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Book
247 pages : illustration ; 24 cm
  • Contents List of Figures and Tables 1 Acknowledgements 2 Introduction 3 * Old music...: British repertory in London 4 *...and new: Commissions and premieres 5 * On stage...: Festival opera productions 6 *...and off: The opera commissioning scheme 7 * This is our moment: National elements in Festival operas 8 Afterword 9 Appendix 1: British music performed in the London Season of the Arts 10 Appendix 2: Commissions and premieres in the Festival of Britain 11 Appendix 3: Timeline of the open opera commissioning scheme 12 Bibliography 13 Index 14.
  • (source: Nielsen Book Data)9781472458230 20160906
Long remembered chiefly for its modernist exhibitions on the South Bank in London, the 1951 Festival of Britain also showcased British artistic creativity in all its forms. In Tonic to the Nation, Nathaniel G. Lew tells the story of the English classical music and opera composed and revived for the Festival, and explores how these long-overlooked components of the Festival helped define English music in the post-war period. Drawing on a wealth of archival material, Lew looks closely at the work of the newly chartered Arts Council of Great Britain, for whom the Festival of Britain provided the first chance to assert its authority over British culture. The Arts Council devised many musical programs for the Festival, including commissions of new concert works, a vast London Season of almost 200 concerts highlighting seven centuries of English musical creativity, and several schemes to commission and perform new operas. These projects were not merely directed at bringing audiences to hear new and old national music, but to share broader goals of framing the national repertory, negotiating between the conflicting demands of conservative and progressive tastes, and using music to forge new national definitions in a changed post-war world.
(source: Nielsen Book Data)9781472458230 20160906
Music Library
Book
232 pages
Music Library
Music score
1 score (xxxii, 133 pages) : facsimiles ; 32 cm.
  • Sonata I in D major (H. 85)
  • Sonata II in E minor (H. 86)
  • Sonata III in C major (H. 87)
  • Sonata IV in D minor (H. 88)
  • Sonata V in A minor (H. 89)
  • Sonata VI in D major (H. 90)
  • Sonata VII in A major (H. 91)
  • Sonata VIII in D minor (H. 92)
  • Sonata IX in C minor (H. 93)
  • Sonata X in A major (H. 94)
  • Sonata XI in B minor (H. 95)
  • Sonata XII in A major (H. 96).
Music Library
Music score
1 score (48 pages) + 1 part (15 pages) ; 31 cm.
  • Contents: Fantaisie sur le Barbier de Seville - Fantaisie sur Don Juan - Le Trouvere. Fantaisie pour saxophone alto et piano.
Music Library
Music score
1 study score (vi, 161 pages) ; 24 cm.
Music Library
Book
220 pages : illustrations ; 24 cm.
  • Décor incomplet d'une ville de province au XIXe siècle -- Des années quarante-cinq aux années soixante-cinq : fin d'une époque -- Maîtres et professeurs à Nice -- A Monaco -- Qu'écoutait-on en 1945 9 -- Les orchestres et les chefs -- La radio : les orchestres de province -- L'enregistrement -- Engagement personnel -- Question de style -- Des années soixante-cinq aux années quatre-vingt -- La Cité internationale universitaire de Paris -- L'Orchestre de chambre de la Fondation de Monaco -- Le Lycée la Fontaine -- Eugène Bigot (1886-1965) -- Émotion (et musique) -- Henri Dutilleux (1916-2013) -- Concerts à Paris -- Stages et concours -- Service militaire -- Igor Markevitch -- Les Solistes de Paris et les autres -- Retour aux années soixante -- Musique baroque et musique contemporaine : acte I -- Autour. -- Des femmes compositrices et au pupitre de chef(fe) -- Se faire un répertoire -- Mai 68 -- Les festivals -- Jazz -- Jazz Hot -- La chanson -- Le disque -- Note pour les connectés d'aujourd'hui -- L'opéra : le règne du metteur en scène -- Syndicats -- 1965-2000. Création d'une école de musique et tout ce qui s'ensuivit -- De la FNUCMU à l'EMU, le conservatoire et l'Afriqüe -- La restructuration de l'enseignement musical spécialisé -- L'EMU -- Cap à l'Est et derrière le Rideau -- 1975-20... La Jeune Philharmonie de Seine-Saint-Denis : histoire d'une aventure -- Découverte de la Finlande -- 1980-2000 : de la "musique ancienne" à la "musique baroque" et les années tic, toc et choc (mais sans maillotins) -- Les trois époques du "renouveau" baroque -- L'Institut Finlandais à Paris -- 2000-2015 Prélude au XXI' siècle, la fin des utopies : individualisme et années bling-bling -- L'interprétation fantasmée -- Un monde éclaté -- Dématérialisation, virtualisation, culture pour tous -- Encore quelques réflexions sans importance -- Concours, stages, master-classes -- Et avec quel argent vivait-on 9 -- OEuvres, solistes, orchestres, public et compositeurs -- Miscellanées personnelles et jazzistiques -- Panthéon du coeur -- Ego sum qui sum & tutti quanti -- En guise d'épilogue personnel -- En guise d'épilogue personnel (bis) -- Deux articles de jazz (parus dans Jazz-Hot) -- Les maudits -- Le conformisme dans le jazz -- Les Maudits -- Un âge nouveau pour le jazz -- Mingus ? Oh yeah e -- L'anarchie organisée -- Un bassiste stupéfiant -- Puissance et magnétisme -- L'ombre du Duke.
