REVUE DE MUSICOLOGIE最新文献_第5页

Antoine Boësset's sacred music for the royal abbey of montmartre : Newly identified polyphony and plain-chant musical from the « Deslauriers » Manuscript (F-Pn Vma ms. rés. 571) 安托万Boësset蒙马特皇家修道院的神圣音乐:新发现的复调和从“Deslauriers”手稿的普通吟唱音乐剧(F-Pn Vma ms. r<s:1>。571)

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2005-01-01 DOI: 10.2307/20141616

Peter Bennett

{"title":"Antoine Boësset's sacred music for the royal abbey of montmartre : Newly identified polyphony and plain-chant musical from the « Deslauriers » Manuscript (F-Pn Vma ms. rés. 571)","authors":"Peter Bennett","doi":"10.2307/20141616","DOIUrl":"https://doi.org/10.2307/20141616","url":null,"abstract":"D'Antoine Boesset, surintendant de la musique de la chambre de Louis XIII, on ne connait que sa musique profane. On sait pourtant qu'il fut maitre de musique des religieuses de Montmartre jusqu'a sa mort en 1643. Huit pieces religieuses attribuees a « Boesset » dans le recueil « Deslauriers » de la Bibliotheque nationale de France (F-Pn Vma ms. res.571) sont considerees, depuis Sebastien de Brossard, comme l'oeuvre du fils d'Antoine, Jean-Baptiste de Boesset (1614-1685). Une etude approfondie du manuscrit permet de nombreuses reevaluations. Une nouvelle chronologie detaillee de ses fascicules montre d'abord que les huit pieces attribuees a « Boesset » ne peuvent avoir ete composees que par Antoine Boesset, le pere. En outre, la mise au jour des origines du recueil Deslauriers conduit a une interpretation inedite de quatre-vingt-dix autres pieces anonymes qu'il contient. Ce recueil est en fait le fruit de pres de cinquante ans de travail d'un seul copiste: Andre Pechon, maitre de musique a Saint-Germain l'Auxerrois puis a Meaux. A partir de ces donnees, d'une etude des concordances internes au manuscrit, et de l'identification des sources du plain-chant a la base d'un grand nombre d'oeuvres, il apparait que pres d'une centaine de pieces du recueil Deslauriers furent composees pour les religieuses de Montmartre, certainement par Antoine Boesset. En identifiant ainsi le plus large corpus de musique religieuse de cette periode, ou figurent a la fois les premieres oeuvres avec basse continue composees en France et les premiers exemples de « plain-chant musical », une nouvelle page s'ouvre dans l'etude de la vie musicale sous Louis XIII.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"321-367"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141616","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 19

Déconstruire d'Indy 解构d’Indy

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2005-01-01 DOI: 10.2307/20141617

Jann Pasler

{"title":"Déconstruire d'Indy","authors":"Jann Pasler","doi":"10.2307/20141617","DOIUrl":"https://doi.org/10.2307/20141617","url":null,"abstract":"In this article, I throw new light on Vincent d'Indy's reputation before 1900 by examining what his disciples have ignored, including little-known works, and by deconstructing attitudes accumulated over time. In fact, d'Indy was much less marginal and removed from republican institutions and their ideologies than we have been led to believe. His actions and works reveal a man who built alliances that served the State as well as the composer. Winning the City of Paris prize taught d'Indy early in his career the power of his difference. In the 1880s and 1890s, the State recognized that d'Indy could help it confront those controlling the conventions impeding musical progress, particularly the monopolies of the Academie des Beaux-Arts over major prizes and the Conservatoire over advanced musical education. His differences also helped bridge conflicts within Republican institutions : within the « family » of the Conservatoire (e.g. Franck vs. Massenet); between the Conservatoire under the musically conservative Thomas and the government under the politically moderate Ferry; then between Thomas and a Ministry determined to change the Conservatoire's curricula. At the Schola after 1900, while he conducted the appearance of war with the Conservatoire, downplaying what they shared, he put into place educational reforms conceived while working on the committee to reform the Conservatoire. In misconstruing the nature and function of political differences in France and their relationship to reputation-building strategies, we risk substituting ideology and our own projections of its meaning for the composer's importance in French musical life of the Belle Epoque.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"369-400"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141617","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Les « Envois de Rome » des compositeurs pensionnaires de la Villa Médicis (1804-1914) 居住在美第奇别墅(1804-1914)的作曲家的“罗马寄售”

