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1 study score (79 pages) ; 24 cm.
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1 study score (82 pages) ; 24 cm.
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1 videodisc : digital ; 4 3/4 in.
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653 p., [8] p. of plates : col. ill. ; 23 cm
  • La question du modèle -- Mythes -- Apollon "Pothos" -- Un Ganymède aquatique -- Hyacinthe changé en fleur -- Deux images de Narcisse -- Intermèdescomiques -- Médée et les garçons -- Florence, capitale de la, culture gay -- Double Italie -- Mariage pour tous ? -- Bouteilles à la mer -- L'errance du chevalier (à propos du Don Quichotte de Cervantès) -- Les masques du séducteur (sur Don Juan) -- Rembrandt aux yeux hagards -- Jeremy Bentham, prophète désarmé -- Le secret d'Octave (à propos d'Armance de Stendhal) -- "Je respire par sa bouche" (sur Vautrin) -- Il lacerato spirito (sur Giuseppe Verdi) -- L'ange de la destruction (sur Stevenson) -- La persécution de l'Innocent (à propos de Billy Budd de Melville) -- Langueurs, affrontements, fusions (sur plusieurs livres de Joseph Conrad) -- Sous l'oeil de la police (à propos de Tonio Krüger de Thomas Mann) -- Phares -- Un signe fort de tolérance : Théophile Gautier -- Une capitulation de Zola -- Une stratégie d'autodestruction : Oscar Wilde -- Les débuts du roman gay en France -- Amitiés particulières (Paul Bourget, Roger Peyrefitte, Montherlant, Martin du Gard) -- Les canailles sublimées : Georges Eekhoud -- L'école des garçons : André Gide et Marc Allégret -- Les homophobes contre-attaquent -- Le sexe surnaturel de la beauté (à propos du Livre blanc de Jean Cocteau) -- La honte du colonel (sur Roger Martin du Gard) -- Une élégance désespérée (Pierre Herbart) -- Une aristocratie morale (François Augiéras) -- Un clairon populaire (Jean-Louis Bory) -- Un bréviaire optimiste : Marcel Jouhandeau -- Une occasion manquée : Maurice, d'Edward Morgan Forster -- Le lys et la rose : Federico Garda Lorca -- La gloire du violoniste (à propos d'Umberto Saba) -- De l'ombre à la lumière (Giorgio Bassani, Sandro Penna, Tony Duvert) -- Agressif par culpabilité (Pier Paolo Pasolini) -- Cérémonies secrètes (à propos des Amours interdites de Yukio Mishima) -- Le garçon du fleuve (à propos de Diadorim de Joâo Guimarâes Rosa) -- Du nouveau chez les détectives : Joseph Hansen -- De diverses manières d'être gay aujourd'hui selon les pays, les moeurs, les religions -- France, 1953 : Roger Stéphane -- Pologne, 1982 : Marian Pankowski -- Angleterre, 1964 : Christopher Isherwood -- Cuba, 1966: Lezama Lima et Arenas -- Etats-Unis, 1999 : Annie Proulx -- Russie, 2000 : Ludmila Oulitskaïa -- Mexique, 2006 : Carlos Fuentes -- Égypte, 2006 : Mohamed Leftah -- De tous les pays, de tous les temps -- Pour faire le tour du monde à toutes les époques -- Promenades -- La mélancolie homosexuelle -- Le Jardin de Jabel : Promenade aux Tuileries -- Coercitions, dissuasions, échappatoires -- La Bibliothèque gay idéale.
"Tant par l'ampleur de son érudition que par la diversité des champs intellectuels (philosophie, psychanalyse, psychiatrie), artistiques (littérature, théâtre, opéra, peinture...), historiques (de la mythologie grecque à nos jours) et géographiques (Europe, Amérique, Asie...) parcourus, défrichés, analysés, ce livre explore un thème qui traverse plus ou moins explicitement la culture mondiale. L'inclination personnelle de l'artiste n'est pas ici le sujet : c'est l'homosexualité dans l'oeuvre qui passionne Dominique Fernandez. Car selon qu'elle peut se dire ou doit se travestir, que l'artiste se condamne au cryptage ou s'autorise l'affichage, l'homosexualité devient le marqueur d'une manière d'histoire culturelle des moeurs. Après une introduction qui dénonce la responsabilité de Freud et des psychiatres dans le renforcement de l'homophobie, une première partie revisite les mythes antiques (Apollon, Ganymède, Hyacinthe, Narcisse, Médée...) ; une deuxième examine la face cachée d'oeuvres (Armante, Billy Budd, Tonio Kffiger), d'artistes (Rembrandt, Verdi, Stevenson, Conrad) ou de personnages (Don Quichotte, Don Juan, Vautrin...) ; une troisième présente les "phares" de la cause homosexuelle, de Théophile Gautier à Mishima, et les diverses manières d'être gay aujourd'hui, selon les pays, les moeurs, les religions. Un monument d'hommage à la création, où se succèdent analyses textuelles et perspectives transversales, plongées dans les oeuvres et panoramas sur des sujets universels."--P. [4] of cover.
  • La question du modèle -- Mythes -- Apollon "Pothos" -- Un Ganymède aquatique -- Hyacinthe changé en fleur -- Deux images de Narcisse -- Intermèdescomiques -- Médée et les garçons -- Florence, capitale de la, culture gay -- Double Italie -- Mariage pour tous ? -- Bouteilles à la mer -- L'errance du chevalier (à propos du Don Quichotte de Cervantès) -- Les masques du séducteur (sur Don Juan) -- Rembrandt aux yeux hagards -- Jeremy Bentham, prophète désarmé -- Le secret d'Octave (à propos d'Armance de Stendhal) -- "Je respire par sa bouche" (sur Vautrin) -- Il lacerato spirito (sur Giuseppe Verdi) -- L'ange de la destruction (sur Stevenson) -- La persécution de l'Innocent (à propos de Billy Budd de Melville) -- Langueurs, affrontements, fusions (sur plusieurs livres de Joseph Conrad) -- Sous l'oeil de la police (à propos de Tonio Krüger de Thomas Mann) -- Phares -- Un signe fort de tolérance : Théophile Gautier -- Une capitulation de Zola -- Une stratégie d'autodestruction : Oscar Wilde -- Les débuts du roman gay en France -- Amitiés particulières (Paul Bourget, Roger Peyrefitte, Montherlant, Martin du Gard) -- Les canailles sublimées : Georges Eekhoud -- L'école des garçons : André Gide et Marc Allégret -- Les homophobes contre-attaquent -- Le sexe surnaturel de la beauté (à propos du Livre blanc de Jean Cocteau) -- La honte du colonel (sur Roger Martin du Gard) -- Une élégance désespérée (Pierre Herbart) -- Une aristocratie morale (François Augiéras) -- Un clairon populaire (Jean-Louis Bory) -- Un bréviaire optimiste : Marcel Jouhandeau -- Une occasion manquée : Maurice, d'Edward Morgan Forster -- Le lys et la rose : Federico Garda Lorca -- La gloire du violoniste (à propos d'Umberto Saba) -- De l'ombre à la lumière (Giorgio Bassani, Sandro Penna, Tony Duvert) -- Agressif par culpabilité (Pier Paolo Pasolini) -- Cérémonies secrètes (à propos des Amours interdites de Yukio Mishima) -- Le garçon du fleuve (à propos de Diadorim de Joâo Guimarâes Rosa) -- Du nouveau chez les détectives : Joseph Hansen -- De diverses manières d'être gay aujourd'hui selon les pays, les moeurs, les religions -- France, 1953 : Roger Stéphane -- Pologne, 1982 : Marian Pankowski -- Angleterre, 1964 : Christopher Isherwood -- Cuba, 1966: Lezama Lima et Arenas -- Etats-Unis, 1999 : Annie Proulx -- Russie, 2000 : Ludmila Oulitskaïa -- Mexique, 2006 : Carlos Fuentes -- Égypte, 2006 : Mohamed Leftah -- De tous les pays, de tous les temps -- Pour faire le tour du monde à toutes les époques -- Promenades -- La mélancolie homosexuelle -- Le Jardin de Jabel : Promenade aux Tuileries -- Coercitions, dissuasions, échappatoires -- La Bibliothèque gay idéale.
"Tant par l'ampleur de son érudition que par la diversité des champs intellectuels (philosophie, psychanalyse, psychiatrie), artistiques (littérature, théâtre, opéra, peinture...), historiques (de la mythologie grecque à nos jours) et géographiques (Europe, Amérique, Asie...) parcourus, défrichés, analysés, ce livre explore un thème qui traverse plus ou moins explicitement la culture mondiale. L'inclination personnelle de l'artiste n'est pas ici le sujet : c'est l'homosexualité dans l'oeuvre qui passionne Dominique Fernandez. Car selon qu'elle peut se dire ou doit se travestir, que l'artiste se condamne au cryptage ou s'autorise l'affichage, l'homosexualité devient le marqueur d'une manière d'histoire culturelle des moeurs. Après une introduction qui dénonce la responsabilité de Freud et des psychiatres dans le renforcement de l'homophobie, une première partie revisite les mythes antiques (Apollon, Ganymède, Hyacinthe, Narcisse, Médée...) ; une deuxième examine la face cachée d'oeuvres (Armante, Billy Budd, Tonio Kffiger), d'artistes (Rembrandt, Verdi, Stevenson, Conrad) ou de personnages (Don Quichotte, Don Juan, Vautrin...) ; une troisième présente les "phares" de la cause homosexuelle, de Théophile Gautier à Mishima, et les diverses manières d'être gay aujourd'hui, selon les pays, les moeurs, les religions. Un monument d'hommage à la création, où se succèdent analyses textuelles et perspectives transversales, plongées dans les oeuvres et panoramas sur des sujets universels."--P. [4] of cover.