"Les années 1945-2015, une traversée musicale de la deuxième partie du XXe siècle, vue par un musicien qui pratiqua plus ou moins toutes les formes d'expression musicale. Henri-Claude Fantapié, chef d'orchestre, compositeur, directeur de conservatoire, musicologue, fit aussi, selon les époques, des incursions dans les mondes du jazz, de la chanson, de la musique de rue, de la critique. Il participa à des colloques universitaires et à des commissions officielles en France et en Europe. Il rencontra et joua avec quelques-uns des plus grands solistes comme avec de jeunes musiciens frais émoulus de conservatoires. Un pied dans le monde des professionnels les plus exposés, l'autre dans son département de la Seine-Saint-Denis, il a laissé une partie de son coeur en Finlande (dont il est chevalier de l'ordre du Lion). Ce livre n'est pas une autobiographie mais le procès-verbal partiel et partial d'une vie dans un monde en constante mutation, qui va de l'immédiat après-guerre jusqu'aux premières années du xxIe siècle, en passant par Mai 68."--Page 4 of cover.
Music Library
Book
xx, 378 pages : illustrations (black and white, and color) ; 26 cm
  • BUILDING BLOCKS Making the Case for a Multi-Use Hall Introduction Short History The Need for Multi-Use Halls Shortfalls Success Stories The Building Block of Reverberation Introduction Defining the Programming Requirements for Excellent Acoustics Introduction Reverberation Time Reflections Clarity or C Spaciousness Envelopment Bass Ratio Diffusion Loudness (G) Stage Sound Noise and Vibration Creating the Acoustic Program Introduction Programming Phase Advocate for Musicians Programming the Stage Orchestra Pit Balconies HVAC and Sound Isolation Site Noise and Vibration Establishing Noise Isolation Criteria Programming Background Noise Levels Preparing the Guide CREATING THE BUILDING Translating Program into Bricks and Mortar Introduction Acoustic Design in Preschematic Phase Myths and New Halls: Schematic Design through Construction Documents Introduction Acoustic Design Myths Myths and Renovations: Transforming Existing Buildings into Multi-Use Halls Introduction Transportation Noise and Vibration on Site Predesign Project Site Inspection Renovation Do's and Don'ts Myths and Misconceptions Running the Acoustic Model Introduction Volume Criteria RT Calculations Myths and Misconceptions ARCHITECTURAL DETAILS Orchestra Pit Introduction Early Pits Modern Pits Pit Dimensions Acoustic Treatments Pit Rail Pit Floor Pit Ventilation The Metropolitan Opera House at Lincoln Center for the Performing Arts as Benchmark Myths and Misconceptions Acoustic Design of the Stage Introduction The Importance of Stage Acoustics Myths and Misconceptions Orchestra Seating, Balconies, Boxes, and Parterres Introduction Volume Proportions and Dimensions Hall Configuration Myths and Misconceptions Wall Shaping Introduction How Wide Should Halls Be? Throat Walls Side Walls Rear Wall Wood Walls Drywall Walls Masonry Walls Concrete Walls Myths and Misconceptions Ceiling Designs Introduction Acoustic Strategy Ceiling Approaches Myths and Misconceptions Seats and Finishes Introduction Seating Floor Materials Sound-Transparent Materials Myths and Misconceptions MEASURING RESULTS Making It Multi-Use Introduction Manipulating Volume Manipulating Absorption Location Absorption Systems Banner Fabric Motors and Control Systems Myths and Misconceptions Electronic Architecture Systems Introduction Technologically Sound Early Use EA System Components Using EA Systems Today Myths and Misconceptions Tuning the Hall Introduction Collaborative Process Preparing for the Tuning What to Do Rehearsal Mode versus Performance Mode Introducing Musicians Tuning with a Piano Mark Holden Journal Entry-November 9, 2011 CASE STUDIES Glossary Appendices.
  • (source: Nielsen Book Data)9780415517195 20160619
Explores the Science and Practice Of Acoustics for Arts Centers Employing the experiences of a world-renowned acoustician celebrated for the successful design of multi-use performing arts centers, Acoustics of Multi-Use Performing Arts Centers examines the complexities of this venue and discusses the challenges and solutions that arise in the concept, design, construction and commissioning phases. This book addresses the various programming needs of a multi-use performing arts center (needs that can range from symphony, opera and ballet to highly-amplified concerts and Broadway productions) and provides instruction from the planning of the initial concept to the final tuning stages. While assuming a basic understanding of the principals of sound, construction and performance, the author includes architectural drawings drawn to scale and presents case studies with in-depth discussion of undocumented halls. He also provides a full chapter on tuning multi-use halls and offers an inside look at design options for adjustable acoustics that include stage, pit and hall design. In addition, the book: * Covers the fundamentals of acoustics as it relates to initial stages of multi-use hall design * Explores the concepts of acoustics in terms of new and renovated spaces * Defines the basic components of the building structure * Examines floors, walls, ceilings, shells, and finishes and how they can be designed to achieve acoustic excellence * Discusses how to use and tune adjustable acoustic systems in a multi-use hall in order to achieve acoustic excellence Designed as a step-by-step guide to achieving outstanding acoustics in multi-use performance spaces, Acoustics of Multi-Use Performing Arts Centers serves students, architects, engineers, designers and acousticians.
(source: Nielsen Book Data)9780415517195 20160619
Music Library
Book
371 pages, 1 unnumbered page : illustrations, charts, facsimiles ; 24 cm.
