Luigi Nono’s Fragmente-Stille, an Diotima, as a starting point to investigate that this piece for string quartet provides in terms of the notions of sound and silence, the temporary and spatial constructions that it has given rise to, its connections with different compositions and texts written by the composer, its resonances in the postulations of other authors (musicians, writers and philosophers), and the political implications that every work of art entails
En aquesta tesi ens acostem a Fragmente-Stille, an Diotima de Luigi Nono per a, partint de la seva anàlisi, anar rastrejant el que posa en joc aquesta obra per a quartet de cordes: les concepcions del so i del silenci implicades, la construcció espaciotemporal que genera, els seus vincles amb les altres obres i els textos del compositor, les ressonàncies amb els pensaments d’altres autors (músics, escriptors, filòsofs) i les implicacions polítiques que comporta tota aposta de món que és una obra d’art
Doctorat en Ciències Humanes, del Patrimoni i de la Cultura
2

Corrent, Vinicio. "La riscoperta della poesia antica italiana nei compositori del primo Novecento in Italia : dalla generazione dell’Ottanta a Luigi Dallapiccola." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20091.

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L’objectif principal de cette recherche était d’étudier les motivations et les besoins qui ont conduit un groupe de compositeurs italiens, nés autour de 1880, et par cette coïncidence chronologique définis par Massimo Mila comme les compositeurs de « la génération des années quatre-vingt », à utiliser pour leurs œuvres chantées des textes de la poésie italienne du Moyen Age et de la Renaissance. Il s’est agi d’une enquête qui a dû tenir compte de nombreux facteurs, surtout étant donné l’imbrication des intérêts artistiques et littéraires et de la complexité historico-culturelle du contexte de la fin du XIXe et début du XXe siècle.En première instance, il a été fondamental de fixer les termes chronologiques d’un changement, voire d’une véritable rupture déterminée au niveau européen par la crise générale du positivisme exprimée de différentes manières en Italie, sous la forme d’une forte réaction au Vérisme dans le domaine littéraire et au mélodrame dans celui plus spécifiquement musical.Une première donnée importante sur laquelle nous nous sommes concentrés a été celle qui traitait globalement des compositeurs qui créaient non seulement des œuvres chantées pour le théâtre, mais également instrumentales de chambre et symphoniques. En conclusion, on observe qu’il est impossible de reconduire l’explication de la revalorisation des textes de la poésie ancienne italienne chez les compositeurs du début du XXe siècle à un seul élément: il faut donc plutôt rechercher une pluralité d’aspects très souvent dépendants d’exigences socio-économiques, culturelles et historiques bien précises. L’intérêt général pour cette période de la littérature fut élaboré de façon totalement personnelle par chaque compositeur et dans cette recherche, nous pensons avoir donné une contribution significative à l’étude de cet aspect de la musique du XXe siècle
The main purpose of this research was to study the motivations and requirements of a group of Italian composers, born around the years 1880's; for this chronological coincidence defined by Massimo Mila as the composers of the generation of the eighties recognizing the texts of ancient Italian poetry for some of their operas' lyrics. It was a path of investigation taking into account many factors, in particular the interweaving of artistic and literary interests and the cultural historical complexity of the context of the late nineteenth and the early twentieth centuries. Fundamental in the first place was the need to set up chronological indicative terms of the change, in fact, of the real breakthrough determined at European level by the general crisis of positivism reflected in various ways in Italy in the form of a strong reaction to Verismo in literature and to Melodramma specifically within the music. One of the first important aspect that we focused on in the present work was the fact that the composers we took into consideration were creating not only pieces made for the theatre, but also symphonic and instrumental compositions.In conclusion, it was found that the desire of the composers of the beginning of the 20th century to approach to the texts of ancient Italian poetry has been conditioned by many factors, affected by the social, economic, cultural and historical aspects.If there was a merely general interest in that period as far as the literature is concerned, then the same rough times were perceived by each composer in a very unique, personal way and in this research we believe that the significant contribution to the study of this aspect of the 20th century music has been given to a certain extent
Lo scopo principale della presente ricerca è stato quello di studiare le motivazioni e le esigenze che hanno portato un gruppo di compositori italiani, nati intorno al 1880, e per questa coincidenza cronologica definiti da Massimo Mila, come i compositori de « la generazione dell’Ottanta » a utilizzare per le loro opere cantate testi della poesia antica italiana. Si è trattato di un percorso di indagine che ha dovuto tenere conto di numerosi fattori dato soprattutto l’intreccio di interessi artistici e letterari e la complessità storico culturale del contesto di fine Ottocento e inizio Novecento. Fondamentale in prima istanza è stata l’esigenza di fissare dei termini cronologici indicativi di un cambiamento, anzi di una vera e propria rottura determinata a livello europeo dalla generale crisi del positivismo riflessasi in vario modo in Italia nelle forme di una forte reazione al verismo in ambito letterario e al melodramma in quello più specificamente musicale. Un primo dato importante su cui ci si è concentrati nel nostro lavoro è stato quello che si trattava di compositori a tutto tondo, che creavano non solo opere cantate per il teatro, ma anche strumentali da camera e sinfoniche. In conclusione si è riscontrato che il desiderio dei compositori del primo Novecento di rifarsi e riprendere i testi dell’antica poesia italiana per le loro opere, non va attribuito a un solo elemento, ma deve essere riferito a una pluralità di aspetti molto spesso dipendenti da esigenze socio economico culturali e storiche. Se vi fu un generale interesse per quel periodo della letteratura lo stesso fu poi elaborato in modo del tutto personale da ogni compositore e in questa ricerca crediamo di aver dato per quello che abbiamo considerato un significativo contributo allo studio di questo aspetto della musica del Novecento
3

