{"title":"Quellen und Studien zur Musiktheorie des Mittelalters III","authors":"Severine Grassin, M. Bernhard","doi":"10.2307/947226","DOIUrl":"https://doi.org/10.2307/947226","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"435"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947226","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225472","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":"Sinnlichkeit und Vernunft in der mittelalterlichen Musiktheorie : Strategien der Konsonanzwertung und der Gegenstand der musica sonora um 1300","authors":"F. Hentschel","doi":"10.2307/947228","DOIUrl":"https://doi.org/10.2307/947228","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"439"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947228","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225519","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":"La musique modale en France de Berlioz à Debussy","authors":"S. Gut, H. Gonnard","doi":"10.2307/947489","DOIUrl":"https://doi.org/10.2307/947489","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"238"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947489","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227336","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}
Jean-Paul Montagnier, L. V. Beethoven, Petra Weber-Bockholdt
{"title":"Schottische und Walisische Lieder. Beethoven Werke, Abteilung XI, Band 1","authors":"Jean-Paul Montagnier, L. V. Beethoven, Petra Weber-Bockholdt","doi":"10.2307/947493","DOIUrl":"https://doi.org/10.2307/947493","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"244"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947493","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227360","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}
The young Basque composer Juan Crisostomo de Arriaga had only one work published during his lifetime: a Three String Quartets anthology (Paris, 1824). Then he died in Paris aged twenty in 1826. First studies are due to Spanish amateur investigators - Arriaga's family descendants - at a time (1880-1920) when Spain goes through an identity crisis, and draw the nationalist portrait of an extraordinary gifted young composer destined for a great fame. Next studies, mostly American, compile those first Spanish ones without any critical point of view. But all these studies are based upon a single biographical note published in the Biographie universelle des musiciens (1835) by Arriaga's own counterpoint and fugue teacher Francois-Joseph Fetis. A comparison between that note and the Paris Conservatoire archives shows that Fetis omitted some facts (as Arriaga's real age or his failure in the competition for the prize) and exaggerated some others (such as Arriaga's gifts as a violinist). Arriaga's career in the Paris Conservatoire - when Cherubini was reducing the number of students and when politicians prevented foreigners from registering - demonstrates that Director Cherubini gave Arriaga the benefit of his support so as to promote his own aesthetical classical views as opposed to Reicha's romantic ones.
年轻的巴斯克作曲家Juan Crisostomo de Arriaga一生中只出版了一部作品:《三弦乐四重奏选集》(巴黎，1824年)。1826年，20岁的他在巴黎去世。最早的研究是由西班牙业余调查者——阿里亚加的家族后裔——在西班牙经历身份危机的时候(1880-1920)进行的，并描绘了一个注定要名声大噪的非凡天才年轻作曲家的民族主义肖像。接下来的研究，主要是美国人，在没有任何批判观点的情况下汇编了那些最初的西班牙语研究。但所有这些研究都是基于阿里加自己的对位和赋格老师弗朗索瓦-约瑟夫·费蒂斯在1835年出版的《世界音乐家传记》(Biographie universselle des musiciens)中发表的一篇传记笔记。将该笔记与巴黎音乐学院的档案进行比较后发现，费蒂斯省略了一些事实(如阿里加的真实年龄或他在获奖竞争中的失败)，并夸大了其他一些事实(如阿里加作为小提琴家的天赋)。Arriaga在巴黎音乐学院的职业生涯——当时Cherubini正在减少学生人数，政客们阻止外国人注册——表明Cherubini主任给予Arriaga支持的好处，以促进他自己的美学古典观点，而不是Reicha的浪漫主义观点。
{"title":"Juan Crisóstomo de Arriaga selon Fétis : la construction d'un mythe","authors":"Thierry Grandemange","doi":"10.2307/947222","DOIUrl":"https://doi.org/10.2307/947222","url":null,"abstract":"The young Basque composer Juan Crisostomo de Arriaga had only one work published during his lifetime: a Three String Quartets anthology (Paris, 1824). Then he died in Paris aged twenty in 1826. First studies are due to Spanish amateur investigators - Arriaga's family descendants - at a time (1880-1920) when Spain goes through an identity crisis, and draw the nationalist portrait of an extraordinary gifted young composer destined for a great fame. Next studies, mostly American, compile those first Spanish ones without any critical point of view. But all these studies are based upon a single biographical note published in the Biographie universelle des musiciens (1835) by Arriaga's own counterpoint and fugue teacher Francois-Joseph Fetis. A comparison between that note and the Paris Conservatoire archives shows that Fetis omitted some facts (as Arriaga's real age or his failure in the competition for the prize) and exaggerated some others (such as Arriaga's gifts as a violinist). Arriaga's career in the Paris Conservatoire - when Cherubini was reducing the number of students and when politicians prevented foreigners from registering - demonstrates that Director Cherubini gave Arriaga the benefit of his support so as to promote his own aesthetical classical views as opposed to Reicha's romantic ones.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"327-360"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947222","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225452","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'art de bien chanter : Michel Lambert (1610-1696)","authors":"H. Schneider, Catherine Massip","doi":"10.2307/947481","DOIUrl":"https://doi.org/10.2307/947481","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"210"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947481","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227259","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}