  • Les espaces du service du roi -- Entre la cour et l'État, le temps long du corps du roi -- Au temps des premières ordonnances de l'Hôtel (Xe-XIVe), naissance de l'Argenterie -- Au temps des fêtes de cour : de l'Argenterie aux Menus, la constitution d'un organe original au service de la Chambre -- Au temps des reformes de la monarchie une organisation entre ordre du monde et ordre administratif -- Entre Chambre et Maison, le détail du spectacle monarchique -- Les Menus Plaisirs, caisse de la Chambre du Roi -- Les Menus Plaisirs, entrepreneurs du spectacle monarchique -- Entre Cour et Ville, la police des Comédies -- Premiers Gentilshommes, Menus et Comédies -- De la police intérieure à la police de la cité -- Instituer par l'écrit -- Des comptes d'ordonnateur aux mémoires engagés : classer et maîtriser les objets de la dépense -- Les états de la dépense: écrire, calculer, ordonnancer -- Écrire et réformer: les "mémoires engagés" des Menus Plaisirs -- Le déploiement bureaucratique de la dépense curiale -- Assurer la traçabilité de la décision et de l'action : enregistrement des ordres et journal de l'intendant -- Vers l'invention de la comptabilité de matières : les registres du Garde-Magasin Général -- La construction documentaire des étapes de l'exécution de la dépense -- Les réformes de la Maison du Roi (1779-1787): une mue des outils comptables -- Du contrôle administratif au contrôle en opportunité ? -- Les archives des Menus Plaisirs : une mémoire fonctionnelle -- Archiver pour administrer -- Passé, présent, futur: compiler pour agir -- L'ordre des livres -- Du monde de l'argent au monde de l'art, les intendants des Menus -- Un portrait de groupe des intendants contrôleurs des Menus Plaisirs : Papillon de La Ferté, "l'exceptionnel normal" -- Officiers et financiers -- Coût financier et gain social de la charge d'intendant des Menus Plaisirs -- Le monde de l'argent du roi -- Amateurs d'art ou administrateurs des arts ? -- Du statut d'amateur à la revendication de compétences spécifiques -- Le collectionneur face à l'administration royale des beaux-arts -- De la critique de l'amateur à la délégitimation des Menus Plaisirs -- Face aux hommes de lettres -- Au coeur et autour des magasins, naissance d'une organisation au service du roi -- Une bureaucratie curiale : les personnes attachées aux Menus -- Un hôtel fonctionnel et son réseau de magasins -- Une liste pour intégrer statuts et métiers : L'État des personnes attachées aux Menus -- Une homogénéisation des procédures de recrutement et des carrières -- Normalisation bureaucratique du travail et résistances -- La rémunération des "personnes attachées aux Menus" : entre uniformisation et individualisation -- Les Menus Plaisirs, leurs magasins et les artisans urbains : une manufacture parisienne -- Paris, foyer d'un approvisionnement de choix -- Fabriquer et faire fabriquer dans les magasins des Menus -- Internalisation et flexibilité -- Politiques du spectacle et métamorphoses du public -- Entre le sacré et le marché, la culture matérielle du spectacle monarchique -- Qualité sociale et qualité matérielle -- Nouveaux consommateurs, nouveaux biens : De la théâtralité du cérémonial à la théâtromanie de la cour
  • La nouvelle esthétique théâtrale au service du faste de cour -- De Colbert à Voltaire, les Menus Plaisirs et la politique monarchique du théâtre -- Voltaire, le théâtre et les Menus Plaisirs -- Le colbertisme théâtral des Menus Plaisirs -- Les Menus Plaisirs et le théâtre au tournant de la guerre de Sept Ans -- Les Menus Plaisirs, agents d'une politique publique des arts -- Un épilogue ambigu:la réunion de l'Opéra aux spectacles de la cour -- Conclusion -- Perspectives: de l'administration curiale à l'administration centrale, de la cour à la ville, de la capitale à l'espace européen -- À l'heure révolutionnaire: des effets politiques de la mutabilité des objets -- Acquis : l'originalité de l'esprit de la monarchie administrative.
"Sacre et couronnement, lever et coucher du souverain, comédies, concerts et autres divertissements de la cour, mariages, funérailles princières... Les Menus Plaisirs du Roi étaient chargés de l'organisation du cérémonial au quotidien, notamment au château de Versailles, comme des rituels d'État. Nous sommes ici au coeur du grand spectacle que la monarchie donne d'elle-même, au coeur de la fabrique de l'image et de l'imaginaire de la souveraineté, pour manifester, mais aussi pour combler le fossé qui sépare le corps mortel du prince de la dignité immortelle et sacrée qu'il incarne. Pour la première fois l'administration des Menus Plaisirs est l'objet d'une étude qui, à partir d'une approche inédite des archives, s'inscrit pleinement dans le renouvellement de l'histoire politique et culturelle de l'État royal. Au siècle des Lumières, cette institution méconnue est d'autant plus importante qu'elle assume à la fois le service du souverain, à Versailles, et celui du public, à Paris, par sa tutelle de la Comédie-Française et de la Comédie-Italienne. Du règne finissant de Louis XIV à celui de Louis XVI, placés au centre de la Maison du Roi, mais aussi de la monarchie dite "administrative", les Menus Plaisirs permettent de mieux comprendre, de l'intérieur en quelque sorte, le fonctionnement de l'État et "l'esprit des institutions" de l'Ancien Régime."--Page 4 of cover.
Green Library

9. After life [2014]

Music recording
1 online resource (1 sound file). Sound: digital. Digital: audio file.
  • After life (2015) / Tom Cipullo, composer ; David Mason, librettist (49:40)
  • In sleep the world is yours (2013) / Lori Laitman ; poems by Selma Meerbaum-Eisinger (17:15).