Samperi-Mangan, Jacqueline. "Languages in contact : error analysis of Italian childrens' compositions in a multilingual context." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60594.

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Children of Italian immigrants in Montreal are in contact with many languages and kinds of speech. French and English are used publicly, formal Italian is studied in heritage classes, a dialect of the family's region of origin is used at home, and a kind of koine is frequently used in interactions with other Italian immigrants. The contact of these languages produces various kinds of interferences. These lead a child to make errors when he tries to use the Standard Italian code. In this research, children's compositions are examined for errors which in turn are analysed and classified. The causes of these errors are investigated and statistics are presented to indicate the frequency of errors or the power of various causes.
An effort is made to show all the different errors and interferences that occur, and to discover a pattern of their causes. The data put forth might eventually serve as a base for further studies on the pedagogical prevention or correction of errors in the teaching of Standard Italian as adapted to the specific situation in Montreal.
4

Rekleitis, Konstantinos. "Portfolio of compositions." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/8303.

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5

Ferrari, Giordano. "Etude du théâtre musical d'avant-garde : analyse des expériences des compositeurs italiens au début des années soixante." Paris, EHESS, 1995. http://www.theses.fr/1995EHES0322.

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Les problemes lies a la question du theatre musical qu'a du aborder la generation des compositeurs ayant appartenu a l'avant-garde des annees cinquante et soixante, sont ici analysee a travers l'etude de trois oeuvres italiennes : passaggio (1963) de luciano berio, hyperion de bruno maderna, et die schachtel (1966) de franco evangelisti. Ces trois oeuvres - etudiees a partir des esquisses preparatoires a la composition jusqu'a la realisation scenique - presentent l'interet de montrer trois differents chemins du theatre musical d'avant-garde : le drame qui se developpe a l'interieur de la musique (maderna), le spectacle multimedia (evangelisti), le theatre musical qui parle du theatre musical (berio)
Theatre related problems with which the generation of avant-garde composers of the 1950's and 60's was confronted are analysed through the study of three italian. Works: luciano berio's passaggio (1963) bruno maderna's hyperion (1964-69), and franco evangelisti's die schachte (1966). The three works - studied from the preparatory sketches to the stage performance-illustrate three distinct avant-garde musical theatre strategies : drama developed from within the music (maderna); multimedia performance (evangelisti); self discursive musical theatre (berio)
6

Allori, Sonia. "Music, text, gender and notions/influences of an Italian cultural perspective as the source for original music compositions." Thesis, Edinburgh Napier University, 2011. http://researchrepository.napier.ac.uk/Output/6691.

