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Mozart empoisonné ! Extraits de la presse parisienne sur la propagation d'une rumeur au milieu des années 1820 莫扎特中毒了!19世纪20年代中期巴黎媒体关于谣言传播的摘录
IF 0.3 1区 艺术学
REVUE DE MUSICOLOGIE Pub Date : 2005-01-01 DOI: 10.2307/20141620
Helmut C. Jacobs
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引用次数: 0
Liszt 2000. The Great Hungarian and European Master at the Threshold of the 21st Century 李斯特2000。伟大的匈牙利和欧洲大师在21世纪的门槛
IF 0.3 1区 艺术学
REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947487
S. Gut, K. Hamburger
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引用次数: 0
Les "grands musiciens" a l'epoque de leur diffusion massive “伟大的音乐家”在他们的大规模传播时期
IF 0.3 1区 艺术学
REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947477
M. Jouvenet
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引用次数: 0
L'Art de la Fugue. Un "probleme algebrique" 赋格的艺术。“代数问题”
IF 0.3 1区 艺术学
REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947482
S. Gut, Vincent Dequevauviller
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引用次数: 1
Wagner-Briefe-Verzeichnis. (WBV) Wagner-Briefe-Verzeichnis .(WBV)
IF 0.3 1区 艺术学
REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947488
Serge Gut, Werner Breig, Martin Durrer, A. Mielke, R. Wagner, Isabel Kraft
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引用次数: 0
Bibliographie des travaux de Francois Lesure 弗朗索瓦·勒苏尔作品参考书目
IF 0.3 1区 艺术学
REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947236
J. Gribenski, C. Meyer
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引用次数: 0
Aimer Beethoven : Les années d'apprentissage d'Henri-Frédéric Amiel, amateur de musique genevois (1840-1860) 爱贝多芬:henri - frederic Amiel的学徒生涯，日内瓦音乐爱好者(1840-1860)
IF 0.3 1区 艺术学
REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947470
Rémy Campos
{"title":"Aimer Beethoven : Les années d'apprentissage d'Henri-Frédéric Amiel, amateur de musique genevois (1840-1860)","authors":"Rémy Campos","doi":"10.2307/947470","DOIUrl":"https://doi.org/10.2307/947470","url":null,"abstract":"During two decades (1840-1860), Henri-Frederic Amiel, as well as being philosophy professor at the University of Geneva, had a career as music amateur that he described extensively in his large diary. Extremely keen on Beethoven, he gradually discovered what was called « grande musique ». At the same time, a new art of listening was being created by different practices based on explanatory texts, physical gestures and an aesthetics of effort. Amiel's passion was not exclusive of lighter types of music that were in fact part of the world of the music amateur during the 19 t h century. This cultural universe was indeed filled with contradictions, but only superficially.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"9-42"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947470","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227662","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
Le Te Deum de Jacques Morel et le Concert spirituel d'Alexandre de Villeneuve comme exemples de divertissements sacres 雅克·莫雷尔的《颂》和亚历山大·德·维伦纽夫的《精神音乐会》是神圣娱乐的例子
IF 0.3 1区 艺术学
REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947220
J. Montagnier
{"title":"Le Te Deum de Jacques Morel et le Concert spirituel d'Alexandre de Villeneuve comme exemples de divertissements sacres","authors":"J. Montagnier","doi":"10.2307/947220","DOIUrl":"https://doi.org/10.2307/947220","url":null,"abstract":"In his « Discours sur la musique d'Eglise » (1706), Lecerf de La Vieville stated that the « music intended for gods, that he [Lully] put onto his theatre [stage], like sacrifices and invocations, shows us some admirableexamples of the exact observance of our rules. Let them be obeyed in the motets of our churches [... they] will make Christians pray excellently, » thus inciting composers to model their motets on Lully's operatic divertissements. In 1757, Jacques Lacombe further added that French « should be employed » in motets sung at the Concert Spirituel, because « listeners could follow the subject of the poem with ease and judge more clearly the appropriateness of the expression that the musician gave to the words, » as if the well-known operatic topoi used in grands motets since La Vieville's time-such as Jean-Joseph Cassanea de Mondonville's Venite exultemus-were not sufficient enough to make the words understood to those ignorant of Latin. Lacombe's criticism may even have urged Mondonville to write what have been thus far thought to be the first « motets francais » (i.e., oratorios sung in French): Les Israelites a la Montagne d'Oreb (1758) and Les Fureures de Saul (1759). This story however needs revision in the light of Jacques Morel's 1706 setting of a French translation of the Te Deum, and of the I e r Concert spirituel (1727) that Alexandre de Villeneuve composed on Simon-Joseph Pellegrin's French paraphrase of Psalm 96. In both cases, the French verses can easily be compared to contemporaneous dramatic libretti calling for the usual operatic features, thus strongly suggesting that the two musicians and their poets devised their motets as genuine sacred divertissements akin to the French oratorios of a later period.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"265-296"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947220","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225392","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: 1
Du Be-Bop au Free Jazz. Formes et techniques d'improvisation chez C. Parker, M. Davis et O. Coleman 杜比波普和自由爵士。即兴创作的形式和技巧:C.帕克，M.戴维斯和O.科尔曼
IF 0.3 1区 艺术学
REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947232
P. Michel, J. Aboucaya, Jean-Pierre Peyrebelle
{"title":"Du Be-Bop au Free Jazz. Formes et techniques d'improvisation chez C. Parker, M. Davis et O. Coleman","authors":"P. Michel, J. Aboucaya, Jean-Pierre Peyrebelle","doi":"10.2307/947232","DOIUrl":"https://doi.org/10.2307/947232","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"449"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947232","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225521","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
Du concert a l'ecoute: tendances recentes de l'histoire sociale de la musique 音乐会的倾听了:最近趋势的社会历史的音乐
IF 0.3 1区 艺术学
REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947476
Sophie Maisonneuve
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引用次数: 0
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