10. L'aiglon [2015]

Music recording
2 sound discs (1:32:29) : digital ; 4 3/4 in. Sound: digital; optical. Digital: audio file; CD audio.
Music Library
Music score
1 vocal score (146 pages) ; 30 cm.
Music Library
Book
175 pages : illustrations (chiefly color) ; 26 cm
  • Albert Maignan ressuscité... / Bruno Foucart -- Les sociétés d'artistes / François Legrand -- Au service du grand art / Véronique Alemany -- L'âme discrète du musée de Picardie / Olivia Voisin -- Les décors monumentaux / Véronique Alemany -- Dans l'atelier du peintre.
  • Les artistes aiment les musées -- Avant-propos Alain Gest -- Albert Maignan ressuscité... -- Bruno Foucart -- Les sociétés d'artistes -- François Legrand -- Au service du grand art -- Véronique Alemany -- L'âme discrète du musée de Picardie -- Olivia Voisin -- Les décors monumentaux -- Véronique Alemany -- Le restaurant Le Train Bleu, gare de Lyon -- La salle des fètes de l'Exposition universelle de 1900 -- Le salon des Lettres de l'Hôtel de Ville -- Le grand foyer de l'Opéra-Comique -- La chapelle Notre-Dame-de-Consolation -- La grande galerie du Sénat -- L'hôtel Homberg -- Dans l'atelier du peintre -- Les Voix du tocsin -- La Muse verte -- La Mort de Carpeaux.
"Peintre insaisissable, oscillant entre un naturalisme en vogue à la fin du XIXe siècle et une peinture élégiaque aux accents symbolistes, Albert Maignan (1845-1908) est l'un des grands noms oubliés de cette époque. Remis à l'honneur aujourd'hui par la Fondation Taylor et le musée de Picardie qui se partagent son héritage, il retrouve enfin la place légitime qu'il avait acquise dans le Paris fin de siècle. Formé auprès de Jules Noël et d'Évariste Luminais, il devient dès 1867 un fidèle du Salon des artistes français où il expose jusqu'à sa mort avec un égal succès. Récompensé d'une première médaille en 1879, il trouve la consécration en 1888 avec Les Voix du tocsin oeuvre mythique qui renaît aujourd'hui après avoir été roulée depuis 1918, avant de s'imposer parmi les artistes éternels du musée du Luxembourg en 1892 avec La Mort de Carpeaux, qui lui vaut la médaille d'honneur. Réputé pour sa peinture, qui de l'Histoire évolue vers le grand décor inspiré par ses nombreux voyages en Italie où il découvre les peintres des XVIIe et XVIIIe siècles, Albert Maignan lie son nom aux chantiers monumentaux de son temps. Il laisse une oeuvre magistrale et toujours vivante : murs et plafonds peints au restaurant Le Train Bleu à la gare de Lyon et à l'Opéra-Comique, tapisseries pour le Sénat, écoinçons pour l'Hôtel de Ville de Paris, vitraux pour l'église Saint-Philippe-du-Roule... À la suite de l'incendie du Bazar de la Charité, en 1897, au cours duquel périssent plus de 125 personnes parmi les plus en vue du Paris mondain, il est invité à réaliser deux vitraux et une coupole peinte de 90 mètres carrés pour la chapelle Notre-Dame-de-Consolation, érigée en hommage aux victimes du drame. Nommé en 1905 président de la Fondation Taylor, à laquelle il léguera sa maison-atelier parisienne du 1 rue La Bruyère, Albert Maignan joue un rôle décisif dans la vie artistique du tournant du siècle, oeuvrant avec générosité à la promotion et à la protection des artistes. L'important fonds d'atelier, légué au musée de Picardie avec l'ensemble de sa collection, de même que son journal, conservé à la Bibliothèque nationale de France, permettent de redécouvrir la richesse et l'extraordinaire liberté de cette oeuvre véritable allégorie du goût du tournant du siècle, que son épouse Louise, fille du peintre Charles-Philippe Larivière, a livrée à la postérité en préparant, de la mort de son mari en 1908 à sa propre mort en 1947, le travail qui reste à mener pour qu'Albert Maignan redevienne aux yeux du public l'un des plus grands noms du XIXe siècle."--Page 4 of cover.
Art & Architecture Library (Bowes)
Music score
1 score (38 p.) ; 28 cm.
Music Library
Book
1 online resource.
This project traces the 20th century operatic afterlife of two intertwined 19th century wandering figures—the heroic, Romantic, German Wanderer and the cursed, undying Wandering Jew. After World War I, the subsequent depression, and the rise of the Nazi party made anti-Semitism increasingly prevalent, the previously intertwined figures of Romantic Wanderer and Wandering Jew separated in terms of their cultural representation. The four operas I consider, created by German-speaking Jewish artists in 1912, 1920, 1933, and 1937 respectively, chart this process of anti-assimilation and encompass a wide variety of themes: prostitution as a feminized form of wandering, Freudian-inflected undead walkers in the aftermath of the first world war, the wanderer as political poet whose movement inscribes the state of Israel, and wartime exiles attempting to defer the inevitability of death by wandering eternally. A complementary goal is to consider the nature of wandering forms, delving deeply into the meaning of wandering as an aesthetic metaphor in a variety of genres: in theater, music, or literature, what does it mean to be a wandering text? How do theatrical works engaging with the theme of wandering reimagine the nature of the wandering subject? How does wandering create theatrical, political, or musical spaces? In my examination of Franz Schreker's Der Ferne Klang, Erich Wolfgang Korngold's Die Tote Stadt, Arnold Schoenberg's Moses und Aron and Kurt Weill's The Eternal Road, I develop the following claims about the relationship between wandering, space, and form: 1) Operatic wandering is about traversing space and non-space. 2) The proliferation, superfluity, and superimposition of spaces in these texts makes possible a theorization of movement in which spaces wander around characters rather than vice versa. 3) These spatial formations and deformations point towards a definition of wandering that is discursively multiple. 4) Wandering in these operas is not a digression away from the point; wandering is the point.