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The folio of musical works supported by this document, explores the relationship between text and music. Using a variety of textual sources, from a single line of text to an epic poem to political speeches, has produced six pieces in which the relationship of the text to the music is figured in different ways; these range from the literal setting of a text to music to the abstracting of a text into a musical piece. In each case the form of the original text has been an important factor in influencing the form of the musical works. Gender considerations impact on this folio in two ways: firstly, gender is a key issue in some of the texts used as inspiration for the pieces, particularly Guinevere (2007) and Hilary &Maggie (2009).' Secondly, the folio explores how the position as a female composer affects engagement with both music and text. Finally, the folio works are related to the importance of Italian nationality to the composer. This supporting contextual document sets out the framework within which the folio was composed. It draws out the three main research threads that are explored in the folio: music and text, gender, and the Italian cultural perspective. Each thread of research is discussed with some contextual information given first, followed by an analysis of how this category impacts on the folio works.
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Privitera, Giovanni. "Naissance et évolutions de la chanson d’auteur italienne : de 1958 à l’orée du vingt-et-unième siècle." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3049.

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Cette thèse de doctorat a pour objet d'étude la chanson d'auteur italienne de 1958 à l'orée du XXI° siècle. Une période si étendue correspond à la volonté de ne pas enfermer le sujet, ni dans des bornes chronologiques étroites, ni dans une définition close de la chanson d'auteur. Cette étude s'intéresse également aux liens entre la chanson italienne et le contexte sociétal et politique. La 1° partie analyse les principaux phénomènes artistiques justifiant, à la fin des années 50, l'affirmation d'un tournant « d'auteur » dans la chanson italienne, jusque-là figée dans un mélisme hérité de l'opéra, tout en tenant compte des éléments conjoncturels et des hasards de l'Histoire. La 2° partie est vouée à l'étude de la langue, de la poétique et de l'esthétique de cette chanson. Une large part est faite à la question dialectale, démontrant que cette question ne se réduit pas au folklore. La 3° partie étudie la chanson par le prisme de l'Histoire : de façon rétrospective mais aussi comme un reflet des temps en prise directe. La 4° et dernière partie aborde notre contemporanéité et la chanson d'auteur sous des formes nouvelles : rock, nouvelle école cantautoriale, rap.Ce cheminement nous mène à toute une série de pistes de réflexions : la réécriture, l'aspect performatif, la légitimité culturelle d'un genre artistique et, à l'ère d'internet, les nouvelles formes et modalités de réception de l'art mais également la révolution que le web provoque dans la création. La chanson compte une place importante dans la société et dans la culture des XXème et XXIème siècles. Elle a donc besoin d'être envisagée plus que jamais, et peut nous aider à comprendre à quelle époque on vit
This doctoral thesis explores the Italian art song genre from 1958 until the dawn of the twenty-first century; the broad scope of investigation was chosen so that the subject would not be overly circumscribed either temporally or notionally. The thesis also examines the relationship between the Italian art song and its social and political contexts. The first part, taking into account those influences as well as the effect of the random events of History, analyses the main artistic phenomena at the end of the '50 that led to an "artistic" turning point for the Italian popular song, hitherto locked into an opera derived melismatic mode. The second part investigates the language, the poetics and the aesthetics of the art song genre addressing at length dialect, demonstrating that this question cannot be explained merely in terms of folklore. The third part develops the art song seen through the lens of History, both retrospectively and as a reflexion of the current events of the day. The fourth and last part discusses the new forms of art song that have developed within a contemporary context: rock, the new cantautoriale school and rap. The rewriting, the performance act itself are discussed; the cultural legitimacy of an artistic genre and new forms and ways of experiencing art, as well as revolutionary modes of creation with the advent of the Internet are explored. The song was granted an important place in the society and culture of the second half of the twentieth century and the beginning of the twenty-first; today, imbued with the troubles of a new period, it invites our questions and research more than ever to help us understand the age we live in
8

Bousquet, Emmanuelle. "Quête identitaire et dramaturgie de l'intime dans les drames lyriques de Riccardo Zandonai (1883-1944)." Paris 8, 2001. http://www.theses.fr/2001PA082052.

