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History --- Music --- Historiography --- Music - Historiography
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Musicology --- Music --- Historiography --- Music publishing --- Scholarly publishing --- Musical analysis. --- Manuscripts --- Handbooks, manuals, etc --- Handbooks, manuals, etc. --- Historiography. --- Musicology - Handbooks, manuals, etc --- Music - Historiography - Handbooks, manuals, etc. --- Music - Historiography.
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Music --- Musicology. --- History and criticism. --- Historiography. --- 78.17 Tomlinson --- Music - History and criticism. --- Music - Historiography.
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Music --- Musical criticism. --- Musicology. --- Historiography. --- muziekanalyse --- muziektheorie --- muziekgeschiedenis --- muziekwetenschappen --- muziekkritiek --- Musical criticism --- Musicology --- Musical research --- Research, Musical --- Popular music --- Hermeneutics (Music) --- Music criticism --- Journalism --- Historiography --- History and criticism --- Methods --- Theory, etc. --- Research --- Music - Historiography
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Music --- -Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Historiography --- Historiography. --- -Historiography --- Musicology --- History and criticism --- Methods --- Theory, etc. --- Music - Historiography
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Music --- Musical criticism --- Academic writing --- French language --- Historiography --- Handbooks, manuals, etc. --- Authorship --- Rhetoric. --- 78.88 --- Music - Historiography - Handbooks, manuals, etc. --- Musical criticism - Authorship - Handbooks, manuals, etc. --- Academic writing - Handbooks, manuals, etc. --- French language - Rhetoric.
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Le mot « romantique », si couramment employé aujourd’hui, évoque dans son acception la plus répandue l’effusion et la fièvre lyrique, dont la musique serait l’expression privilégiée. Voilà qui surprendrait bien des musiciens du XIXe siècle. Comment le mot « romantique », qui possédait au XVIIIe siècle une connotation visuelle (renvoyant à la dimension pittoresque des jardins à l’anglaise) et un sens poétique (lié aux romans de chevalerie médiévale), a-t-il pu progressivement qualifier des objets musicaux ? Emmanuel Reibel considère ici le romantisme non plus comme une période, un style ou une mystérieuse essence déterminant les œuvres, mais comme un mot polémique et contradictoire, témoignant d’une nouvelle façon d’entendre la musique.De Rousseau à Berlioz en passant par le style « troubadour », la mode ossianique, l’engouement pour les musiques populaires comme le « ranz des vaches », le rossinisme ou l’école « fantastique », cet essai explore les mutations picturales, mémorielles, nationales et idéologiques impliquées par la « romantisation » de la musique.L’ampleur de la documentation – partitions, traités, correspondances de musiciens et textes littéraires – et une belle élégance d’expression soutiennent une démonstration rigoureuse d’esthétique historique.Ancien élève de l’École normale supérieure, maître de conférences habilité à diriger des recherches à Paris Ouest Nanterre, Emmanuel Reibel est l’auteur entre autres des Musiciens romantiques, fascinations parisiennes (2003) et de Faust. La musique au défi du mythe (2008)
Music and romanticism --- Musique romantique --- Muziek [Romantische ] --- Romanticism in music --- Romantiek in de muziek --- Romantische muziek --- Romantisme en musique --- Music --- Romantisme dans la musique --- Musique --- History and criticism --- Histoire et critique --- Music and literature --- Art and music. --- Historiography. --- Philosophy and aesthetics --- Philosophy and aesthetics. --- 19th century --- Music - Historiography. --- Music - 19th century - Philosophy and aesthetics --- Music - Philosophy and aesthetics.
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Stories of Tonality in the Age of François-Joseph Fétis explores the concept of musical tonality through the writings of the Belgian musicologist François-Joseph Fétis (1784-1867), who was singularly responsible for theorizing and popularizing the term in the nineteenth century. Thomas Christensen weaves a rich story in which tonality emerges as a theoretical construct born of anxiety and alterity for Europeans during this time as they learned more about "other" musics and alternative tonal systems. Tonality became a central vortex in which French musicians thought-and argued-about a variety of musical repertoires, be they contemporary European musics of the stage, concert hall, or church, folk songs from the provinces, microtonal scale systems of Arabic and Indian music, or the medieval and Renaissance music whose notational traces were just beginning to be deciphered by scholars. Fétis's influential writings offer insight into how tonality ingrained itself within nineteenth-century music discourse, and why it has continued to resonate with uncanny prescience throughout the musical upheavals of the twentieth and twenty-first centuries.
Tonality --- Music theory --- History --- Fétis, François-Joseph, --- Fétis, François-Joseph, --- Music --- Key (Music theory) --- Keys (Music theory) --- Musical key --- Musical intervals and scales --- Theory --- E-books --- Muziektheorie --- Tonaliteit --- Fétis, François-Joseph (1784-1871) --- 18e eeuw --- Fétis. --- chromaticism. --- music historiography. --- musical modality. --- musical tonality. --- nineteenth-century music. --- non-Western musical scales.
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France --- Frankrijk --- Musique --- Muziek --- Music --- Historiography --- History and criticism --- Early works to 1800 --- Theory --- Historiographie --- Histoire et critique --- Ouvrages avant 1800 --- Théorie --- Historiography. --- History and criticism. --- -Music --- -Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- -Historiography --- Théorie --- Musicology --- Methods --- Theory, etc. --- Musicologie (discipline) --- Music - Historiography. --- Music - France - 17th century - History and criticism. --- Music - France - 18th century - History and criticism. --- histoire --- théorie --- musique --- misque --- medieval --- civilisation
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What does it mean to think of Western Art music - and the Austro-German contribution to that repertory - as a tradition? How are men and masculinities implicated in the shaping of that tradition? And how is the writing of the history (or histories) of that tradition shaped by men and masculinities? This book seeks to answer these and other questions.
Music --- Masculinity in music. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- History and criticism. --- Masculinity in music --- Psychoanalysis and music --- Music and philosophy --- History and criticism --- History --- Historiography --- Music - Europe, German-speaking - 19th century - History and criticism --- Music - Europe, German-speaking - 20th century - History and criticism --- Psychoanalysis and music - History - 20th century --- Music and philosophy - History - 20th century --- Music - Historiography
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