Book
206 pages ; 21 cm
Green Library
Music score
1 study score (2 volumes) ; 36 cm
Music Library
Book
3 volumes : illustrations ; 26 cm
  • *FOUNDATIONS What it is Mapping chaos Turning points Periods Guilty, but with an explanation Traces You won't find... A hybrid *BEFORE FANTASMAGORIE Archaeology Phidias's animating chisel Representation The motion analysis Music The meaning of the implicit movement An object of philosophy Pre-history 1 Science, science, science Writing with light Pre-history 2 A static mirror? The flipbook Emile Reynaud Birth of the theatre optique The theatre optique and how it worked On with the lantern show Colour Music Frame-by-frame Arthur Melbourne-Cooper Walter Robert Booth Edwin S. Porter James Stuart Blackton *THE SILENT PIONEERS The Cradle Days of heaven and hell Culture Cinema Narrative, non-narrative Fantasmagorie The Fathers Emile Cohl Georges Melies The first abstract cinema Arnaldo Ginna Leopold Survage Winsor McCay Colour *SILENT AMERICA 1 The Fathers' Sons Comics, animation, cinema Birth of the industry Raoul Barre Cut-Insert-Replace John Randolph Bray The IFS Other American artists Willis O'Brien Instruments and language *SILENT AMERICA 2 The Fleischer Brothers Felix, Pat and Otto Messmer Terry and the Fables Bowers unbound Lantz's debut Bray, Hurd, Mintz Sarg and Dawley The young Walt Disney *SILENT EUROPE The individualists Great Britain Ireland France Lortac Advertisers and illustrators Germany: Animation in the Weimar Republic The matrix Walther Ruttmann Viking Eggeling Hans Richter Lotte Reiniger Austria Switzerland Denmark Storm P. Sweden Grogg the sailor man Other Swedish animators Norway Finland Spain Portugal Hungary The rest of Europe Russia/Soviet Union Ladislas Starewich After the revolution Ukraine *SILENT ASIA Japan The narrator *SILENT LATIN AMERICA Mexico Colombia Brazil Chile Argentina: the world's first animated feature film Quirino Cristiani *SILENT AFRICA Union of South Africa *SILENT OCEANIA Australia *THE GOLDEN AGE Steamboat Willie Sync or sink The non-concurrence factor Sound *AMERICA LAUGHS! Walt Disney the tycoon The fixed star Human or animal? Years of expansion The ones who made the magic Another Disney folly The pillar brother At Disney's animation declines The Twelve Rules of the Nine Men Animation heads west The masters' master Lantz, from the Rabbit to the Woodpecker Ub Iwerks Mintz, Krazy and Columbia Van Beuren Terrytoons and Mighty Mouse The Fleischers: Betty Boop, Popeye and two feature films Warner Brothers Tex Avery Bob Clampett Carl W. Stalling, musical animator Metro-Goldwyn-Mayer: Cat, Mouse, Tex Tashlin the wanderer The American avant-garde Animation in Canada *EUROPE Great Britain Len Lye France Anthony Gross Berthold Bartosch Alexandre Alexeieff Belgium The Netherlands Germany in Nazi time Hans Fischerkoesen The Brothers Diehl Heinz Tischmeyer Hans Held Wolfgang Kaskeline Avant-garde Oskar Fischinger Austria Switzerland Denmark Norway Sweden Czechoslovakia Poland Stefan and Franciszka Themerson Hungary George Pal Yugoslavia Italy Greece Spain Catalan vibrancy The Edad Dorada Barcelona's entrepreneurs Barcelonese feature-length films Madrid Valencia Portugal *SOVIET UNION Russia Ukraine Lithuania Azerbaijan Armenia Georgia *ASIA Japan Ofuji Noburo Masaoka Kenzo Kimura Hakuzan A Brave New World The changed frame around Mochinaga Tadahito and his legacy Ichikawa Kon China *LATIN AMERICA Mexico Colombia Venezuela Brazil Argentina *AFRICA Egypt Union of South Africa *.