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
PN56 .H57 F47 2015 Unknown
Book
xxxv, 257 pages : illustrations ; 24 cm
  • Dedication Transliteration and Translation Notes Acknowledgments Contents List of Photographs and Tables Introduction Chapter 1: Ideological Goodwill: American and Soviet Cultural Exchange Plans Chapter 2: Restricted Repertoire: Planning for the Bolshoi's 1959 Tour Chapter 3: The Class Struggle and Shakespeare: The Soviets' Interpretation of Romeo and Juliet Chapter 4: Imperial Communism: The Soviets' Reinterpretation of P. I. Tchaikovsky's Swan Lake Chapter 5: Preserving and Elevating the Classics: Giselle Chapter 6: State Approved Innovations: The Stone Flower Chapter 7: Soviet Highlights: The Very Eclectic Soviet Artistic Scene Chapter 8: Tempered Success: Ballet's Role in the Cold War Conclusion Bibliography Index.
  • (source: Nielsen Book Data)
American-Soviet Cultural Diplomacy: The Bolshoi Ballet's American Premiere is the first full-length examination of a Soviet cultural diplomatic effort. Following the signing of an American-Soviet cultural exchange agreement in the late 1950s, Soviet officials resolved to utilize the Bolshoi Ballet's planned 1959 American tour to awe audiences with Soviet choreographers' great accomplishments and Soviet performers' superb abilities. Relying on extensive research, Cadra Peterson McDaniel examines whether the objectives behind Soviet cultural exchange and the specific aims of the Bolshoi Ballet's 1959 American tour provided evidence of a thaw in American-Soviet relations. Interwoven throughout this study is an examination of the Soviets' competing efforts to create ballets encapsulating Communist ideas while simultaneously reinterpreting pre-revolutionary ballets so that these works were ideologically acceptable. McDaniel investigates the rationale behind the creation of the Bolshoi's repertoire and the Soviet leadership's objectives and interpretation of the tour's success as well as American response to the tour. The repertoire included the four ballets, Romeo and Juliet, Swan Lake, Giselle, and The Stone Flower, and two Highlights Programs, which included excerpts from various pre- and post-revolutionary ballets, operas, and dance suites. How the Americans and the Soviets understood the Bolshoi's success provides insight into how each side conceptualized the role of the arts in society and in political transformation. American-Soviet Cultural Diplomacy: The Bolshoi Ballet's American Premiere demonstrates the ballet's role in Soviet foreign policy, a shift to "artful warfare, " and thus emphasizes the significance of studying cultural exchange as a key aspect of Soviet foreign policy and analyzes the continued importance of the arts in twenty-first century Russian politics.
(source: Nielsen Book Data)
  • Dedication Transliteration and Translation Notes Acknowledgments Contents List of Photographs and Tables Introduction Chapter 1: Ideological Goodwill: American and Soviet Cultural Exchange Plans Chapter 2: Restricted Repertoire: Planning for the Bolshoi's 1959 Tour Chapter 3: The Class Struggle and Shakespeare: The Soviets' Interpretation of Romeo and Juliet Chapter 4: Imperial Communism: The Soviets' Reinterpretation of P. I. Tchaikovsky's Swan Lake Chapter 5: Preserving and Elevating the Classics: Giselle Chapter 6: State Approved Innovations: The Stone Flower Chapter 7: Soviet Highlights: The Very Eclectic Soviet Artistic Scene Chapter 8: Tempered Success: Ballet's Role in the Cold War Conclusion Bibliography Index.
  • (source: Nielsen Book Data)
American-Soviet Cultural Diplomacy: The Bolshoi Ballet's American Premiere is the first full-length examination of a Soviet cultural diplomatic effort. Following the signing of an American-Soviet cultural exchange agreement in the late 1950s, Soviet officials resolved to utilize the Bolshoi Ballet's planned 1959 American tour to awe audiences with Soviet choreographers' great accomplishments and Soviet performers' superb abilities. Relying on extensive research, Cadra Peterson McDaniel examines whether the objectives behind Soviet cultural exchange and the specific aims of the Bolshoi Ballet's 1959 American tour provided evidence of a thaw in American-Soviet relations. Interwoven throughout this study is an examination of the Soviets' competing efforts to create ballets encapsulating Communist ideas while simultaneously reinterpreting pre-revolutionary ballets so that these works were ideologically acceptable. McDaniel investigates the rationale behind the creation of the Bolshoi's repertoire and the Soviet leadership's objectives and interpretation of the tour's success as well as American response to the tour. The repertoire included the four ballets, Romeo and Juliet, Swan Lake, Giselle, and The Stone Flower, and two Highlights Programs, which included excerpts from various pre- and post-revolutionary ballets, operas, and dance suites. How the Americans and the Soviets understood the Bolshoi's success provides insight into how each side conceptualized the role of the arts in society and in political transformation. American-Soviet Cultural Diplomacy: The Bolshoi Ballet's American Premiere demonstrates the ballet's role in Soviet foreign policy, a shift to "artful warfare, " and thus emphasizes the significance of studying cultural exchange as a key aspect of Soviet foreign policy and analyzes the continued importance of the arts in twenty-first century Russian politics.
(source: Nielsen Book Data)
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
GV1786 .B64 M44 2015 Available
Book
xvi, 335 pages : illustrations ; 24 cm.
  • 1. Magic and the Supernatural: an Introduction, I. Berti and F. Carla (Ruprecht-Karls-Universitat Heidelberg, Germany, University of Exeter, UK) 2. Gods and Demons in Texts: Figures and Symbols of the Defixion Inscriptions of the Nymphaeum of Anna Perenna at Rome, J. Blansdorf (Johannes Gutenberg-Universitat Mainz, Germany) 3. Imaging Magic, Imaging Thinking: The Transmission of Greek Drama from Sophocles to Crimp, L. Hardwick (The Open University, UK) 4. Celtic Magic and Rituals in The War Lord (F. Schaffner, 1965), D. Campanile (Universita degli Studi di Pisa, Italy) 5. Witch, Sorceress, Enchantress: Magic and Women from the Ancient World to the Present Time, G. Rocca and M. Treu (IULM Milano, Italy) 6. Circe diva. The Reception of Circe in the Baroque Opera (17th Century), M. J. Castillo Pascual (Universidad de La Rioja, Spain) 7. Medea, a Greek Sorceress in Modern Opera and Ballet: from Barber to Reimann, M. Reig and J. Carruesco (Universitat de Barcelona, Spain, Universitat Rovira i Virgili, Spain) 8. Colchian Pharmaka: The Colours of Medea in 19th Century Painting in France and England, A. Grand-Clement and C. Ribeyrol (Universite de Toulouse II - Le Mirail, France, Universite Paris IV - Sorbonne, France) 9. Canidia and Erichtho, C. Walde (Johannes Gutenberg-Universitat Mainz, Germany) 10. Project(ion) Wonder Woman - Metamorphoses of a Superheroine, M. Gindhart and A. Gietzen (Johannes Gutenberg-Universitat Mainz, Germany) 11. Ancient Horrors - Cinematic Antiquity and the Undead, M. Lindner (Georg-August-Universitat Gottingen, Germany) 12. The Phoenix, the Werewolf and the Centaur. The Reception of Mythical Beasts in the Harry Potter Novels and Their Film Adaptions, D. Hofmann (Universitat zu Koln, Germany) 13. Theoi becoming Kami. Classical Mythology in the Anime World, M. G. Castello and C. Scilabra (Universita degli Studi di Torino, Italy) 14. Every Pony Has a Story: Revisions of Greco-Roman Mythology in My Little Pony: Friendship is Magic, Priscilla Hobbs (Pacifica Graduate Institute, USA) 15. The Depraved Devotion of Elagabalus. Images of the Priest-Emperor in the Visual and Performing Arts, M. Icks (Queen's University Belfast, UK) 16. Women and Religion in the Epic Films: The Fifties' Advocate for Conversion and Today's Pillar of Paganism?, A. Wieber (Westfalen-Kolleg Dortmund, Germany) List of Contributors Bibliography Index.
  • (source: Nielsen Book Data)
To what extent did mythological figures such as Circe and Medea influence the representation of the powerful 'oriental' enchantress in modern Western art? What role did the ancient gods and heroes play in the construction of the imaginary worlds of the modern fantasy genre? What is the role of undead creatures like zombies and vampires in mythological films? Looking across the millennia, from the distrust of ancient magic and oriental cults, which threatened the new-born Christian religion, to the revival and adaptation of ancient myths and religion in the arts centuries later, this book offers an original analysis of the reception of ancient magic and the supernatural, across a wide variety of different media - from comics to film, from painting to opera. Working in a variety of fields across the globe, the authors of these essays deconstruct certain scholarly traditions by proposing original interdisciplinary approaches and collaborations, showing to what extent the visual and performing arts of different periods interlink and shape cultural and social identities.