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Riccardo Zandonai, compositeur, est né en 1883 à Sacco di Rovereto dans le Trentin, région de l'empire austro-hongrois devenue italienne après la Première Guerre mondiale (Traité de Saint Germain-en-Laye, 1919). Il meurt à Pesaro (Italie), en 1944. Cette étude porte sur ce compositeur de frontière. . .
9

Ancillotti, Lorenzo. "Alessandro Esposito (1913-1981) : l'éclectisme infatigable d'un organiste-compositeur confronté aux antagonismes d'une époque." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL177.

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Cette thèse se fonde sur le principe d’une reconstruction biographique et dans le même temps sur l’analyse d’un contexte culturel dans lequel le protagoniste naît, se forme et œuvre. La vie d’Alessandro Esposito, ses expériences, ses rencontres deviennent la source d’un intérêt scientifique grâce à une fine recherche, finalisée à une contextualisation historique, géographique et musicologique. Parallèlement à cette chronologie, plusieurs sentiers ont été tracés, mettant à la lumière une multitude de situations hétérogènes, consacrées au monde de l’orgue, illustrées grâce à la découverte d’une documentation riche. L’identification, la classement et l’analyse de tous ces témoins, ont débouché sur plusieurs domaines de recherche qui ont concerné le parcours du protagoniste : sa formation et sa spécialisation, répondant à une période qui s’étend de 1924 à 1942 ; son activité de concertiste (1926-1981), son répertoire et sa manière d’interpréter la musique ; son activité de compositeur (1926-1978), particulièrement consacrée à l’orgue et à son répertoire liturgique et de concerts ; son activité d’enseignant (1941-1978) et son activité pour l’édition (1956-1976). Le facteur transversal et constant qui s’est posé lors de cette recherche a été de trouver la pensée d’Alessandro Esposito sur la conception de l’orgue et sur son activité d’animateur du débat relatif à l’interprétation de la littérature et aux progrès dans l’art de la facture d’orgue. L’aptitude de cet homme, intéressé à tous les domaines concernant le monde de l’orgue et de sa musique, se vouant à concilier avec engagement et succès des activités aussi différentes, nous révèle sa prédisposition à un éclectisme qui nous permet, donc, de nous pencher sur un monde hétérogène, qui recueille des opinions et des points de vue divergents, qui réunit des pensées et des méthodes différentes concernant le roi des instruments, lequel devient un véritable protagoniste de ce travail
This thesis is based on the principle of biographical reconstruction and, at the same time, on the analysis of a cultural context into which the protagonist was born, studied and operated. Alessandro Esposito’s life, his experiences and his enconunters become a source of scientific interest thanks to a meticulous research, aimed at a historical, geographical and musicological contextualization. Parallel to this chronology, numerous paths are traced that highlight a series of heterogeneous situations addressed to the world of the organ, illustrated thanks to the discovery of a rich documentation. Identification, classification and analysis of these witnesses led the reflection towards the different research areas encountered by the protagonist in his human path : training and specialization, relating to a period that extends from 1924 to 1942, the concert activity (1926-1981), the repertoire and the interpretative characteristics; the activity of composer (1926-1978), particularly dedicated to the organ in its liturgical and concertistic role; the didactic activity (1941-1978) and the editorial one (1956-1976). The transversal and constant factor that stems from this research is the identification of Alessandro Esposito's thinking about the concept of the organ, through the observation of his activity as an animator of the debate concerning the interpretation of literature and progress in the art of organ building. This man’s fascination with every area of the world of the organ and music related to it, allows him to combine many different activities, which reveal a predisposition and an eclecticism that permits a reflection about the complex world, rich in opinions and divergent points of view concerning the king of instruments, the true protagonist of this work
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Pruvost, Céline. "La chanson d’auteur dans la société italienne des années 1960 et 1970 : une étude cantologique et interculturelle." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040227.