  • (source: Nielsen Book Data)9781138854529 20160619
  • Table of Contents The fourth Period is short and runs from 1951 (date of projection of the UPA short Gerald McBoing Boing) to 1960, the date of the first international animation film festival (Annecy, France). It is characterized by indecision. Disney and his imitators lost momentum, the UPA proposed a new style, the television age began, and an original animation output was born in Europe. We'll christen it The Birth of a Style (1951 - 1960). AMERICA Culture Almighty and suspicious Gerald McBoing Boing UPA Pete Burness Robert Cannon John Hubley Theory from practice The galaxy Walt Disney Warner Bros. Chuck Jones Michael Maltese The resurgence of Terrytoons Walter Lantz's Oasis MGM's cat and mouse From Fleischer to Famous Bunin's puppets TELEVISION 101 TV and American animation Jay Ward TV and animated commercials The West Coast Experimental film movement Jordan Belson Harry Smith, heaven and earth magician The Enigma of Hy Hirsh The Canadian Phenomenon Norman McLaren EUROPE WESTERN EUROPE Great Britain John David Wilson John Halas France Grimault and the stories from the front Ladislas Starewitch and the feature film Germany Federal Republic of Germany Austria Switzerland Denmark Kaj Pindal Bent Barfod Norway Finland Italy Portugal Greece EASTERN EUROPE Czechoslovakia and puppets Hermina Tyrlova Karel Zeman Jiri Trnka The Music of the Puppets Poland Hungary Yugoslavia: the first stage of the Zagreb School Croatia Bulgaria Romania SOVIET UNION Russia Ivan Ivanov-Vano Lithuania Georgia ASIA Japan Toei Doga's start-up Praiseworthy people Mori Yasuji Otogi Pro Experiments China LATIN AMERICA Mexico Venezuela Brazil Argentina AFRICA South African Republic THE THREE MARKETS Global Stability It seemed such an easy game Animation forks AMERICA On the big screen - Shorts On the big screen - Feature films Stephen Bosustow A Cat in the Heavy Traffic Ray Harryhausen On the small screen Weston Woods, from book to film Independent filmmakers Ernest Pintoff Jane Aaron John Canemaker George Griffin Those talented inventive people John and Faith Hubley Will Vinton Fine Artists for Animation Jules Engel Robert Breer John Whitney James Whitney Lawrence Jordan People not to overlook Stan Van der Beek Canada The National Film Board goes to Heaven Pierre Hebert Vancouver & Co. Caroline Leaf Ishu Patel Frederic Back Western EUROPE Cartoon EU Clusters of studios New technologies The pre-production CARTOON FORUM The CARTOON D'OR CARTOON MOVIE Western Europe: The New Generation Great Britain: the good years Alison De Vere The Quay Brothers Young Aardman & Co. George Dunning Yellow Submarine Richard Williams Bob Godfrey Ireland Aidan Hickey Jimmy Murakami France: from craftsmanship to ambition Other French animators Jean-Francois Laguionie Piotr Kamler Walerian Borowczyk Peter Foldes The roaring 1980s Belgium Raoul Servais The Netherlands Borge Ring Paul Driessen West Germany (Federal Republic of Germany) Wolfgang Urchs Helmut Herbst Franz Winzentsen The 1980s Curt Linda Jan Lenica Switzerland Austria Italy: allegro non troppo Bruno Bozzetto Gianini and Luzzati Osvaldo Cavandoli Guido Manuli Manfredo Manfredi Cioni Carpi Greece Spain Francisco Macian The Entertainment Companies The Independents Portugal Artur Correia Ricardo Neto More talents Denmark Lejf Marcussen Jannik Hastrup Norway Sweden: growth Finland: reserved and serene Iceland EASTERN EUROPE German Democratic Republic Underground Animation Films Czechoslovakia: Trnka's heirs Jiri Brdecka The Horse Opera Bretislav Pojar Jan Svankmajer Besides the masters Slovakia Poland: the poetry of pessimism Miroslaw Kijowicz Daniel Szczechura Stefan Schabenbeck Ryzsard Czekala Experiments, craftmanship and sarcasm Hungary Yugoslavia: the new Zagreb School Tomica Simovic, animating the orchestra Nedeljko Dragic Zlatko Grgic Borivoj Dovnikovic Igor Savin, animating the synthesizer Zlatko Bourek Ante Zaninovic Marks & Jutrisa Pavao Stalter Zdenko Gasparovic Josko Marusic Other Artists Beyond Zagreb Slovenia Serbia Nikola Majdak produced Bosnia and Herzegovina Macedonia Albania Bulgaria Romania Soviet Union I Russia Thaw Acclaim Stagnation The best animation ever Stagnation after Stagnation Quality hatches at Soyuzmultfilm Anatoly Karanovich Roman Kachanov At long last Cheburashka Anatoly Petrov Boris Stepantsev Nikolay Serebriakov Ivan Ufimtsev Vadim Kurchevsky Gennady Sokolsky Leonid Nosyrev Stanislav Sokolov Ideya Garanina Nina Shorina And many, many more Multtelefilm, Soyuzmultfilm's competitor Aida Zyabliakova Anatoly Solin Fedor Khitruk Eduard Nazarov Garri Bardin Andrei Khrzhanovsky Yuri Norstein Francesca Yarbusova The Old and the New Perestroika Soviet Union II Ukraine 1960 -1963 the stage of formation 1964-1967 creative searches Creative upraise (1968 -1984) 1985-1991. Perestroika (the rebuilding). Moldova Belarus Lithuania Latvia Arnolds Burovs More puppeteers Starting from cut-outs Smerlis Estonia Georgia Armenia Azerbaijan Uzbekistan The puppets of the 1960s One decade later The heyday Kazakhstan Amen Khaidarov Kyrgyzstan Trial of strength (1977-1980) Art-houses and fairy tales (1981-1987) The triumph of art-houses (1987-1990) Tajikistan ASIA Israel Turkey Iraq And Sesame opened Iran Japan Japanese Television Astro Boy and the beginning of TV animation Tezuka Osamu Mushi Productions Tezuka Productions Studio Tatsunoko A Production/Shin'ei Doga Toei's fortunes Animeshon sannin no kai Kuri Yoji Animation Vs Art Video Puppet Animation Kawamoto Kihachiro The Tokusatsu factor The anime boom in the West Before the anime boom In Europe In the United States The ten champions UFO Robo Grendizer Mazinger Z Uchu senkan Yamato Kagaku ninja tai Gatchaman Uchu kaizoku Captain Harlock Candy Candy Kido senshi Gundam Versailles no bara Urusei yatsura Captain Tsubasa Anime Otaku The Original Anime Video Collaborations The Crisis of the Mid 1980s Akira and the End of the Decade China Vietnam India The Films Division Limited animation The private studios Animation Education Personal films The Black Decade Sri Lanka Indonesia Thailand Taiwan Mongolia Singapore Malaysia The Philippines Hong Kong North Korea South Korea AFRICA Egypt Tunisia Algeria Senegal Mali Niger Burkina Faso Liberia Ivory Coast Ghana Togo Cameroon Zaire Burundi Zambia Mauritius Mozambique South African Republic The SABC Animation Unit Alternative Animation Commissioned for South African Television (1976-1988) Dave McKey Animation Services Annie-Mation Studios Glenn Coppens Cartoons LATIN AMERICA Mexico Costa Rica Cuba Nicaragua Colombia Venezuela Peru Bolivia Jesus Perez Brazil Uruguay Argentina Chile OCEANIA Australia Yoram Gross Independent filmmakers Avant-garde animation Harry Reade New Zealand ISSUES Computers and animation Those masters' voices.