(source: Nielsen Book Data)
  • 1. Magic and the Supernatural: an Introduction, I. Berti and F. Carla (Ruprecht-Karls-Universitat Heidelberg, Germany, University of Exeter, UK) 2. Gods and Demons in Texts: Figures and Symbols of the Defixion Inscriptions of the Nymphaeum of Anna Perenna at Rome, J. Blansdorf (Johannes Gutenberg-Universitat Mainz, Germany) 3. Imaging Magic, Imaging Thinking: The Transmission of Greek Drama from Sophocles to Crimp, L. Hardwick (The Open University, UK) 4. Celtic Magic and Rituals in The War Lord (F. Schaffner, 1965), D. Campanile (Universita degli Studi di Pisa, Italy) 5. Witch, Sorceress, Enchantress: Magic and Women from the Ancient World to the Present Time, G. Rocca and M. Treu (IULM Milano, Italy) 6. Circe diva. The Reception of Circe in the Baroque Opera (17th Century), M. J. Castillo Pascual (Universidad de La Rioja, Spain) 7. Medea, a Greek Sorceress in Modern Opera and Ballet: from Barber to Reimann, M. Reig and J. Carruesco (Universitat de Barcelona, Spain, Universitat Rovira i Virgili, Spain) 8. Colchian Pharmaka: The Colours of Medea in 19th Century Painting in France and England, A. Grand-Clement and C. Ribeyrol (Universite de Toulouse II - Le Mirail, France, Universite Paris IV - Sorbonne, France) 9. Canidia and Erichtho, C. Walde (Johannes Gutenberg-Universitat Mainz, Germany) 10. Project(ion) Wonder Woman - Metamorphoses of a Superheroine, M. Gindhart and A. Gietzen (Johannes Gutenberg-Universitat Mainz, Germany) 11. Ancient Horrors - Cinematic Antiquity and the Undead, M. Lindner (Georg-August-Universitat Gottingen, Germany) 12. The Phoenix, the Werewolf and the Centaur. The Reception of Mythical Beasts in the Harry Potter Novels and Their Film Adaptions, D. Hofmann (Universitat zu Koln, Germany) 13. Theoi becoming Kami. Classical Mythology in the Anime World, M. G. Castello and C. Scilabra (Universita degli Studi di Torino, Italy) 14. Every Pony Has a Story: Revisions of Greco-Roman Mythology in My Little Pony: Friendship is Magic, Priscilla Hobbs (Pacifica Graduate Institute, USA) 15. The Depraved Devotion of Elagabalus. Images of the Priest-Emperor in the Visual and Performing Arts, M. Icks (Queen's University Belfast, UK) 16. Women and Religion in the Epic Films: The Fifties' Advocate for Conversion and Today's Pillar of Paganism?, A. Wieber (Westfalen-Kolleg Dortmund, Germany) List of Contributors Bibliography Index.
  • (source: Nielsen Book Data)
To what extent did mythological figures such as Circe and Medea influence the representation of the powerful 'oriental' enchantress in modern Western art? What role did the ancient gods and heroes play in the construction of the imaginary worlds of the modern fantasy genre? What is the role of undead creatures like zombies and vampires in mythological films? Looking across the millennia, from the distrust of ancient magic and oriental cults, which threatened the new-born Christian religion, to the revival and adaptation of ancient myths and religion in the arts centuries later, this book offers an original analysis of the reception of ancient magic and the supernatural, across a wide variety of different media - from comics to film, from painting to opera. Working in a variety of fields across the globe, the authors of these essays deconstruct certain scholarly traditions by proposing original interdisciplinary approaches and collaborations, showing to what extent the visual and performing arts of different periods interlink and shape cultural and social identities.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
N8222 .M3 A53 2015 Unknown
Book
306 pages : illustrations ; 25 cm
  • Our classicism. Narrative bodies: Rubens and history
  • Wagner as dramatist and allegorist
  • Transcendence and movie music in Mahler
  • Late modernism in film. Angelopoulos and collective narrative
  • History and elegy in Sokurov
  • Dekalog as decameron
  • Adaptation as experiment in the postmodern. Eurotrash or regieoper?
  • Altman and the national-popular, or misery and totality?
  • A global neuromancer
  • Realism and utopia in the wire
  • The clocks of Dresden
  • Counterfactual socialisms
  • Dirty little secret.
Fredric Jameson sweeps from the Renaissance to "The Wire" High modernism is now as far from us as antiquity was for the Renaissance. Such is the premise of Fredric Jameson s major new work in which modernist works, this time in painting (Rubens) and music (Wagner and Mahler), are pitted against late-modernist ones (in film) as well as a variety of postmodern experiments (from SF to "The Wire, " from Eurotrash in opera to Altman and East German literature): all of which attempt, in their different ways, to invent new forms to grasp a specific social totality. Throughout the historical periods, argues Jameson, the question of narrative persists through its multiple formal changes and metamorphoses.".
(source: Nielsen Book Data)
  • Our classicism. Narrative bodies: Rubens and history
  • Wagner as dramatist and allegorist
  • Transcendence and movie music in Mahler
  • Late modernism in film. Angelopoulos and collective narrative
  • History and elegy in Sokurov
  • Dekalog as decameron
  • Adaptation as experiment in the postmodern. Eurotrash or regieoper?
  • Altman and the national-popular, or misery and totality?
  • A global neuromancer
  • Realism and utopia in the wire
  • The clocks of Dresden
  • Counterfactual socialisms
  • Dirty little secret.
Fredric Jameson sweeps from the Renaissance to "The Wire" High modernism is now as far from us as antiquity was for the Renaissance. Such is the premise of Fredric Jameson s major new work in which modernist works, this time in painting (Rubens) and music (Wagner and Mahler), are pitted against late-modernist ones (in film) as well as a variety of postmodern experiments (from SF to "The Wire, " from Eurotrash in opera to Altman and East German literature): all of which attempt, in their different ways, to invent new forms to grasp a specific social totality. Throughout the historical periods, argues Jameson, the question of narrative persists through its multiple formal changes and metamorphoses.".
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
BH301 .M54 J36 2015 Unavailable In process Request
Book
427 p. : ill. ; 25 cm.
  • CONTENTS RUDOLF WEISS, LUDWIG SCHNAUDER, AND DIETER FUCHS Introduction NORBERT BACHLEITNER English Plays on the Austrian Lists of Banned Books between 1750 and 1848 JOHN BULL Trumpets and Drums in the Night: The 1956 Berliner Ensemble Season in London and its Aftermath SABINE COELSCH-FOISNER From Oscar Wilde's Fairy Tale "The Birthday of the Infanta" to Alexander von Zemlinsky's Tragic Opera The Dwarf DIETER FUCHS 'That is no country for young men': The Reception of Synge's and O'Casey's Plays in Vienna from 1914 to 1969 NORBERT GREINER From Text (Source) to Performance (Target): Performative Conventions and their Impact on Stage Translations BEATRIX HESSE Crossing Borders: The Example of Michael Frayn's Afterlife CHRISTOPH HOUSWITSCHKA The Political Reception of German Drama in Great Britain in the Period of the French Revolution CHRISTOPHER INNES Interchanges: From English Texts to German Productions - A Contemporary Comparison FRITZ-WILHELM NEUMANN Alan Ayckbourn's Season's Greetings in Translation: Mind the Cultural Gap MICHAEL RAAB No More Beautiful Losers: New Scottish Drama at Home and in the German-speaking Theatre BERNHARD REITZ Some Comparative Remarks Concerning British and German Theatre MARGARETE RUBIK Jane Eyre on the German Stage LUDWIG SCHNAUDER "The villainy you teach me I will execute..." Peter Zadek's Productions of Shakespeare's The Merchant of Venice and Marlowe's The Jew of Malta at Vienna's Burgtheater SUSANNE VILL Displaying Midsummer Night's Dreams RUDOLF WEISS The Return of The Silent Woman: Stefan Zweig's Ben Jonson Adaptation for Richard Strauss and Ronald Harwood's Collaboration W. E. YATES Razzle-dazzling Satire on the Move: Nestroy and English Theatre: A Tale of Cultural Transfer Notes on Contributors.
  • (source: Nielsen Book Data)
This volume makes a seminal contribution to an under-researched field at the intersection of literary and cultural criticism, comparative literature, and theatre as well as translation studies. The essays cover a wide range of texts from the eighteenth to the twenty-first century. From a broad variety of perspectives the exchange between drama and theatre of the Anglophone and the Germanophone worlds and their mutual influence are explored.
(source: Nielsen Book Data)
  • CONTENTS RUDOLF WEISS, LUDWIG SCHNAUDER, AND DIETER FUCHS Introduction NORBERT BACHLEITNER English Plays on the Austrian Lists of Banned Books between 1750 and 1848 JOHN BULL Trumpets and Drums in the Night: The 1956 Berliner Ensemble Season in London and its Aftermath SABINE COELSCH-FOISNER From Oscar Wilde's Fairy Tale "The Birthday of the Infanta" to Alexander von Zemlinsky's Tragic Opera The Dwarf DIETER FUCHS 'That is no country for young men': The Reception of Synge's and O'Casey's Plays in Vienna from 1914 to 1969 NORBERT GREINER From Text (Source) to Performance (Target): Performative Conventions and their Impact on Stage Translations BEATRIX HESSE Crossing Borders: The Example of Michael Frayn's Afterlife CHRISTOPH HOUSWITSCHKA The Political Reception of German Drama in Great Britain in the Period of the French Revolution CHRISTOPHER INNES Interchanges: From English Texts to German Productions - A Contemporary Comparison FRITZ-WILHELM NEUMANN Alan Ayckbourn's Season's Greetings in Translation: Mind the Cultural Gap MICHAEL RAAB No More Beautiful Losers: New Scottish Drama at Home and in the German-speaking Theatre BERNHARD REITZ Some Comparative Remarks Concerning British and German Theatre MARGARETE RUBIK Jane Eyre on the German Stage LUDWIG SCHNAUDER "The villainy you teach me I will execute..." Peter Zadek's Productions of Shakespeare's The Merchant of Venice and Marlowe's The Jew of Malta at Vienna's Burgtheater SUSANNE VILL Displaying Midsummer Night's Dreams RUDOLF WEISS The Return of The Silent Woman: Stefan Zweig's Ben Jonson Adaptation for Richard Strauss and Ronald Harwood's Collaboration W. E. YATES Razzle-dazzling Satire on the Move: Nestroy and English Theatre: A Tale of Cultural Transfer Notes on Contributors.
