{"title":"Georges Bizet : naissance d'une identité créatrice","authors":"Joël-Marie Fauquet, H. Lacombe","doi":"10.2307/947118","DOIUrl":"https://doi.org/10.2307/947118","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"87 1","pages":"498"},"PeriodicalIF":0.3,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947118","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225028","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}
{"title":"Ecrits sur la musique","authors":"Gilles Dulong, Jean de Murs, C. Meyer","doi":"10.2307/947114","DOIUrl":"https://doi.org/10.2307/947114","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"87 1","pages":"487"},"PeriodicalIF":0.3,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947114","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225014","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}
{"title":"\"Un theatre francais, tout a fait francais\". ou un debat fin-de-siecle sur l'Opera-Comique","authors":"Philippe Blay","doi":"10.2307/946943","DOIUrl":"https://doi.org/10.2307/946943","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"87 1","pages":"105"},"PeriodicalIF":0.3,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/946943","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69220822","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}
Several authors have pointed to a French-inspired style in a few compositions by English composers of the 1670s, particularly those of Matthew Locke and John Roberts. However, close inspection yields the possibility thatthe influence is not from France but from Johann Jakob Froberger, whose style made a significant impact on the clavecinistes and who also visited England during the midseventeenth century. This article will examine the likelihood that stylistic changes in the English repertory may have resulted from Froberger, rather than a contact with French music and/or musicians.
一些作者指出，在17世纪70年代的一些英国作曲家的作品中，尤其是马修·洛克和约翰·罗伯茨的作品中，有一种法国风格的灵感。然而，仔细观察就会发现，这种影响可能不是来自法国，而是来自约翰·雅各布·弗罗伯格(Johann Jakob Froberger)，他的风格对古钢琴演奏者产生了重大影响，他也在17世纪中叶访问了英国。本文将探讨英国剧目的风格变化可能是由弗罗伯格造成的，而不是与法国音乐和/或音乐家的接触。
{"title":"Des préludes « non mesurés » en Angleterre ?","authors":"Charles James Nice Bailey","doi":"10.2307/947108","DOIUrl":"https://doi.org/10.2307/947108","url":null,"abstract":"Several authors have pointed to a French-inspired style in a few compositions by English composers of the 1670s, particularly those of Matthew Locke and John Roberts. However, close inspection yields the possibility thatthe influence is not from France but from Johann Jakob Froberger, whose style made a significant impact on the clavecinistes and who also visited England during the midseventeenth century. This article will examine the likelihood that stylistic changes in the English repertory may have resulted from Froberger, rather than a contact with French music and/or musicians.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"87 1","pages":"289-305"},"PeriodicalIF":0.3,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947108","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69224960","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}
Depuis la parution de l'article clef de Howard Mayer Brown, « Emulation, Competition and Homage: Imitation and Theories of Imitation in the Renaissance », la notion d'imitation rhetorique a joue un role considerable dans l'explication des strategies compositionnelles de la Renaissance. Cependant, l'introduction de ce terme avant tout litteraire dans l'histoire de la musique a pose tant de problemes aux yeux des commentateurs les plus recents que ces derniers ont parfois nie son utilite, voire sa pertinence. Apres avoir examine ces critiques, nous avons tente d'etablir que l'imitatio peut etre retenu comme concept operatoire pour comprendre la musique de cette epoque a condition que l'on tienne compte des acceptions de ce terme, des objectifs et des fonctions de l'imitation, enfin des differents niveaux auxquelles elle est susceptible de s'exercer. Les nombreuses messes sur le timbre de « L'homme arme » composees durant plus d'un siecle illustrent precisement le concept d'imitation « eristique », a savoir celui d'une imitatio soutenue par le desir d'atteindre la renommee et la fortune en surpassant ses maitres. Cette pensee humaniste est a l'oeuvre dans les liens qui unissent les premiers compositeurs de ces messes ainsi qu'en temoignent les strategies developpees par les uns ou les autres pour surpasser leurs predecesseurs. Le processus atteint son point culminant avec la messe de « L'homme arme » de Josquin. Le reve de Josquin d'atteindre d'une gloire posthume s'est accompli : il devint la figure centrale a partir de laquelle la tradition « L'homme arme » rayonna tout au long du XVI e siecle. La predominance de Josquin sur la generation suivante est due en grande partie au succes du defi lance par « L'homme arme ».