  • (source: Nielsen Book Data)9781138854819 20160619
  • Table of Contents The sixth Period, since 1991, features economic globalization, expansion of the television series, progress of countries like Japan, Korea, China, India, consolidation of elitist auteur animation. But it is impossible to write history while it is in its making. We'll leave the Period uncharacterized, until the day we will be witnessing its ending: these are then Contemporary Times (1991 - 2015) CONTEMPORARY TIMES The Last Days of the Wall An Animation Notebook AMERICA Is TV an Art, Too? Animation followed Sub-Period 1: The Beginning, 1989-1998 Mike Judge Nickelodeon's double humour A matter of style The extremist Sub-Period 2: 1999-2009 Author's work Animated channels Limited Disney Renaissance in Disney Features The mantle of Walt Working on dreams Pixar, Character Animation in the Digital Era Before PIXAR From Toy Story to Disney The PixarTouch Computer animation What it looked like Storytelling CGI and Feature Films Tim Burton, Henry Selick, Mike Johnson Tim Burton Henry Selick Mike Johnson The Independents Outside Animation Duration: Long Form Duration: Time and Space Performance Catharsis Documentary New Yorkers Out There Digital Pulp Women in the Limelight Vibeke Sorensen Deanna Morse Joanna Priestley Maureen Selwood The Soloists Bill Plympton Igor Kovalyov Canada Steven Woloshen Normand Roger Wendy, Amanda and the others Jacques Drouin The evolution of Pierre Hebert EUROPE Great Britain: The Wonderful Years Animation meets video art Londoners In Manchester In Cardiff Scotland Ireland Studios Independents France The feature film Animation and Comic Strip 3D and Infography TV Series The Short Film That famous touch Michel Ocelot Florence Miailhe Alain Gagnol & Jean-Loup Felicioli Borislav Sajtinac Belgium Luxemburg The Netherlands Rosto Michael Dudok De Wit Germany after Reunification The German Colleges as Origin of the Art of Animated Film The Renewal of the Abstract Animated Film Underground, Subversion and Animation Reduction Reflection and Narrative The Art of Puppet Animation The two young fathers Humorous Germany? Animated movie theatre productions New Form of 3D-rendered Computer Animations Barbel Neubauer Austria Switzerland Georges Schwizgebel A case of form Denmark Sweden Magnus Carlsson Norway Finland Iceland The Invasion of the Elves Estonia Priit Parn Latvia Lithuania Belarus Poland Piotr Dumala Jerzy Kucia Czech Republic Michaela Pavlatova Jiri Barta Jan Balej Pavel Koutsky Vlasta Pospisilova Aurel Klimt Other Czech artists Slovakia Hungary Slovenia Croatia Josko Marusic Serbia Bosnia and Herzegovina Bulgaria Romania Cyprus Ukraine Georgia Armenia Robert Sahakyants Azerbaijan Greece Yiorgos Sifianos Albania Italy The Neo-Pictorial Current Spain The new era The turning point TV series Shorts Portugal Russia The 1990s, history The 2000s, history Economy A look back, in anger Tatarsky and Pilot, the greatest adventure Producers, the new class Prokhorov, from science to children films Directors: Aleksandr Petrov Directors: Oksana Cherkasova Directors: Dmitry Geller Directors: Konstantin Bronzit Directors: Garri Bardin Directors: Stanislav Sokolov Directors: Ivan Maksimov Directors: Aleksei Demin Directors: a trio Directors: in Saint Petersburg Directors: in Yekaterinburg ASIA Japan, Asiatic Giant A lost decade? Studio Ghibli Takahata Isao Miyazaki Hayao More animation studios Toei Animation Studio 4 C Gainax TMS Entertainment Sunrise Madhouse Production I.G Studio Gonzo Studio Bones Manglobe Kawaii Auteurs Rintaro Oshii Mamoru Kon Satoshi Otomo Katsuhiro Kawamori Shoji Kawajiri Yoshiaki Morimoto Koji A new kind of serial Examples Satellite channels The main directors of new serial animation Anno Hideaki Watanabe Shinichiro Yuasa Masaaki Hosoda Mamoru Shinkai Makoto Internet and CG anime Visual art + anime and manga Murakami Takashi Tabaimo Ishida Takashi The Superflat world Independent animation Shojo Tsubaki by Harada Hiroshi Kurosaka Keita Yamamura Koji More independent animators Yokosuka Reiko Yonesho Maya Sato Dino Murata Tomoyasu Kato Kunio Totchka Sakakibara Sumito Oyama Kei Wada Atsushi Mizue Mirai Nakata Hideto Tsuji Naoyuki Conclusions Challenges Israel Israeli/American Tatia Rosenthal Turkey Arabian Middle East Palestine Jordan Syria Lebanon Iraq Kuwait Saudi Arabia Bahrain Qatar Emirates - Dubai Oman Yemen Iran Kazakhstan Zhaken Danenov, the master Younger Kazakhs Uzbekistan Kyrgyzstan New period, new horizons Tajikistan Bakhtier Kakharov Turkmenistan Mongolia South Korea China Short Chinese animation 1990-2000 Investment and a new mainstream Animation studios Taiwan Taiwan Independent Hong Kong India Nepal SOUTHEAST ASIA Vietnam Thailand Malaysia Singapore Indonesia The Philippines AFRICA Morocco Algeria Tunisia Libya Egypt Mali Niger Sudan Ethiopia Senegal Ivory Coast Ghana Benin Burkina Faso Nigeria Camerun Kenya Democratic Republic of Congo (DRC) Mozambique Madagascar Zimbabwe The JAAG group South African Republic Frame-by-frame Animation Studios Klaybow Films Lindsay van Blerk and XYZoo Triggerfish Studios Commercial Studios William Kentridge LATIN AMERICA Mexico Feature films Cuba English-Speaking Caribbean Area Jamaica Saint Lucia Barbados Trinidad and Tobago Guatemala Honduras El Salvador Costa Rica Panama Colombia Venezuela Ecuador Peru Brazil Bolivia Paraguay Chile Argentina Features Short films Appearence of schools Uruguay OCEANIA Australia Volumetric Leunig Death becomes him Adam Elliot Anthony Lucas And many more New Zealand ISSUES Music videos Stereoscopy The audience's literacy Optical perception and film language Machinima, real-time animation.