  • (source: Nielsen Book Data)
This volume makes a seminal contribution to an under-researched field at the intersection of literary and cultural criticism, comparative literature, and theatre as well as translation studies. The essays cover a wide range of texts from the eighteenth to the twenty-first century. From a broad variety of perspectives the exchange between drama and theatre of the Anglophone and the Germanophone worlds and their mutual influence are explored.
(source: Nielsen Book Data)
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
PR129 .G3 A65 2015 Available
Music score
1 score (78 pages) ; 31 cm
Music Library
Status of items at Music Library
Music Library Status
Scores
(no call number) Unavailable In process Request
Book
174 p., 32 p. of plates : ill. ; 22 cm
  • Ma modeste vie -- Paris -- Au 52 de l'avenue des Champs-Élysées -- Les Allemands -- Terechkovitch -- Les salons -- L'école des beaux-arts -- L'Opéra -- Jean-Gabriel Domergue -- Action Sauckel -- Wildenstein -- David -- André Schoeller -- Alfred Cortot -- Despiau -- Dufy -- Kees Van Dongen -- Les trois soeurs, le beurre et Picasso -- Le souvenir des Nabis -- Le voyage en Allemagne -- Après le voyage -- La tourillière -- Les Rudier -- La bonne Lucie -- Georges Maratier -- Gertrude Stein -- Place Vendôme et théâtre des Champs-Élysées -- Maillol à Banyuls -- Arno Breker à Banyuls, octobre 1943 -- Dina Vierny -- Arno Breker -- La fin.
"Werner Lange a écrit ces "mémoires" avant de se pendre. C'était un officier allemand francophile et cultivé. Les êtres qu'il évoque sont des monuments de l'histoire de l'art dont les chefs-d'oeuvre ornent les collections des plus grands musées. Mais ce sont aussi des hommes et des femmes qui collaborent avec l'occupant pour continuer à peindre, à exposer, à mieux manger tout simplement. Le caractère captivant de ces pages réside dans l'anecdotique, le quotidien, le "banal" de la vie de nos génies des arts sous l'Occupation. C'est ce côté indécent, "people" presque qui rend les souvenirs de Werner Lange si uniques. Le fait que les choses soient racontées par un officier de la Propagandastaffel pétri d'admiration pour les artistes dont il doit "s'occuper", donne au récit une intensité rare. L'amitié sincère qui le lie à Maillol, à Vlaminck, à Dina Vierny, ses relations intimes avec Derain, son dîner avec Picasso dans un clandé du marché noir, donnent lieu à des scènes inédites d'une richesse à laquelle peu de livres d'histoire peuvent prétendre. Le don de conteur, l'acuité bienveillante du regard de ce témoin plongé dans un milieu fascinant à une époque particulièrement dramatique de l'histoire de France, tout cela fait qu'on lit les "mémoires" de Werner Lange comme on regarde un film."--P. [4] of cover.
  • Ma modeste vie -- Paris -- Au 52 de l'avenue des Champs-Élysées -- Les Allemands -- Terechkovitch -- Les salons -- L'école des beaux-arts -- L'Opéra -- Jean-Gabriel Domergue -- Action Sauckel -- Wildenstein -- David -- André Schoeller -- Alfred Cortot -- Despiau -- Dufy -- Kees Van Dongen -- Les trois soeurs, le beurre et Picasso -- Le souvenir des Nabis -- Le voyage en Allemagne -- Après le voyage -- La tourillière -- Les Rudier -- La bonne Lucie -- Georges Maratier -- Gertrude Stein -- Place Vendôme et théâtre des Champs-Élysées -- Maillol à Banyuls -- Arno Breker à Banyuls, octobre 1943 -- Dina Vierny -- Arno Breker -- La fin.
"Werner Lange a écrit ces "mémoires" avant de se pendre. C'était un officier allemand francophile et cultivé. Les êtres qu'il évoque sont des monuments de l'histoire de l'art dont les chefs-d'oeuvre ornent les collections des plus grands musées. Mais ce sont aussi des hommes et des femmes qui collaborent avec l'occupant pour continuer à peindre, à exposer, à mieux manger tout simplement. Le caractère captivant de ces pages réside dans l'anecdotique, le quotidien, le "banal" de la vie de nos génies des arts sous l'Occupation. C'est ce côté indécent, "people" presque qui rend les souvenirs de Werner Lange si uniques. Le fait que les choses soient racontées par un officier de la Propagandastaffel pétri d'admiration pour les artistes dont il doit "s'occuper", donne au récit une intensité rare. L'amitié sincère qui le lie à Maillol, à Vlaminck, à Dina Vierny, ses relations intimes avec Derain, son dîner avec Picasso dans un clandé du marché noir, donnent lieu à des scènes inédites d'une richesse à laquelle peu de livres d'histoire peuvent prétendre. Le don de conteur, l'acuité bienveillante du regard de ce témoin plongé dans un milieu fascinant à une époque particulièrement dramatique de l'histoire de France, tout cela fait qu'on lit les "mémoires" de Werner Lange comme on regarde un film."--P. [4] of cover.
SAL3 (off-campus storage)
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SAL3 (off-campus storage) Status
Stacks Request
N6848 .L36 2015 Available
Book
590 p. ; 24 cm
  • Paris, capitale artistique, 1918-1939 -- Paris, capitale des artistes russes exilés -- Paris, centre artistique des peintres polonais -- Paris, capitale des artistes allemands et autrichiens exilés -- Paris, capitale des artistes américains émigrés -- Paris, capitale des photographes -- Le rôle des académies d'art -- Montparnasse et la Ruche -- L'École de Paris -- Les signes d'une xénophobie rampante -- Léon Zamaron : un-policier protecteur des peintres -- Collectionneurs et mécènes -- L'exemple de Chaïm Soutine -- Le contrôle du champ artistique sous l'Occupation -- Naissance d'une nouvelle politique culturelle sous Vichy -- La politique du secrétariat général des Beaux-Arts -- La politique culturelle de l'Occupant, 1940-1944 -- National-socialisme et art plastique -- National-socialisme et musique -- L'exposition de Musique dégénérée -- Les relais de la politique culturelle nazie en France -- Les peintres dans le Paris occupé -- La capitale se vide de ses peintres -- La politique allemande à Paris -- Qui était Arno Breker ? -- La politique artistique de Vichy -- La "Jeune Peinture française" -- Portraits d'artistes -- Les marchands de tableaux et collectionneurs à Paris -- Les peintres juifs cachés dans Paris et sa région -- Peintres et sculpteurs en zone libre, 1940-1944 -- Effervescence marseillaise -- Aix-en-Provence, sur les pas de Paul Cézanne -- La galaxie du camp des Milles -- Cassis, localité artistique -- Nice, nouvelle capitale culturelle -- Le "groupe de Grasse" -- Cagnes-sur-Mer -- Cannes, nouvelle "capitale" culturelle -- Pierre Bonnard au Cannet -- Le Var et les artistes exilés -- L'exil des artistes dans le Midi -- Le Roussillon, terre de refuge pour artistes -- Le Limousin, terre d'accueil des étrangers -- Le repli des oeuvres d'art en Dordogne et dans le Lot -- Dieulefit -- Lyon et les artistes -- Peintres engagés dans la Résistance -- Le théâtre sous l'Occupation -- L'exclusion des Juifs -- La Comédie-Française -- Le théâtre de l'Atelier -- Le théâtre Antoine -- Le théâtre du Chatelet -- Le théâtre de l'Athénée -- Le théâtre de la Madeleine -- La Renaissance des troupes théâtrales -- Nouveaux relais culturels : l'exemple de Marseille -- Le cinéma sous l'Occupation -- Le cinéma en France, 1920-1930 -- La guerre et l'Occupation -- Le cinéma français sous contrôle allemand -- Alfred Greven et la Continental-Films -- Le cinéma français, 1940-1944 -- Antisémitisme et cinéma -- Les artistes et la Continental -- La création cinématographique en zone libre -- La Cinémathèque française de 1940 à 1944 -- Musiciens et musique en France, 1918-1945 -- Paris capitale de la musique, 1918-1939 -- L'environnement académique -- Le Groupe des six et Jean Cocteau -- Paris, carrefour des musiciens exilés -- Musiciens exilés d'Allemagne et d'Autriche, 1933-1938 -- Musiciens exilés et engagés -- Fuir le nazisme, 1938-1939 -- La politique musicale allemande en France, 1940-1944 -- La politique musicale de Vichy -- L'exclusion des Juifs de la vie musicale -- Les musiciens sous l'Occupation, 1940-1945 -- Musiciens déportés
  • Créer et survivre en France -- Le choix de l'exil -- Le rôle d'Alfred Cortot à Vichy -- Le Conservatoire national de musique de Paris -- Le rôle de Charles Münch -- L'exemple du conservatoire de musique à Bordeaux -- L'Opéra de Paris sous l'Occupation -- Jacques Rouché, l'homme qui sauva l'Opéra de Paris -- Les oeuvres du répertoire -- Situation des Juifs à l'Opéra de Paris -- Les Ballets de l'Opéra Garnier -- Serge Lifar, danseur étoile -- Les music halls, les cabarets, la chanson et le jazz sous l'Occupation -- Le Casino de Paris -- Le théâtre des Folies-Bergère -- Le Boeuf sur le toit -- Le Lido -- Chantons sous l'Occupation -- Le jazz sous l'Occupation -- Le refuge americain -- La nébuleuse américaine de l'assistance et du sauvetage -- Pierre Matisse et la galaxie d'un marchand de tableaux -- Julien Levy et les surréalistes -- Les surréalistes en exil à New York, 1937-1947 -- Le réseau de Jacques Maritain -- Des musiciens exilés -- Weimar in Hollywood -- Arnold Schônberg et son réseau -- D'autres lieux d'exil : l'exemple de la Suisse et de la Palestine -- La Suisse, terre de création artistique -- Le rôle des marchands d'art et des collectionneurs -- Le théâtre -- Le cinéma -- La musique -- La Palestine, terre de refuge.