The Kinderszenen is the first significant piece of instrumental music inspired by impressions of childhood. Why did Schumann devote an entire cycle to this subject ? What gave the decisive impulse to the composition ? It is well known that memories of the young Clara Wieck (whom Robert first met at the age of nine) played a part in it. The autobiographical aspect is just one side of the question. The other one is, once more, literature and poetry. An examination of the readings, diaries, fictional and critical writings of Schumann in the decade preceeding the composition of the Kinderszenen (1828-1838) reveals his constant interest in the romantic cult of childhood. Through Jean Paul, Hoffmann or Thibaut, the composer built a symbolic conception of childhood which defined quite exactely his ideal of poetic music : depth at the heart of simplicity. These two aspects of the genesis (in a larger sense) of the Kinderszenen are intimately connected. Firstly because Schumann projected literary images on the Wunderkind who seemed to be the incarnation of a romantic ideal. Secondly because Clara possessed the purity which, in the aesthetics of Hoffmann, was a moral a priori for every great creation. Schumann felt unworthy of her and aimed to return with her help to the lost paradise of innocence.
{"title":"Les Kinderszenen op. 15 de Schumann : Composantes littéraires et biographiques d'une genèse","authors":"G. Starobinski","doi":"10.2307/947223","DOIUrl":"https://doi.org/10.2307/947223","url":null,"abstract":"The Kinderszenen is the first significant piece of instrumental music inspired by impressions of childhood. Why did Schumann devote an entire cycle to this subject ? What gave the decisive impulse to the composition ? It is well known that memories of the young Clara Wieck (whom Robert first met at the age of nine) played a part in it. The autobiographical aspect is just one side of the question. The other one is, once more, literature and poetry. An examination of the readings, diaries, fictional and critical writings of Schumann in the decade preceeding the composition of the Kinderszenen (1828-1838) reveals his constant interest in the romantic cult of childhood. Through Jean Paul, Hoffmann or Thibaut, the composer built a symbolic conception of childhood which defined quite exactely his ideal of poetic music : depth at the heart of simplicity. These two aspects of the genesis (in a larger sense) of the Kinderszenen are intimately connected. Firstly because Schumann projected literary images on the Wunderkind who seemed to be the incarnation of a romantic ideal. Secondly because Clara possessed the purity which, in the aesthetics of Hoffmann, was a moral a priori for every great creation. Schumann felt unworthy of her and aimed to return with her help to the lost paradise of innocence.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"361-388"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947223","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225459","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}
The presence of Spanish troupes in Paris remains a field still under researched. Between 1847 and 1857, the Spanish musical art had a significant place in Parisian cultural life, and contributed to create an imaginary Hispanic view from which composers drew ideas, impressions, sensibilities as well as sound forms. A chronology of the Spanish troupes' performances is established, and the dance, which was the chief attraction of their shows, is particularly examined, since the Hispanic musical components seem to be fundamentally linked to its symbolic and physical energy.
{"title":"L'Espagne à Paris au milieu du XIXe siècle (1847-1857) : L'influence d'artistes espagnols sur l'imaginaire parisien et la construction d'une hispanicité","authors":"H. Lacombe","doi":"10.2307/947224","DOIUrl":"https://doi.org/10.2307/947224","url":null,"abstract":"The presence of Spanish troupes in Paris remains a field still under researched. Between 1847 and 1857, the Spanish musical art had a significant place in Parisian cultural life, and contributed to create an imaginary Hispanic view from which composers drew ideas, impressions, sensibilities as well as sound forms. A chronology of the Spanish troupes' performances is established, and the dance, which was the chief attraction of their shows, is particularly examined, since the Hispanic musical components seem to be fundamentally linked to its symbolic and physical energy.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"389-431"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947224","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225465","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'ecoute a la question","authors":"Antoine Hennion","doi":"10.2307/947473","DOIUrl":"https://doi.org/10.2307/947473","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"95"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947473","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227199","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 salon de la Nouvelle-Athenes en 1839-1840: L'album musical inconnu de Juliette Zimmerman","authors":"Constance Himelfarb","doi":"10.2307/946941","DOIUrl":"https://doi.org/10.2307/946941","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"87 1","pages":"33"},"PeriodicalIF":0.3,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/946941","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69220801","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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