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2005-01-01 DOI: 10.2307/20141599

Alexandre Dratwicki

{"title":"Les « Envois de Rome » des compositeurs pensionnaires de la Villa Médicis (1804-1914)","authors":"Alexandre Dratwicki","doi":"10.2307/20141599","DOIUrl":"https://doi.org/10.2307/20141599","url":null,"abstract":"If the cantatas which form the essence of the Prix de Rome competition are well known today (at least for the \"academic\" character which one frequently attributes to them), the same cannot be said for the envois de Rome -the works prescribed to composers during their sojourn at the Villa Medicis. Since 1803, a series of regulations implemented by the Academie des beaux-arts had imposed precise compositional requirements on the artists, yet they also demanded an originality of style. At the same time as fighting foreign influence (and notably Wagnerianism), the emphasis given to the so-called \"official\" genres gradually diminished : besides different types of vocal music (mass, opera, cantata...), the recognition given to the symphony (1846), the symphonic poem (1883), and chamber music (1894) rejects the modern-day notion that the Prix de Rome encouraged only lyric genres. In a clear display of post-war artistic patriotism, the creation of a Concert des Envois de Rome at the Conservatoire in 1874 finally provided a \"real\" context for the appreciation of these works - from then on judged by the public and the critics (instead of the academicians of the Institut).","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"99-193"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141599","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

La Vie musicale en Nouvelle-France 新法国的音乐生活

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2005-01-01 DOI: 10.2307/20141603

L. Guillo, Élisabeth Gallat-Morin, J. Pinson, P. Dubois, C. Laforte, Erich Schwandt, François Filiatraut

引用次数: 10

« Wie ist mir wohl, daB ich ein Deutscher bin ! » : Le Freischütz à Paris (1841) et les doutes de Richard Wagner face au grand opéra français «怎么不管怎么样,我一定是我一位德国!»:Le Freischützà巴黎(1841)的les doutes理查德·瓦格纳的脸哦大手术é拉弗兰ç时

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2005-01-01 DOI: 10.2307/20141598

Yaël Hêche

{"title":"« Wie ist mir wohl, daB ich ein Deutscher bin ! » : Le Freischütz à Paris (1841) et les doutes de Richard Wagner face au grand opéra français","authors":"Yaël Hêche","doi":"10.2307/20141598","DOIUrl":"https://doi.org/10.2307/20141598","url":null,"abstract":"The first Parisian stay (1839-1842) of Richard Wagner was a very important one. He arrived with the purpose of becoming a grand opera composer and leaved the city with the finished score of Der fliegende Hollander. The numerous articles he wrote in Paris for French and German newspapers give us an important testimony of his change of mind. For the 1841 production of Carl Maria von Weber's opera Der Freischutz (with the additional recitatifs of Hector Berlioz) Wagner wrote two papers: the first one before the performance for the Revue et Gazette musicale de Paris and the second one as a critic for the Abend-Zeitung in Dresden. These texts show us that Wagner begins to reject the universalist aesthetics he developed since 1834. The grand opera is no more considered as an artistic goal but depicted as an industrial art, a product of the modern civilisation. Wagner is becoming aware of the cultural difference and the different levels of perception between the French and the German assistance. In his two articles, he already asserts some of the arguments he will use ten years later to construct his critic of the contemporary opera and his theory of the musical drama. After this first Parisian stay, Wagner will continue to be at some level influenced by the grand opera but the articles on Der Freischutz show us clearly that a decisive turn occured in his mind.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"73-97"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141598","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Un fonds de livrets conservé à la Bibliothèque municipale de Grenoble: Une source importante pour l'étude de la musique religieuse toulousaine (1726-1744) 保存在格勒诺布尔市图书馆的小册子收藏:图卢兹宗教音乐研究的重要来源(1726-1744)

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2005-01-01 DOI: 10.2307/20141601

B. Michel

引用次数: 1

L'Opéra basque (1884-1937). "Et l'art basque descendit des montagnes" 巴斯克歌剧(1884-1937)。"巴斯克艺术从山上下来"

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2005-01-01 DOI: 10.2307/20141628

H. Lacombe, Natalie Morel-Borotra

引用次数: 0

Écrits sur la musique, 1827-1846 关于音乐的著作，1827-1846年