"La fascination exercée par Paris dans toute l'Europe depuis le début du XXe siècle se traduit, dès avant le premier conflit mondial, par l'établissement d'un grand nombre d'artistes dans ce lieu de liberté d'esprit et de création. Grâce à un enseignement de qualité, les Académies de peinture ou de musique, notamment, attirent des Russes, Polonais, Hongrois, Tchèques ou Allemands, futurs fleurons de l'École de Paris, éminents interprètes de l'Opéra et du Conservatoire. Avec les différentes vagues de migration, dont les artistes juifs fuyant les persécutions, se sont constitués dans la Ville lumière des réseaux d'amitié avec des artistes français, filières qui s'actionnent sous l'Occupation et Vichy pour protéger et mettre à l'abri les victimes du régime. Si l'on connaît l'intervention de Sacha Guitry et d'Arletty en faveur de Tristan Bernard, il y en eut beaucoup d'autres, révélées par Limore Yagil. À la croisée de l'histoire culturelle et de l'histoire politique, l'auteur remonte aux origines de ces réseaux de solidarité, retraçant toute une géographie de l'entre-aide, et interroge la signification qu'il convient de donner à ces différents actes de désobéissance civile."--P. [4] of cover.
  • Paris, capitale artistique, 1918-1939 -- Paris, capitale des artistes russes exilés -- Paris, centre artistique des peintres polonais -- Paris, capitale des artistes allemands et autrichiens exilés -- Paris, capitale des artistes américains émigrés -- Paris, capitale des photographes -- Le rôle des académies d'art -- Montparnasse et la Ruche -- L'École de Paris -- Les signes d'une xénophobie rampante -- Léon Zamaron : un-policier protecteur des peintres -- Collectionneurs et mécènes -- L'exemple de Chaïm Soutine -- Le contrôle du champ artistique sous l'Occupation -- Naissance d'une nouvelle politique culturelle sous Vichy -- La politique du secrétariat général des Beaux-Arts -- La politique culturelle de l'Occupant, 1940-1944 -- National-socialisme et art plastique -- National-socialisme et musique -- L'exposition de Musique dégénérée -- Les relais de la politique culturelle nazie en France -- Les peintres dans le Paris occupé -- La capitale se vide de ses peintres -- La politique allemande à Paris -- Qui était Arno Breker ? -- La politique artistique de Vichy -- La "Jeune Peinture française" -- Portraits d'artistes -- Les marchands de tableaux et collectionneurs à Paris -- Les peintres juifs cachés dans Paris et sa région -- Peintres et sculpteurs en zone libre, 1940-1944 -- Effervescence marseillaise -- Aix-en-Provence, sur les pas de Paul Cézanne -- La galaxie du camp des Milles -- Cassis, localité artistique -- Nice, nouvelle capitale culturelle -- Le "groupe de Grasse" -- Cagnes-sur-Mer -- Cannes, nouvelle "capitale" culturelle -- Pierre Bonnard au Cannet -- Le Var et les artistes exilés -- L'exil des artistes dans le Midi -- Le Roussillon, terre de refuge pour artistes -- Le Limousin, terre d'accueil des étrangers -- Le repli des oeuvres d'art en Dordogne et dans le Lot -- Dieulefit -- Lyon et les artistes -- Peintres engagés dans la Résistance -- Le théâtre sous l'Occupation -- L'exclusion des Juifs -- La Comédie-Française -- Le théâtre de l'Atelier -- Le théâtre Antoine -- Le théâtre du Chatelet -- Le théâtre de l'Athénée -- Le théâtre de la Madeleine -- La Renaissance des troupes théâtrales -- Nouveaux relais culturels : l'exemple de Marseille -- Le cinéma sous l'Occupation -- Le cinéma en France, 1920-1930 -- La guerre et l'Occupation -- Le cinéma français sous contrôle allemand -- Alfred Greven et la Continental-Films -- Le cinéma français, 1940-1944 -- Antisémitisme et cinéma -- Les artistes et la Continental -- La création cinématographique en zone libre -- La Cinémathèque française de 1940 à 1944 -- Musiciens et musique en France, 1918-1945 -- Paris capitale de la musique, 1918-1939 -- L'environnement académique -- Le Groupe des six et Jean Cocteau -- Paris, carrefour des musiciens exilés -- Musiciens exilés d'Allemagne et d'Autriche, 1933-1938 -- Musiciens exilés et engagés -- Fuir le nazisme, 1938-1939 -- La politique musicale allemande en France, 1940-1944 -- La politique musicale de Vichy -- L'exclusion des Juifs de la vie musicale -- Les musiciens sous l'Occupation, 1940-1945 -- Musiciens déportés
  • Créer et survivre en France -- Le choix de l'exil -- Le rôle d'Alfred Cortot à Vichy -- Le Conservatoire national de musique de Paris -- Le rôle de Charles Münch -- L'exemple du conservatoire de musique à Bordeaux -- L'Opéra de Paris sous l'Occupation -- Jacques Rouché, l'homme qui sauva l'Opéra de Paris -- Les oeuvres du répertoire -- Situation des Juifs à l'Opéra de Paris -- Les Ballets de l'Opéra Garnier -- Serge Lifar, danseur étoile -- Les music halls, les cabarets, la chanson et le jazz sous l'Occupation -- Le Casino de Paris -- Le théâtre des Folies-Bergère -- Le Boeuf sur le toit -- Le Lido -- Chantons sous l'Occupation -- Le jazz sous l'Occupation -- Le refuge americain -- La nébuleuse américaine de l'assistance et du sauvetage -- Pierre Matisse et la galaxie d'un marchand de tableaux -- Julien Levy et les surréalistes -- Les surréalistes en exil à New York, 1937-1947 -- Le réseau de Jacques Maritain -- Des musiciens exilés -- Weimar in Hollywood -- Arnold Schônberg et son réseau -- D'autres lieux d'exil : l'exemple de la Suisse et de la Palestine -- La Suisse, terre de création artistique -- Le rôle des marchands d'art et des collectionneurs -- Le théâtre -- Le cinéma -- La musique -- La Palestine, terre de refuge.
"La fascination exercée par Paris dans toute l'Europe depuis le début du XXe siècle se traduit, dès avant le premier conflit mondial, par l'établissement d'un grand nombre d'artistes dans ce lieu de liberté d'esprit et de création. Grâce à un enseignement de qualité, les Académies de peinture ou de musique, notamment, attirent des Russes, Polonais, Hongrois, Tchèques ou Allemands, futurs fleurons de l'École de Paris, éminents interprètes de l'Opéra et du Conservatoire. Avec les différentes vagues de migration, dont les artistes juifs fuyant les persécutions, se sont constitués dans la Ville lumière des réseaux d'amitié avec des artistes français, filières qui s'actionnent sous l'Occupation et Vichy pour protéger et mettre à l'abri les victimes du régime. Si l'on connaît l'intervention de Sacha Guitry et d'Arletty en faveur de Tristan Bernard, il y en eut beaucoup d'autres, révélées par Limore Yagil. À la croisée de l'histoire culturelle et de l'histoire politique, l'auteur remonte aux origines de ces réseaux de solidarité, retraçant toute une géographie de l'entre-aide, et interroge la signification qu'il convient de donner à ces différents actes de désobéissance civile."--P. [4] of cover.
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D810 .A7 Y34 2015 Unknown
Music score
1 score (liii, 209 pages) ; 31 cm.
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208 pages : illustrations ; 21 cm.
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QH77 .C7 R65 2015 Available
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143 p. ; 16 cm.