  • (source: Nielsen Book Data)9781138854826 20160619
  • Volume I * Foundations * Before Fantasmagorie (XX - 1908) * The Silent Pioneers (1908 - 1928) * Silent America I * Silent America II * Silent Europe * Silent Latin America * Silent Asia * Silent Africa * Silent Oceania * The Golden Age (1928 - 1950) * America Laughs * Europe * Soviet Union * Asia * Latin America * Africa Volume II * The Birth of a Style (1951 - 1960) * America * Western Europe * Eastern Europe * Soviet Union * Asia * Latin America * Africa * The Three Markets (1960 - 1991) * America * Western Europe * Eastern Europe * Soviet Union I * Soviet Union II * Asia * Africa * Latin America * Oceania Volume III * Contemporary Times (1991 - Present) * America * Europe * Asia * Arabian Middle East * Southeast Asia * Africa * Latin America * Oceania * Issues.
  • (source: Nielsen Book Data)9781138943070 20160619
A continuation of 1994's groundbreaking Cartoons, Giannalberto Bendazzi's Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries. Volume II delves into the decades following the Golden Age, an uncertain time when television series were overshadowing feature films, art was heavily influenced by the Cold War, and new technologies began to emerge that threatened the traditional methods of animation. Take part in the turmoil of the 1950s through 90s as American animation began to lose its momentum and the advent of television created a global interest in the art form. With a wealth of new research, hundreds of photographs and film stills, and an easy-to-navigate organization, this book is essential reading for all serious students of animation history.
(source: Nielsen Book Data)9781138854819 20160619
A continuation of 1994's groundbreaking Cartoons, Giannalberto Bendazzi's Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries. Volume III catches you up to speed on the state of animation from 1991 to present. Although characterized by such trends as economic globalization, the expansion of television series, emerging markets in countries like China and India, and the consolidation of elitist auteur animation, the story of contemporary animation is still open to interpretation. With an abundance of first-hand research and topics ranging from Nickelodeon and Pixar to modern Estonian animation, this book is the most complete record of modern animation on the market and is essential reading for all serious students of animation history.
(source: Nielsen Book Data)9781138854826 20160619
A continuation of 1994's groundbreaking Cartoons, Giannalberto Bendazzi's three-volume Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries. Features include: * Over 200 high quality head shots and film stills to add visual reference to your research * Detailed information on hundreds of never-before researched animators and films * Coverage of animation from more than 90 countries and every major region of the world * Chronological and geographical organization for quick access to the information you're looking for Volume I traces the roots and predecessors of modern animation, the history behind Emile Cohl's Fantasmagorie, and twenty years of silent animated films. Encompassing the formative years of the art form through its Golden Age, this book accounts for animation history through 1950 and covers everything from well-known classics like Steamboat Willie to animation in Egypt and Nazi Germany. Volume II delves into the decades following the Golden Age, an uncertain time when television series were overshadowing feature films, art was heavily influenced by the Cold War, and new technologies began to emerge that threatened the traditional methods of animation. Take part in the turmoil of the 1950s through 90s as American animation began to lose its momentum and the advent of television created a global interest in the art form. Volume III catches you up to speed on the state of animation from 1991 to present. Although characterized by such trends as economic globalization, the expansion of television series, emerging markets in countries like China and India, and the consolidation of elitist auteur animation, the story of contemporary animation is still open to interpretation. With an abundance of first-hand research and topics ranging from Nickelodeon and Pixar to modern Estonian animation, this book is the most complete record of modern animation on the market.
(source: Nielsen Book Data)9781138943070 20160619
Green Library, Art & Architecture Library (Bowes)
Music score
1 vocal score (363 pages) ; 28 cm
Music Library
Music score
1 score (v, 31 pages) ; 30 cm.
Music Library
Music score
1 score (viii, 85 pages) ; 30 cm.
Music Library