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Cette thèse de doctorat analyse un objet culturel spécifique, la chanson d’auteur en Italie, entre 1958 et 1980. L’approche méthodologique choisie, la cantologie, consiste à croiser des analyses de texte, de musique et d’interprétation. L’étude s’intéresse également aux liens entre les chansons et le contexte culturel et social italien, ainsi qu’aux influences d’autres cultures, à travers les chansons francophones et anglophones.La première partie apporte une série de repères. Retracer l’émergence du néologisme « cantautore » et de l’expression « chanson d’auteur » permet de définir précisément le champ de l’étude. Une mise en perspective historique est complétée par des éléments géographiques et biographiques sur les auteurs du corpus. La deuxième partie rassemble des réflexions d’ordre méthodologique et esthétique, en proposant une synthèse d’approches innovantes et pluridisciplinaires qui permettent de ne pas réduire l’étude de la chanson à celle de son texte, et d’éviter ainsi l’assimilation encore trop fréquente avec la poésie. Une analyse comparée de traductions chantables et non-chantables démontre que l’écriture musicale conditionne profondément l’écriture textuelle. La troisième partie analyse les principales innovations introduites par les cantautori : l’évolution des contenus thématiques est d’abord mise au regard des évolutions législatives italiennes, pour aller ensuite vers une focalisation sur l’intérieur de la forme chanson, complétée par une étude de l’agencement des chansons entre elles. Ce cheminement débouche sur l’analyse d’interactions du genre chanson avec d’autres langages, à travers des formes incluant l’image, comme le cinéma ou l’opéra rock
This doctoral thesis analyzes a specific cultural object, the songs by singer-songwriters in Italy, between 1958 and 1980. The chosen methodological approach, cantology, consists in crossing analysis of text, music and interpretation. The study also looks at links between songs and Italian cultural and social context in which they were created, as well as and influences from other cultures, with francophone and anglophone songs.The first part provides a series of benchmarks to seize this object. Redrawing emergence of the neologism "cantautore" and expression "canzone d’autore" allows to precisely define the field. Historical perspective is given, as well as geographical and biographical elements regarding the authors of the corpus. The second part gathers methodological and aesthetic reflections, by offering a synthesis of innovative and multidisciplinary approaches which allow not to reduce the study of the song to that of its text, thus avoiding yet too frequent assimilation with poetry. An analysis comparing singable and non-singable translations shows how writing music deeply affects writing texts. The third part analyzes the major innovations introduced in the song in these two decades : at first considering thematic content changes with regard to the Italian legislative changes, then focusing inside of the song, and finally studying the layout of these songs. This path leads to the study of song genre interactions with other languages, through forms including image, such as film or rock opera

Книги з теми "Compositors italians":

1

Maier, Bruno. Compositori di vita. Trieste: Hammerle, 2002.

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2

Balboni, Paolo. Sillabo di riferimento per l’insegnamento dell’italiano della musica. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-270-3.

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Nel 2015 il Ministero degli Esteri dedicò l’anno alla riflessione mondiale sul rapporto tra lingua italiana e musica. La prima cosa che emerse, passando dai ‘proclami’ sull’importanza dell’italiano della musica alla progettazione di linguistica educazionale, fu l’assenza di una visione sistemica e scientifica del concetto di ‘italiano della musica’ e del suo insegnamento. La Società Dante Alighieri e i Laboratori Itals e LabCom di Ca’ Foscari hanno avviato un approfondimento su questo tema: il risultato della ricerca, affidata a Paolo E. Balboni, è questo sillabo di italiano per strumentisti, cantanti d’opera, direttori, compositori e musicologi, con ampie differenziazioni tra questi diversi gruppi. Il sillabo è gratuitamente a disposizione di autori di manuali, di insegnanti, di enti certificatori e formatori.
3

Diniz, Jaime C. Um compositor italiano no Brasil, Joseph Fachinetti. Rio de Janeiro, RJ, Brasil: Tempo Brasileiro, 1986.

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4

Ruffini, Mario, ed. Laura. La dodecafonia di Luigi Dallapiccola dietro le quinte. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-719-1.