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1 online resource
  • Contents -- 1. MUSICAL POLEMIC: On "Dilettanti" -- 2. MUSICAL POLEMIC: On Armide and Gluck -- 3. THE ARTS. Observations on Classical Music and Romantic Music, Le Correspondant, October 22, 1830 -- 4. Beethoven and the Egyptian Pyramids-- Weber's Freischutz-- Beethoven's "Pastoral" Symphony -- 5. Liszt, Chopin, and Ferdinand Hiller-- launching of the Fantastic Symphony -- 6. MUSIC REVIEW: Mozart's Don Giovanni at the Theatre-Italien-- Beethoven quartets -- 7. MUSIC REVIEW: Beethoven by the Muller Quartet-- Chopin-- Mozart's Don Giovanni vs. Don Juan-- -- Handel festival in London -- 8. MUSIC REVIEW: Women performers-- violinist Hauman's communicative emotion-- Beethoven's Fifth Symphony and Shakespeare's Othello-- Cherubini aria sung by Ponchard-- rarity of great singers -- 9. Gluck (Part I). Gazette musicale de Paris, June 1, 1834. Biographical sketch-- "critique admirative" of monologue from Il Telemaco -- 10. MUSIC REVIEW: Turkish music-- Beethoven's "Eroica" booed in Bordeaux-- musical conditions in the provinces-- oasis of progress in Lyon -- 11. MUSIC REVIEW: Jealousy vs. solidarity among artists-- trials of young composers-- ironies on Conservatoire training-- Henri Reber quartets-- Liszt performs in his piano trio -- 12. Music Review: Choron, voice teacher and propagator of sacred music of the past-- funeral service at the Invalides: Mozart Requiem, Jommelli, and Palestrina -- 13. Funeral service for Choron-- Decline of religious music in France-- destruction of old-regime choir schools-- church ban on women singers -- 14. Rossini's William Tell (Part I) -- 15. BOIELDIEU: Funeral music for Boieldieu-- survey of requiems-- Cherubini -- 16. NOTICE TO READERS IDLE ENOUGH TO READ MY ARTICLES: Satirical announcement of Berlioz's upcoming concert, conducted by Girard-- amusing summary of Harold in Italy -- 17. IPHIGENIA IN TAURIS (Part I): Early enthusiasm for Gluck-- life-changing first experience of Gluck's masterpiece at the Opera (1821). -- 18. Music review: a Elle, Letters for Piano by Chretien Urhan -- 19. THEATRE-ITALIEN: Gabussi's Ernani -- 20. MUSIC REVIEW. OPeRA. William Tell. OPeRA-COMIQUE: Zemire et Azor (reprise). -- 21. CONCERT SOCIETY OF THE CONSERVATOIRE: First Concert [8th season] -- 22. LE MOINE, text by emilien Pacini, music by G. Meyerbeer -- 23. THIRD CONCERT AT THE CONSERVATOIRE: Symphonies by Haydn and Beethoven -- 24. Music REVIEW: Royal Academy of Music: Premiere of la Juive, opera in five acts by MM. -- 25. Music Review. Concert by the Pupils of Choron at the Hotel de Ville -- 26. CONCERT SOCIETY OF THE CONSERVATOIRE: Fourth Concert, Beethoven's "Pastoral" Symphony -- 27. SIXTH CONSERVATOIRE CONCERT: Analysis of Beethoven's Fifth Symphony -- 28. CONCERT BY M. LISZT -- 29. REQUIEM at the Invalides -- 30. ON THE SCORE OF ZAMPA -- 31. MUSIC REVIEW: Bellini's I Puritani at the Theatre-Italien, Cherubini's Treatise on Counterpoint-or a volume of poetry by Chaudesaigues -- 32. MOZART'S DON JUAN -- 33. Religious Music: M. Lesueur: Rachel, Noemie, Ruth et Booz, oratorios-- M. Urhan: Auditions -- 34. OPERA-Comique. Concerts. Virtuosos and composers -- 35. First concert [of the season] at the Conservatoire: scene from Mozart's Idomeneo eclipses Beethoven's Seventh Symphony -- 36. LES HUGUENOTS: Acts 4 and 5 -- 37. Concerts at the Conservatoire: The Magic Flute and The Mysteries of Isis -- 38. LISZT -- 39. ANTOINE REICHA -- 40. MUSICAL ENTERTAINMENTS: Le Siege de Corinthe at the Opera-- M. Ole Bull-- M. Labarre and his harp school-- Music of public festivals -- 41. PROGRESS OF MUSICAL EDUCATION IN FRANCE: M. Joseph Mainzer and M. Aubery du Boulley -- 42. Polytechnical Society: Awards ceremony -- 43. OPera: William Tell. Debut of Duprez -- 44. Royal Academy of Music: Premiere of La Chatte metamorphosee en femme, ballet.
  • (source: Nielsen Book Data)
As a composer, Hector Berlioz embodied his century as the quintessential Romantic artist. Niccolo Paganini called him "Beethoven's only heir, " and for a young Richard Wagner, he was dazzling as a composer, orchestra conductor, and critic. But Berlioz was known as much for his writings as for his music, and for decades Berlioz scholars have stressed the need for a good English-language anthology of his criticism. Featuring new translations and commentary by Katherine Kolb and Samuel N. Rosenberg, Berlioz on Music: Selected Criticism 1824-1837 is that volume. Berlioz's centrality as a critic results from his literary brilliance, his location in Paris - the music capital of the nineteenth century - and his 28-year tenure at the powerful Journal des debats. As one of its founding editors and principal writers, Berlioz contributed about 250 articles to the publication. Berlioz on Music comprises articles from the first 14 years of Berlioz's public writings, given in chronological order and, with few exceptions, in their entirety. Following chronology affords an overview of Berlioz's evolution as critic and of a key phase in the development of modern musical culture. The volume also presents explanatory data in engagingly composed introductions and footnotes, which elucidate Berlioz's references to persons, musical and literary works, historical events, and more. The reader is allowed to follow musical events during one of the richest periods in French cultural history, including the revolutionary decade surrounding 1830, a year marked by Victor Hugo's victory for the Romantics in the Classical bastion of the Theatre-Francais, by the premiere of Berlioz's Fantastic Symphony, and by the toppling of the Restoration monarchy. The result is an engaging collection of Berlioz's lively prose, presented with scholarly rigor and rendered in accessible English. Music historians, both professional and amateur, as well 19th century European history enthusiasts will find Berlioz on Music a compelling introduction to one of the richest periods of French culture.
(source: Nielsen Book Data)
  • Contents -- 1. MUSICAL POLEMIC: On "Dilettanti" -- 2. MUSICAL POLEMIC: On Armide and Gluck -- 3. THE ARTS. Observations on Classical Music and Romantic Music, Le Correspondant, October 22, 1830 -- 4. Beethoven and the Egyptian Pyramids-- Weber's Freischutz-- Beethoven's "Pastoral" Symphony -- 5. Liszt, Chopin, and Ferdinand Hiller-- launching of the Fantastic Symphony -- 6. MUSIC REVIEW: Mozart's Don Giovanni at the Theatre-Italien-- Beethoven quartets -- 7. MUSIC REVIEW: Beethoven by the Muller Quartet-- Chopin-- Mozart's Don Giovanni vs. Don Juan-- -- Handel festival in London -- 8. MUSIC REVIEW: Women performers-- violinist Hauman's communicative emotion-- Beethoven's Fifth Symphony and Shakespeare's Othello-- Cherubini aria sung by Ponchard-- rarity of great singers -- 9. Gluck (Part I). Gazette musicale de Paris, June 1, 1834. Biographical sketch-- "critique admirative" of monologue from Il Telemaco -- 10. MUSIC REVIEW: Turkish music-- Beethoven's "Eroica" booed in Bordeaux-- musical conditions in the provinces-- oasis of progress in Lyon -- 11. MUSIC REVIEW: Jealousy vs. solidarity among artists-- trials of young composers-- ironies on Conservatoire training-- Henri Reber quartets-- Liszt performs in his piano trio -- 12. Music Review: Choron, voice teacher and propagator of sacred music of the past-- funeral service at the Invalides: Mozart Requiem, Jommelli, and Palestrina -- 13. Funeral service for Choron-- Decline of religious music in France-- destruction of old-regime choir schools-- church ban on women singers -- 14. Rossini's William Tell (Part I) -- 15. BOIELDIEU: Funeral music for Boieldieu-- survey of requiems-- Cherubini -- 16. NOTICE TO READERS IDLE ENOUGH TO READ MY ARTICLES: Satirical announcement of Berlioz's upcoming concert, conducted by Girard-- amusing summary of Harold in Italy -- 17. IPHIGENIA IN TAURIS (Part I): Early enthusiasm for Gluck-- life-changing first experience of Gluck's masterpiece at the Opera (1821). -- 18. Music review: a Elle, Letters for Piano by Chretien Urhan -- 19. THEATRE-ITALIEN: Gabussi's Ernani -- 20. MUSIC REVIEW. OPeRA. William Tell. OPeRA-COMIQUE: Zemire et Azor (reprise). -- 21. CONCERT SOCIETY OF THE CONSERVATOIRE: First Concert [8th season] -- 22. LE MOINE, text by emilien Pacini, music by G. Meyerbeer -- 23. THIRD CONCERT AT THE CONSERVATOIRE: Symphonies by Haydn and Beethoven -- 24. Music REVIEW: Royal Academy of Music: Premiere of la Juive, opera in five acts by MM. -- 25. Music Review. Concert by the Pupils of Choron at the Hotel de Ville -- 26. CONCERT SOCIETY OF THE CONSERVATOIRE: Fourth Concert, Beethoven's "Pastoral" Symphony -- 27. SIXTH CONSERVATOIRE CONCERT: Analysis of Beethoven's Fifth Symphony -- 28. CONCERT BY M. LISZT -- 29. REQUIEM at the Invalides -- 30. ON THE SCORE OF ZAMPA -- 31. MUSIC REVIEW: Bellini's I Puritani at the Theatre-Italien, Cherubini's Treatise on Counterpoint-or a volume of poetry by Chaudesaigues -- 32. MOZART'S DON JUAN -- 33. Religious Music: M. Lesueur: Rachel, Noemie, Ruth et Booz, oratorios-- M. Urhan: Auditions -- 34. OPERA-Comique. Concerts. Virtuosos and composers -- 35. First concert [of the season] at the Conservatoire: scene from Mozart's Idomeneo eclipses Beethoven's Seventh Symphony -- 36. LES HUGUENOTS: Acts 4 and 5 -- 37. Concerts at the Conservatoire: The Magic Flute and The Mysteries of Isis -- 38. LISZT -- 39. ANTOINE REICHA -- 40. MUSICAL ENTERTAINMENTS: Le Siege de Corinthe at the Opera-- M. Ole Bull-- M. Labarre and his harp school-- Music of public festivals -- 41. PROGRESS OF MUSICAL EDUCATION IN FRANCE: M. Joseph Mainzer and M. Aubery du Boulley -- 42. Polytechnical Society: Awards ceremony -- 43. OPera: William Tell. Debut of Duprez -- 44. Royal Academy of Music: Premiere of La Chatte metamorphosee en femme, ballet.