{"title":"\"Nam erit haec quoque laus eorum\": Imitation, Competition and the \"L'homme arme\" Tradition","authors":"D. Burn","doi":"10.2307/947107","DOIUrl":"https://doi.org/10.2307/947107","url":null,"abstract":"Depuis la parution de l'article clef de Howard Mayer Brown, « Emulation, Competition and Homage: Imitation and Theories of Imitation in the Renaissance », la notion d'imitation rhetorique a joue un role considerable dans l'explication des strategies compositionnelles de la Renaissance. Cependant, l'introduction de ce terme avant tout litteraire dans l'histoire de la musique a pose tant de problemes aux yeux des commentateurs les plus recents que ces derniers ont parfois nie son utilite, voire sa pertinence. Apres avoir examine ces critiques, nous avons tente d'etablir que l'imitatio peut etre retenu comme concept operatoire pour comprendre la musique de cette epoque a condition que l'on tienne compte des acceptions de ce terme, des objectifs et des fonctions de l'imitation, enfin des differents niveaux auxquelles elle est susceptible de s'exercer. Les nombreuses messes sur le timbre de « L'homme arme » composees durant plus d'un siecle illustrent precisement le concept d'imitation « eristique », a savoir celui d'une imitatio soutenue par le desir d'atteindre la renommee et la fortune en surpassant ses maitres. Cette pensee humaniste est a l'oeuvre dans les liens qui unissent les premiers compositeurs de ces messes ainsi qu'en temoignent les strategies developpees par les uns ou les autres pour surpasser leurs predecesseurs. Le processus atteint son point culminant avec la messe de « L'homme arme » de Josquin. Le reve de Josquin d'atteindre d'une gloire posthume s'est accompli : il devint la figure centrale a partir de laquelle la tradition « L'homme arme » rayonna tout au long du XVI e siecle. La predominance de Josquin sur la generation suivante est due en grande partie au succes du defi lance par « L'homme arme ».","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"87 1","pages":"249-287"},"PeriodicalIF":0.3,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69224957","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}
{"title":"Nobles, musique et musiciens a Paris a la fin de l'Ancien Regime: Les transformations d'un patronage seculaire (1760-1780)","authors":"D. Hennebelle","doi":"10.2307/947111","DOIUrl":"https://doi.org/10.2307/947111","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"87 1","pages":"395"},"PeriodicalIF":0.3,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947111","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225004","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}
Since the very day of its creation, Werther has been considered as a wagnerian work. This judgement, still prevailing today, is based on musical parameters (generic title, recurring themes or motives, absence of choir, continuous scenes) but also on the hardly known set of themes which recalls the wagnerian thematic guides that Massenet used twice. Nevertheless, Massenet's thematic art, founded on three categories of motives that he exploits in many ways, remains quite unique, reflecting a fundamental composing principle: the musical language must be adapted itself to the topic and its time frame. As a matter of fact, the structure of Werther is inspired by Mehul's opera-comique, in which recurring themes already played an important part, whilst the tones associated to the characters refer to the German romantic theorists of Goethe's times (Hand, Schilling) who associated tones with personality features. The generic title of the opera (« drame lyrique ») hence refers not to Wagner, but to the 18th century, particularly in fashion during the Troisieme Republique first period. But Massenet does not confine himself to the limits of these models. Werther also contains references to the Italian dramatic art, which inspired him for the closed vocal forms (aria or duett) and in his assigning a dominating part to the second interval like Verdi in Macbeth. Very common in France, this synthesis of different construction principles follow Victor Cousin's philosophical doctrine -Eclecticism - a search for Truth in different thinking systems, which had a long lasting influence in the 19th century. When Massenet confesses to be seeking a « fusion harmonique » of the Italian and German systems, the composer makes this philosophy his own: consequently, despite its obvious German references, Werther cannot be considered as a wagnerian work and must be viewed as a mirror of the esthetics prevailing in France until the 1880's.
{"title":"Werther de Jules Massenet: un \"drame lyrique\" francais ou germanique? Sources et analyse des motifs recurrents","authors":"Jean-Christophe Branger","doi":"10.2307/947112","DOIUrl":"https://doi.org/10.2307/947112","url":null,"abstract":"Since the very day of its creation, Werther has been considered as a wagnerian work. This judgement, still prevailing today, is based on musical parameters (generic title, recurring themes or motives, absence of choir, continuous scenes) but also on the hardly known set of themes which recalls the wagnerian thematic guides that Massenet used twice. Nevertheless, Massenet's thematic art, founded on three categories of motives that he exploits in many ways, remains quite unique, reflecting a fundamental composing principle: the musical language must be adapted itself to the topic and its time frame. As a matter of fact, the structure of Werther is inspired by Mehul's opera-comique, in which recurring themes already played an important part, whilst the tones associated to the characters refer to the German romantic theorists of Goethe's times (Hand, Schilling) who associated tones with personality features. The generic title of the opera (« drame lyrique ») hence refers not to Wagner, but to the 18th century, particularly in fashion during the Troisieme Republique first period. But Massenet does not confine himself to the limits of these models. Werther also contains references to the Italian dramatic art, which inspired him for the closed vocal forms (aria or duett) and in his assigning a dominating part to the second interval like Verdi in Macbeth. Very common in France, this synthesis of different construction principles follow Victor Cousin's philosophical doctrine -Eclecticism - a search for Truth in different thinking systems, which had a long lasting influence in the 19th century. When Massenet confesses to be seeking a « fusion harmonique » of the Italian and German systems, the composer makes this philosophy his own: consequently, despite its obvious German references, Werther cannot be considered as a wagnerian work and must be viewed as a mirror of the esthetics prevailing in France until the 1880's.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"405 1","pages":"419-483"},"PeriodicalIF":0.3,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947112","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225007","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}
Serge Gut, F. Liszt, L. Martos, I. Sulyok, Adrienne Kaczmarczyk
{"title":"Freie Bearbeitungen-Free Arrangements, Vol. 3","authors":"Serge Gut, F. Liszt, L. Martos, I. Sulyok, Adrienne Kaczmarczyk","doi":"10.2307/947297","DOIUrl":"https://doi.org/10.2307/947297","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"86 1","pages":"166"},"PeriodicalIF":0.3,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947297","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225291","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}
{"title":"L'édition musicale bruxelloise au XVIIIe siècle dans ses rapports avec la France","authors":"M. Cornaz","doi":"10.2307/947404","DOIUrl":"https://doi.org/10.2307/947404","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"54 1","pages":"289-300"},"PeriodicalIF":0.3,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947404","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225885","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}
{"title":"Organisation et mutation des pratiques musicales au XIXe siecle. Ecole des Hautes Etudes en Sciences Sociales","authors":"Laure Schnapper, Michael Werner","doi":"10.2307/947408","DOIUrl":"https://doi.org/10.2307/947408","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"86 1","pages":"344"},"PeriodicalIF":0.3,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947408","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69226936","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}
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