REVUE DE MUSICOLOGIE最新文献_第7页

La reorganisation de l'orchestre de l'Opera de Paris en 1799: De nouvelles perspectives pour le repertoire de l'institution 1799年巴黎歌剧院管弦乐团的重组:该机构曲目的新视角

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947221

Alexandre Dratwicki

{"title":"La reorganisation de l'orchestre de l'Opera de Paris en 1799: De nouvelles perspectives pour le repertoire de l'institution","authors":"Alexandre Dratwicki","doi":"10.2307/947221","DOIUrl":"https://doi.org/10.2307/947221","url":null,"abstract":"By the end of the Revolutionary period (1790-1800), the Opera of Paris was no more than the shadow of itself. Journalists regretted the absence of creations and denounced the mediocrity of certain singers and of a part ofthe orchestra. After the misfortune of several successive administrations, the directors Francœur, Denesle and Baco thought necessary to reorganize completely the different structures of the Opera, and more particularly its orchestra. Not only did Francœur manage to improve the quality of the string desks, but he also invited eight soloists to take regularly part in the performances. The press took notice of these changes immediately: in the Courrier, for instance, one could read that the orchestra benefited from the virtuosi's « solos ». The tout-Paris attended the Opera to hear the horn player Duvernoy, the harpist Cousineau and the violinist Kreutzer executing the most astonishing tours de force. As the artists vied in skill, the overall style of the Opera repertory changed. They played between as well as inside the acts, since composers inserted more and more virtuosic details to make sure their works would meet with success. Concertos and symphonies concertantes became the neuralgic point of certain ballets, whereas numerous surprising combinations of solo instruments were added to the operatic divertissements.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"297-326"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947221","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225398","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

La constitution d'une culture et d'une écoute musicale nouvelles : Le disque et ses sociabilités comme agents de changement culturel dans les années 1920 et 1930 en Grande-Bretagne 新宪法的一个文化和音乐:盘剂及其限制;在1920年代和1930年代的文化变革,在英国

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947471

Sophie Maisonneuve

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引用次数: 7

Faire le jazz. La coproduction de l'expérience esthétique dans un jazz-club 把爵士乐。制作节目在一个jazz-club审美经验

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947472

O. Roueff

{"title":"Faire le jazz. La coproduction de l'expérience esthétique dans un jazz-club","authors":"O. Roueff","doi":"10.2307/947472","DOIUrl":"https://doi.org/10.2307/947472","url":null,"abstract":"Lieu de performance musicale qui reunit physiquement auditeurs et musiciens pour l’elaboration collective d’experiences esthetiques, le jazz-club permet d’interroger les facons de faire le jazz. Ses soirees ordinaires donnent a voir et a entendre un ensemble de parametres constitutifs de ces experiences que l’analyse musicale, aveuglee par la fausse transparence du disque ou de la partition, n’a pas pour habitude de prendre en compte. Elles amenent a focaliser l’attention interpretative de l’observateur sur la mise en relation de l’ensemble de ces parametres qui s’elabore au fil des interactions entre musiciens et auditeurs, au fil des usages que font les uns des autres, et chacun du dispositif scenique et des sonorites produites. « La musique » qui advient au cours de ces soirees apparait alors comme strictement coextensive aux modalites de cette relation. L’enquete s’est d’abord attachee a restituer le modele ideal qui sert de referent aux pratiques d’un jazz-club marseillais, et a situer celuici au sein de l’espace local du jazz, afin d’armer l’observation des concerts eux-memes. Elle decrit ensuite le deroulement des soirees sous deux angles : le type de relation entre auditeurs, musiciens et maitres du jazz qu’organise l’usage des « effets de rampe » ; les formes de division du travail esthetique qui servent, en situation, a l’elaboration de l’experience esthetique.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"67-93"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947472","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227682","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: 6

Graduale de Tempore iuxta ritum Sacrosanctae Romanae Ecclesiae 根据罗马教会圣人的仪式不时毕业

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947227

Marie-Noël Colette, Giacomo Baroffio, M. Sodi, Eun Ju Kim

引用次数: 3

Franz Liszt and Agnes Street-Klindworth. A Correspondance, 1854-1886 弗朗兹·李斯特和阿格尼斯·斯特里特-克林德沃斯。书信(1854-1886

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2002-01-01 DOI: 10.2307/947485

F. Liszt, Agnes Street-Klindworth, Pauline Pocknell

引用次数: 4

Musiques/Pratiques: Musique et sciences sociales 音乐/做法:音乐与社会科学