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Scoprire Laura Coen Luzzatto significa arrivare al nucleo della storia musicale del Novecento italiano, il backstage della complessa traversata dodecafonica compiuta da Luigi Dallapiccola, accendere un faro sulla luce che ha illuminato il percorso del compositore tra i drammi del secolo breve. Laura incontra Luigi nel 1931 a Firenze, e da allora si consacra a lui e alla sua arte: nel 1938 lo sposa e diventa Laura Dallapiccola. Triestina ebrea e atea lei, istriano cattolico e dubbioso lui, entrambi arrivati in città grazie al mito di Dante, e da subito entrati in sintonia anche grazie alla tesi di laurea di Laura – qui meritoriamente riportata alla luce dall’Università dove la discusse nel 1932 – per quello spirito di rivendicazione dell’italianità delle loro comuni terre di confine. Da quel momento la storia del compositore si apre grazie a lei alla cultura europea, a Joyce, Proust, Mann e, ancora grazie a lei, la dodecafonia dallapiccoliana è anche radicata nella vocalità della cultura italiana, differenziandosi da quella viennese. Laura, dunque, per scoprire meglio Luigi Dallapiccola e per guardare con occhi nuovi il Novecento.
5

Vessia, Gian Nicola. Le firme dell'organo: Compositori e repertorio organistico del '900 italiano. Bergamo: Carrara, 2003.

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6

Vessia, Gian Nicola. Le firme dell'organo: Compositori e repertorio organistico del '900 italiano. Bergamo: Carrara, 2003.

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7

Vessia, Gian Nicola. Le firme dell'organo: Compositori e repertorio organistico del '900 italiano. Bergamo: Carrara, 2003.

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8

Sessa, Andrea. Il melodramma italiano, 1861-1900: Dizionario bio-bibliografico dei compositori. Firenze: L.S. Olschki, 2003.

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9

Fazzini, Paolo. Visioni sonore: Viaggio tra i compositori italiani per il cinema. Roma: Un mondo a parte, 2006.

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10

Comuzio, Ermanno. Musicisti per lo schermo: Dizionario ragionato dei compositori cinematografici. [Rome?]: Ente dello spettacolo, 2004.

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Частини книг з теми "Compositors italians":

1

Seifert, Herbert. "The secular-dramatic compositions of Fux: a general survey." In Johann Joseph Fux and the music of the Austro-Italian Baroque, 138–52. Routledge, 2017. http://dx.doi.org/10.4324/9781315092287-8.

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2

Schulenberg, David. "Bach the Teacher." In Bach, 284–331. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0013.

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This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.
3

Townsend, Peter. "Musical Development Assisted by Technology." In The Evolution of Music through Culture and Science, 17–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.003.0002.

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In Europe, the first millennium life and music were tightly controlled by religion. Instruments were limited, with major differences between folk music for the masses, the aristocracy, and the church. Much early music was just a single line sung in unison. Progressions to several lines, chords, and the complexity of polyphony developed in parallel with written works and printing of religious and secular music. This liberating feature stimulated a wide range of new types of composition. By around 1600, there was an Italian explosion into opera and a major demand for secular music. Mathematicians devised a scheme of equal temperament tuning, which replaced the earlier ‘natural’ musical scales and this enabled keyboard instruments to play in any key. Low-cost printed music was widely available. Despite the volume of compositions, a relatively small fraction has survived as performance music in the present day and the reasons for this are mentioned.
4

Buszta-Bąk, Aleksandra. "Compositori ed esecutori italiani al Castello Reale di Varsavia Włoscy kompozytorzy i wykonawcy na Zamku Królewskim w Warszawie." In Italia e Polonia (1919-2019). Un meraviglioso viaggio insieme lungo cento anni / Włochy i Polska (1919-2019). Sto lat wspólnej fascynującej podróży. Warsaw University Press, 2019. http://dx.doi.org/10.31338/uw.9788323541400.pp.311-316.

