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.
{"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}
When the gramophone was invented at the end of the 19th century, it was mainly a scientific and technical curiosity for which many uses were envisaged. Its definition as a medium for music was a progressive and collective process : it involved as many agents as music lovers, professional musicians, music critics and engineers. Their converging practices and discourses contributed to the invention of new objects, sounds, forms of music and situations of listening. In this very process, not only a new medium, but also a new musical culture (or disposition towards music) were formed. The A. analyses some specific aspects of this evolution : She focuses on the 1920s and 1930s, a period of rapid change in which the record industry dramatically grew and amateur practices were particularly dynamic, in the form of periodicals and gramophone societies. Concentrating on the situation in Great Britain, a country which was particularly active and precocious in this process, the A. discusses the role of these various forms of sociability in shaping the use of the new medium together with a new relationship to music. This evolution can be depicted as the development of an aural way of listening to music resulting in the birth of a new listener.
{"title":"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","authors":"Sophie Maisonneuve","doi":"10.2307/947471","DOIUrl":"https://doi.org/10.2307/947471","url":null,"abstract":"When the gramophone was invented at the end of the 19th century, it was mainly a scientific and technical curiosity for which many uses were envisaged. Its definition as a medium for music was a progressive and collective process : it involved as many agents as music lovers, professional musicians, music critics and engineers. Their converging practices and discourses contributed to the invention of new objects, sounds, forms of music and situations of listening. In this very process, not only a new medium, but also a new musical culture (or disposition towards music) were formed. The A. analyses some specific aspects of this evolution : She focuses on the 1920s and 1930s, a period of rapid change in which the record industry dramatically grew and amateur practices were particularly dynamic, in the form of periodicals and gramophone societies. Concentrating on the situation in Great Britain, a country which was particularly active and precocious in this process, the A. discusses the role of these various forms of sociability in shaping the use of the new medium together with a new relationship to music. This evolution can be depicted as the development of an aural way of listening to music resulting in the birth of a new listener.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"43-66"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947471","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227673","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}
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.
{"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}
Marie-Noël Colette, Giacomo Baroffio, M. Sodi, Eun Ju Kim
{"title":"Graduale de Tempore iuxta ritum Sacrosanctae Romanae Ecclesiae","authors":"Marie-Noël Colette, Giacomo Baroffio, M. Sodi, Eun Ju Kim","doi":"10.2307/947227","DOIUrl":"https://doi.org/10.2307/947227","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"438"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947227","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225474","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}
F. Liszt, Agnes Street-Klindworth, Pauline Pocknell
Represents the first publication of the complete text of the extant correspondence between Franz Liszt and Agnes Street-Klindworth, in English translation and in its original French. There are 159 letters from Liszt, and one from Agnes. There are also two hitherto unpublished notes, from Georg von K
{"title":"Franz Liszt and Agnes Street-Klindworth. A Correspondance, 1854-1886","authors":"F. Liszt, Agnes Street-Klindworth, Pauline Pocknell","doi":"10.2307/947485","DOIUrl":"https://doi.org/10.2307/947485","url":null,"abstract":"Represents the first publication of the complete text of the extant correspondence between Franz Liszt and Agnes Street-Klindworth, in English translation and in its original French. There are 159 letters from Liszt, and one from Agnes. There are also two hitherto unpublished notes, from Georg von K","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"223"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947485","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227294","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":"Musiques/Pratiques: Musique et sciences sociales","authors":"A. Hennion","doi":"10.2307/947469","DOIUrl":"https://doi.org/10.2307/947469","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"5"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947469","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227652","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":"Correspondance Franz Liszt -- Marie d'Agoult","authors":"P. Prévost, S. Gut, Jacqueline Bellas","doi":"10.2307/947486","DOIUrl":"https://doi.org/10.2307/947486","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"226"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947486","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227304","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":"Les Debuts du theatre musical d'avant-garde en Italie. Berio, Evangelisti, Maderna","authors":"Makis Solomos, G. Ferrari","doi":"10.2307/947490","DOIUrl":"https://doi.org/10.2307/947490","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"240"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947490","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227350","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":"Musik, Wissenschaft und ihre Vermittlung : Bericht über die internationale musikwissenschaftliche Tagung der Hochschule für Musik und Theater Hannover, 26.-29. September 2001","authors":"Arnfried Edler, Sabine Meine","doi":"10.2307/947225","DOIUrl":"https://doi.org/10.2307/947225","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"433"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947225","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225468","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：