  • (source: Nielsen Book Data)
As a composer, Hector Berlioz embodied his century as the quintessential Romantic artist. Niccolo Paganini called him "Beethoven's only heir, " and for a young Richard Wagner, he was dazzling as a composer, orchestra conductor, and critic. But Berlioz was known as much for his writings as for his music, and for decades Berlioz scholars have stressed the need for a good English-language anthology of his criticism. Featuring new translations and commentary by Katherine Kolb and Samuel N. Rosenberg, Berlioz on Music: Selected Criticism 1824-1837 is that volume. Berlioz's centrality as a critic results from his literary brilliance, his location in Paris - the music capital of the nineteenth century - and his 28-year tenure at the powerful Journal des debats. As one of its founding editors and principal writers, Berlioz contributed about 250 articles to the publication. Berlioz on Music comprises articles from the first 14 years of Berlioz's public writings, given in chronological order and, with few exceptions, in their entirety. Following chronology affords an overview of Berlioz's evolution as critic and of a key phase in the development of modern musical culture. The volume also presents explanatory data in engagingly composed introductions and footnotes, which elucidate Berlioz's references to persons, musical and literary works, historical events, and more. The reader is allowed to follow musical events during one of the richest periods in French cultural history, including the revolutionary decade surrounding 1830, a year marked by Victor Hugo's victory for the Romantics in the Classical bastion of the Theatre-Francais, by the premiere of Berlioz's Fantastic Symphony, and by the toppling of the Restoration monarchy. The result is an engaging collection of Berlioz's lively prose, presented with scholarly rigor and rendered in accessible English. Music historians, both professional and amateur, as well 19th century European history enthusiasts will find Berlioz on Music a compelling introduction to one of the richest periods of French culture.
(source: Nielsen Book Data)
Book
xxv, 78 pages : music ; 23 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3858 .A75 2015 Unknown

17. Brecht on theatre [2015]

Book
xi, 328 pages, 16 unnumbered pages of plates : illustrations (black and white) ; 23 cm
  • List of Illustrations General Introduction and Acknowledgements Part One - A New Theatre Introduction to Part One Frank Wedekind (1918) Me in the Theatre (1920) Theatre as Sport (1920) A Reckoning (1920) On the Aesthetics of Drama (1920) On the 'Downfall of the Theatre' (1925) More Good Sport (1926) Three Cheers for Shaw (1926) Prologue to Drums (1926) Shouldn't We Liquidate Aesthetics? (1927) Epic Theatre and Its Difficulties (1927) On New Dramatic Writing (1928) Latest Stage: Oedipus (1929) Dialogue about Acting (1929) On Subject-Matter and Form (1929) On Rehearsing (c. 1930) Dialectical Dramatic Writing (1930/31) Notes on the Opera Rise and Fall of the City of Mahagonny (1930) Notes on the Threepenny Opera (1931) Notes on the Comedy Man Equals Man (1931/38) Notes on The Mother (1933/38) Part Two - Exile Years Introduction to Part Two OLD VS. NEW THEATRE Theatre for Pleasure or Theatre for Instruction (1935) On Experiments in Epic Theatre (1935) The German Drama: pre-Hitler (1935) On the Use of Music in an Epic Theatre (1935) Short List of the Most Frequent, Common and Boring Misconceptions about Epic Theatre (1937) The Progressiveness of the Stanislavsky System (1937) On Experimental Theatre (1939) A Short Private Lecture for My Friend Max Gorelik (1944) ON CHINESE THEATRE, VERFREMDUNG AND GESTUS On the Art of Spectatorship (1935) Maintaining Gestures over Multiple Generations (1935) Verfremdung Effects in Chinese Acting (1936) Three Notes on Verfremdung and the Elder Breughel (1937) Verfremdung Techniques in the Narrative Pictures of the Elder Brueghel On the V-effect of the Elder Breughel V-effects in Some Pictures of the Elder Breughel On Determining the Zero Point (1936/37) The Zero Point (1936/37) Notes on Pointed Heads and Round Heads (1936) On the Production of the V-effect (1938) On Gestic Music (1937) On Rhymeless Verse with Irregular Rhythms (1938) The Street Scene (1938) Short Description of a New Technique of Acting that Produces a Verfremdung Effect (1940) Athletic Training (1940) On Epic Dramatic Art: Change (1940) On the Gradual Approach to the Study and Construction of the Figure (1941) REALISM AND THE PROLETARIAT The Popular and the Realistic (1938) Two Essay Fragments on Non-professional (1939) The Attitude of the Rehearsal Director (in the Inductive Process) (1939) Notes on the Folk Play (1940) Part Three - Return to Germany Introduction to Part Three SHORT ORGANON Short Organon for the Theatre (1948) Appendices to the Short Organon (1954) THEATRE WORK Friedrich Wolf - Bert Brecht: Formal Problems Arising from the Theatre's New Content. A Dialogue (1949) From a Letter to an Actor (1951) What Makes an Actor (1951) Gesture (1951) Two Notes about Urfaust (1952) About Our Stagings The Story Kurt Palm (1952) Classical Status as an Intimidating Factor (1954) ON STANISLAVSKY Some of the Things That Can Be Learnt from Stanislavsky (1951) On Stanislavsky (1953) Stanislavsky Studies [3] (1953) A Few Thoughts on the Stanislavsky Conference (1953) DIALECTICAL THEATRE From Epic to Dialectical Theatre 2 (1954) Dialectics in the Theatre Study of the First Scene of Shakespeare's 'Coriolanus' (1953/55) Relative Haste (1955) A Detour (The Caucasian Chalk Circle) (1955) Another Case of Applied Dialectic (1953) Letter to the Actor Playing Young Horder in Winter Battle (1954) Mother Courage Played in Two Ways (1951) Example of a Scenic Innovation Through the Observation of a Mistake (1953) Something about Representing Character (1953) Conversation about Coerced Empathy (1953) MISCELLANEOUS Cultural Policy and Academy of Arts (1953) Socialist Realism in the Theatre (1954) Can the Present-day World Be Reproduced by Means of Theatre? (1955) Our London Season (1956) Select Bibliography Index.
  • (source: Nielsen Book Data)
Brecht on Theatre is a seminal work that has remained the classic text for readers and students wanting a rich appreciation of the development of Brecht's thinking on theatre and aesthetics. First published in 1964 and on reading lists ever since, it has now been wholly revised, re-edited and expanded with additional texts, illustrations and editorial material, and new translations. The resulting work is a far fuller and more accurate volume that will provide readers with a clearer and more rewarding understanding of Brecht's work and writings. This updated third edition features: * Clearer layout and organisation of the text to facilitate study * New translations of many of the Brechtian texts featured * Over 40 new, previously untranslated essays * Essay titles now correspond to the German originals * A revised selection of illustrations This selection of Bertolt Brecht's critical writing charts the development of his thinking on theatre and aesthetics over four decades. The volume demonstrates how the theories of Epic Theatre and Verfremdung evolved, and contains notes and essays on the staging of The Threepenny Opera, Mahagonny, Mother Courage, Puntila, Galileo and many others of his plays. Also included is 'Short Organon for the Theatre', Brecht's most complete statement of his revolutionary philosophy of the theatre.