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Тези доповідей конференцій з теми "Compositors italians":

1

Longo, G., C. Coluzza, A. Bonfiglio, R. Beccherelli, A. Galloppa, and P. Maltese. "CHARACTERISATION OF POLYANILINE CONDUCTIVE COMPOSITES." In Proceedings of the 6th Italian Conference. WORLD SCIENTIFIC, 2001. http://dx.doi.org/10.1142/9789812810779_0015.

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2

DE GIROLAMO DEL MAURO, A., A. CITARELLA, E. MASSERA, L. QUERCIA, and G. DI FRANCIA. "ON THE FABRICATION PROCESS OF POLYMER-COMPOSITES BASED SENSORS." In Proceedings of the 12th Italian Conference. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812833594_0020.

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3

Caucci, D., L. Aiello, F. Bagnoli, M. Bernabei, Alberto D’Amore, Domenico Acierno, and Luigi Grassia. "AGING AIRCRAFT TRANSPARENCIES: AN ITALIAN AIR FORCE FLEET CASE HISTORY." In IV INTERNATIONAL CONFERENCE TIMES OF POLYMERS (TOP) AND COMPOSITES. AIP, 2008. http://dx.doi.org/10.1063/1.2988966.

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4

FALCIAI, R., J. M. KENNY, A. TERENZI, C. TRONO, and R. MEZZACASA. "REINFORCING AND MONITORING OF CONCRETE STRUCTURES WITH COMPOSITES AND FIBER OPTIC SENSORS." In Proceedings of the 9th Italian Conference. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812701770_0057.

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5

QUERCIA, L., M. BOMBACE, F. LOFFREDO, G. DI FRANCIA, and D. NINNO. "INFLUENCE OF FILLER TYPE ON SENSING PROPERTIES OF POLYMERIC COMPOSITES THIN FILMS." In Proceedings of the 10th Italian Conference. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812833532_0028.

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6

Valentini, F., A. Lupu, S. Orlanducci, D. Compagnone, C. Cremisini, M. L. Terranova, and G. Palleschi. "DIAMOND-BASED NANO-COMPOSITES AND CARBON NANOSTRUCTURES ELECTRODES AS NEW ELECTROCHEMICAL PROBES." In Proceedings of the 7th Italian Conference. WORLD SCIENTIFIC, 2002. http://dx.doi.org/10.1142/9789812776457_0043.

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7

DE GIROLAMO DEL MAURO, ANNA, SAVERIO DE VITO, GIANBATTISTA BURRASCA, ETTORE MASSERA, GABRIELLA RAMETTA, and GIROLAMO DI FRANCIA. "TERPENES DETECTION USING AN ARRAY BASED ON POLYMER-CARBON BLACK COMPOSITES SENSORS." In Proceedings of the 13th Italian Conference. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812835987_0019.

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8

Cataldo, F., P. Mondini, R. Beccherelli, and P. Maltese. "PREPARATION OF POLYANILINE CONDUCTIVE COMPOSITES WITH DIENERUBBER OR POLYPHENYLACETYLENE SUITABLE FOR GAS SENSING." In Proceedings of the 6th Italian Conference. WORLD SCIENTIFIC, 2001. http://dx.doi.org/10.1142/9789812810779_0014.

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9

BELLAN, F., A. BULLETTI, L. CAPINERI, L. MASOTTI, F. GUASTI, and E. ROSI. "ACOUSTIC GUIDED WAVES INTERDIGITAL TRANSDUCERS FOR NON DESTRUCTIVE TESTING OF CARBON-EPOXY COMPOSITES FOR SPACECRAFT STRUCTURES." In Proceedings of the 9th Italian Conference. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812701770_0042.

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10

BELLAN, F., A. BULLETTI, L. CAPINERI, A. CASSIGOLI, L. MASOTTI, O. OCCHIOLINI, F. GUASTI, and E. ROSI. "REVIEW OF NON DESTRUCTIVE TESTING TECHNIQUES FOR COMPOSITES MATERIALS AND NEW APPLICATIONS OF PIEZO-POLYMER INTERDIGITAL TRANSDUCERS." In Proceedings of the 10th Italian Conference. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812833532_0101.

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