(source: Nielsen Book Data)
  • List of Illustrations General Introduction and Acknowledgements Part One - A New Theatre Introduction to Part One Frank Wedekind (1918) Me in the Theatre (1920) Theatre as Sport (1920) A Reckoning (1920) On the Aesthetics of Drama (1920) On the 'Downfall of the Theatre' (1925) More Good Sport (1926) Three Cheers for Shaw (1926) Prologue to Drums (1926) Shouldn't We Liquidate Aesthetics? (1927) Epic Theatre and Its Difficulties (1927) On New Dramatic Writing (1928) Latest Stage: Oedipus (1929) Dialogue about Acting (1929) On Subject-Matter and Form (1929) On Rehearsing (c. 1930) Dialectical Dramatic Writing (1930/31) Notes on the Opera Rise and Fall of the City of Mahagonny (1930) Notes on the Threepenny Opera (1931) Notes on the Comedy Man Equals Man (1931/38) Notes on The Mother (1933/38) Part Two - Exile Years Introduction to Part Two OLD VS. NEW THEATRE Theatre for Pleasure or Theatre for Instruction (1935) On Experiments in Epic Theatre (1935) The German Drama: pre-Hitler (1935) On the Use of Music in an Epic Theatre (1935) Short List of the Most Frequent, Common and Boring Misconceptions about Epic Theatre (1937) The Progressiveness of the Stanislavsky System (1937) On Experimental Theatre (1939) A Short Private Lecture for My Friend Max Gorelik (1944) ON CHINESE THEATRE, VERFREMDUNG AND GESTUS On the Art of Spectatorship (1935) Maintaining Gestures over Multiple Generations (1935) Verfremdung Effects in Chinese Acting (1936) Three Notes on Verfremdung and the Elder Breughel (1937) Verfremdung Techniques in the Narrative Pictures of the Elder Brueghel On the V-effect of the Elder Breughel V-effects in Some Pictures of the Elder Breughel On Determining the Zero Point (1936/37) The Zero Point (1936/37) Notes on Pointed Heads and Round Heads (1936) On the Production of the V-effect (1938) On Gestic Music (1937) On Rhymeless Verse with Irregular Rhythms (1938) The Street Scene (1938) Short Description of a New Technique of Acting that Produces a Verfremdung Effect (1940) Athletic Training (1940) On Epic Dramatic Art: Change (1940) On the Gradual Approach to the Study and Construction of the Figure (1941) REALISM AND THE PROLETARIAT The Popular and the Realistic (1938) Two Essay Fragments on Non-professional (1939) The Attitude of the Rehearsal Director (in the Inductive Process) (1939) Notes on the Folk Play (1940) Part Three - Return to Germany Introduction to Part Three SHORT ORGANON Short Organon for the Theatre (1948) Appendices to the Short Organon (1954) THEATRE WORK Friedrich Wolf - Bert Brecht: Formal Problems Arising from the Theatre's New Content. A Dialogue (1949) From a Letter to an Actor (1951) What Makes an Actor (1951) Gesture (1951) Two Notes about Urfaust (1952) About Our Stagings The Story Kurt Palm (1952) Classical Status as an Intimidating Factor (1954) ON STANISLAVSKY Some of the Things That Can Be Learnt from Stanislavsky (1951) On Stanislavsky (1953) Stanislavsky Studies [3] (1953) A Few Thoughts on the Stanislavsky Conference (1953) DIALECTICAL THEATRE From Epic to Dialectical Theatre 2 (1954) Dialectics in the Theatre Study of the First Scene of Shakespeare's 'Coriolanus' (1953/55) Relative Haste (1955) A Detour (The Caucasian Chalk Circle) (1955) Another Case of Applied Dialectic (1953) Letter to the Actor Playing Young Horder in Winter Battle (1954) Mother Courage Played in Two Ways (1951) Example of a Scenic Innovation Through the Observation of a Mistake (1953) Something about Representing Character (1953) Conversation about Coerced Empathy (1953) MISCELLANEOUS Cultural Policy and Academy of Arts (1953) Socialist Realism in the Theatre (1954) Can the Present-day World Be Reproduced by Means of Theatre? (1955) Our London Season (1956) Select Bibliography Index.
  • (source: Nielsen Book Data)
Brecht on Theatre is a seminal work that has remained the classic text for readers and students wanting a rich appreciation of the development of Brecht's thinking on theatre and aesthetics. First published in 1964 and on reading lists ever since, it has now been wholly revised, re-edited and expanded with additional texts, illustrations and editorial material, and new translations. The resulting work is a far fuller and more accurate volume that will provide readers with a clearer and more rewarding understanding of Brecht's work and writings. This updated third edition features: * Clearer layout and organisation of the text to facilitate study * New translations of many of the Brechtian texts featured * Over 40 new, previously untranslated essays * Essay titles now correspond to the German originals * A revised selection of illustrations This selection of Bertolt Brecht's critical writing charts the development of his thinking on theatre and aesthetics over four decades. The volume demonstrates how the theories of Epic Theatre and Verfremdung evolved, and contains notes and essays on the staging of The Threepenny Opera, Mahagonny, Mother Courage, Puntila, Galileo and many others of his plays. Also included is 'Short Organon for the Theatre', Brecht's most complete statement of his revolutionary philosophy of the theatre.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PN2021 .B68 2015 Unknown
Book
1 online resource (440 pages) : digital, PDF file(s).
  • Foreword Simon Trezise-- Part I. Chronological History of French Music from the Early Middle Ages to the Present: 1. From abbey to cathedral and court: music under the Merovingian, Carolingian, and Capetian kings in France, through Louis IX Alice V. Clark-- 2. Cathedral and court: music under the late Capetian and Valois kings in France, to Louis XI Lawrence Earp-- 3. The Renaissance Fabrice Fitch-- 4. Music under Louis XIII and XIV (1610-1715) Peter Bennett and Georgia J. Cowart-- 5. Music from the Regency to the Revolution (1715-89) Debra Nagy-- 6. The Revolution and Romanticism to 1848 Michael McClellan and Simon Trezise-- 7. Renaissance and change: 1848 to 1914 Simon Trezise-- 8. La guerre et la paix: 1914-45 Andy Fry-- 9. Cultural and generational querelles in the musical domain: music in France from the Second World War Jonathan Goldman-- Part II. Opera: 10. Opera and ballet to the death of Gluck Jacqueline Waeber-- 11. Opera and ballet after the Revolution Steven Huebner-- Part III. Other Musics: 12. Traditional music and its ethnomusicological study in France Luc Charles-Dominique-- 13. Popular music David Loosely-- Part IV. Themes and Topics: 14. Manuscript sources and calligraphy John Haines-- 15. Church and state in early medieval France Andrew Tomasello-- 16. Music and the court of the ancien regime Jeanice Brooks-- 17. Musical aesthetics of the Siecle des Lumieres Georgia J. Cowart-- 18. Paris and the regions from the Revolution to World War I Katharine Ellis.
  • (source: Nielsen Book Data)
France has a long and rich music history that has had a far-reaching impact upon music and cultures around the world. This accessible Companion provides a comprehensive introduction to the music of France. With chapters on a range of music genres, internationally renowned authors survey music-making from the early middle ages to the present day. The first part provides a complete chronological history structured around key historical events. The second part considers opera and ballet and their institutions and works, and the third part explores traditional and popular music. In the final part, contributors analyse five themes and topics, including the early church and its institutions, manuscript sources, the musical aesthetics of the Siecle des Lumieres, and music at the court during the ancien regime. Illustrated with photographs and music examples, this book will be essential reading for both students and music lovers.
(source: Nielsen Book Data)
  • Foreword Simon Trezise-- Part I. Chronological History of French Music from the Early Middle Ages to the Present: 1. From abbey to cathedral and court: music under the Merovingian, Carolingian, and Capetian kings in France, through Louis IX Alice V. Clark-- 2. Cathedral and court: music under the late Capetian and Valois kings in France, to Louis XI Lawrence Earp-- 3. The Renaissance Fabrice Fitch-- 4. Music under Louis XIII and XIV (1610-1715) Peter Bennett and Georgia J. Cowart-- 5. Music from the Regency to the Revolution (1715-89) Debra Nagy-- 6. The Revolution and Romanticism to 1848 Michael McClellan and Simon Trezise-- 7. Renaissance and change: 1848 to 1914 Simon Trezise-- 8. La guerre et la paix: 1914-45 Andy Fry-- 9. Cultural and generational querelles in the musical domain: music in France from the Second World War Jonathan Goldman-- Part II. Opera: 10. Opera and ballet to the death of Gluck Jacqueline Waeber-- 11. Opera and ballet after the Revolution Steven Huebner-- Part III. Other Musics: 12. Traditional music and its ethnomusicological study in France Luc Charles-Dominique-- 13. Popular music David Loosely-- Part IV. Themes and Topics: 14. Manuscript sources and calligraphy John Haines-- 15. Church and state in early medieval France Andrew Tomasello-- 16. Music and the court of the ancien regime Jeanice Brooks-- 17. Musical aesthetics of the Siecle des Lumieres Georgia J. Cowart-- 18. Paris and the regions from the Revolution to World War I Katharine Ellis.
  • (source: Nielsen Book Data)
France has a long and rich music history that has had a far-reaching impact upon music and cultures around the world. This accessible Companion provides a comprehensive introduction to the music of France. With chapters on a range of music genres, internationally renowned authors survey music-making from the early middle ages to the present day. The first part provides a complete chronological history structured around key historical events. The second part considers opera and ballet and their institutions and works, and the third part explores traditional and popular music. In the final part, contributors analyse five themes and topics, including the early church and its institutions, manuscript sources, the musical aesthetics of the Siecle des Lumieres, and music at the court during the ancien regime. Illustrated with photographs and music examples, this book will be essential reading for both students and music lovers.
(source: Nielsen Book Data)
Book
lxxv, 290 pages : facsimiles ; 26 cm.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
BR251 .C6 V.721 Unknown
Music score
1 score (53 p.) ; 28 cm.
Music Library
Status of items at Music Library
Music Library Status
Scores
(no call number) Unavailable In process Request