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Book
xiv, 703 pages : music ; 27 cm
  • Part I: THE PRIMARY MATERIALS AND PROCEDURES. 1. Key, Scales, and Modes. 2. Intervals. 3. Rhythm and Meter. 4. Triads and Seventh Chords. 5. Introduction to Counterpoint. 6. Procedures of Four-Part Writing. Part II: I-V-I AND ITS ELABORATIONS. 7. I, V, and V7. 8. I6, V6, vii6. 9. Inversions of V7. 10. Leading to V: IV, ii, and ii6. 11. The Cadential 6/4. 12. vi and IV6. 13. Supertonic and Subdominant Seventh Chords. 14. Other Uses of IV, IV6, and vi. 15. V as a Key Area. 16. III and VII. Part III: 5/3, 6/3, AND 6/4 TECHNIQUES. 17. 5/3-Chord Techniques. 18. Diatonic Sequences. 19. 6/3-Chord Techniques. 20. 6/4-Chord Techniques. Part IV: ELEMENTS OF FIGURATION. 21. Melodic Figuration. 22. Rhythmic Figuration. Part V: DISSONANCE AND CHROMATICISM I. 23. Leading-Tone Seventh Chords. 24. Mixture. 25. Remaining Uses of Seventh Chords. 26. Applied V and VII. 27. Diatonic Modulation. Part VI: DISSONANCE AND CHROMATICISM II. 28. Seventh Chords with Added Dissonance. 29. The Phrygian II (Neapolitan). 30. Augmented Sixth Chords. 31. Other Chromatic Chords. 32. Chromatic Voice-Leading Techniques. 33. Chromaticism in Larger Contexts. Appendix I: Keyboard Progressions. Appendix II: Score Reduction. Appendix III: Roman Numerals and Registers-- Explanatory Tables and Charts. Index of Musical Examples. Subject Index.
  • (source: Nielsen Book Data)9781337560573 20180226
A clear and accessible volume spanning the entire theory course sequence, HARMONY AND VOICE LEADING, covers all basic concepts, including species counterpoint. Available with MindTap Music, which includes the ebook with audio examples, Guided Listening Exercises for many units--showing a step-by-step resolution of a unit exercise--and PDFs of the workbook exercises.
(source: Nielsen Book Data)9781337560573 20180226
Music Library
Book
xiv, 529 pages : illustrations, music ; 26 cm
  • Preface A Note for Instructors A Student's Introduction Acknowledgments Preludes - Rudiments Prelude 1 - Notation of Sound Prelude 2 - Meter Prelude 3 - Scales and Key Signatures Prelude 4 - Intervals Prelude 5 - Triads Prelude 6 - Seventh Chords Part I - Melody Chapter 1 - Melodic Construction Chapter 2 - Major Key Functionality Chapter 3 - Minor Key Functionality Chapter 4 - Chromaticism in Melodies Part II - Species Counterpoint to Chorale Style Chapter 5 - Background for Species Chapter 6 - First Species in Two Voices Chapter 7 - Second and Third Species in Two Voices Chapter 8 - Fourth Species in Two Voices Chapter 9 - Fifth Species (Florid Counterpoint) in Two Voices Chapter 10 - Two-Voice Counterpoint Chapter 11 - Three Voices and Chords Chapter 12 - First Species in Three Voices Chapter 13 - Second and Third Species in Three Voices Chapter 14 - Fourth Species in Three Voices Chapter 15 - Fifth Species (Florid Counterpoint) in Three Voices Chapter 12-15 Redux Chapter 16 - Four Voice Counterpoint and Chorale Style Chapter 17 - Figured Bass Chapter 18 - Other Dissonances Chapter 19 - The Purpose of Chorale Style Part III - Diatonic Harmony to Form Chapter 20 - Roman Numerals and Harmonic Progressions Chapter 21 - Tonic and Dominant: The Fundamental Relationship Chapter 22 - Predominants: The Basic Progression Chapter 23 - Intensifying the Motion: Adding Dissonance 1.Sevenths 2.Cadential 6/4 Chapter 24 - Submediant Chapter 25 - Mediant Chapter 26 - Harmonic Rhythm Chapter 27 - Harmonizations Chapter 28 - Linear Chords Chapter 29 - Sequences Chapter 30 - Tonicization Chapter 31 - Modulation Chapter 32 - Phrase-level Analysis Chapter 33 - Small Forms Part IV - Color Chords and Bold Chromaticism Chapter 34 - Modal Mixture Chapter 35 - Neapolitan Chapter 36 - Augmented Sixth Chords Chapter 37 - Altered Dominants Chapter 38 - Enharmonic Reinterpretation Chapter 39 - Third Relations Part V - Popular Music Chapter 40 - Introduction to Popular Music Chapter 41 - General Stylistic Elements Chapter 42 - Sonorities from Jazz: Stable Sevenths, Extended Tertian Chords, and Added Note Harmonies Chapter 43 - Lead Sheet Notation Chapter 44 - Pop Progressions Following Classical Diatonic Functions Chapter 45 - Blues and the Retrogression Chapter 46 - Mediant and Ascending Thirds Chapter 47 - Supertonic, Linear Harmonic Motion, and Diatonic Summary Chapter 48 - Chromaticism from Classical Music Chapter 49 - Chromaticism from Jazz - Tritone Substitution Chapter 50 - Pop Chromaticism 1: L and â ­VII Chapter 51 - Pop Chromaticism 2: Quality Change Chapter 52 - Three Analyses Appendices Appendix A - Melodies for Study Appendix B - Cantus Firmi and Figured Basses for Exercises Appendix C - Church Modes Appendix D - Extended Tertian Harmony Glossary About the Author.
  • (source: Nielsen Book Data)9781538101230 20180403
Music Theory and Composition: A Practical Approach presents a pragmatic, accessible approach to music theory through an emphasis on melody and counterpoint. This focus explains the "why" of musical construction more clearly than the traditional approach of beginning with chords. By starting with a single melodic line and gradually adding voices in counterpoint, the book drills part-writing while simultaneously explaining functionality, first with scale degrees and then with harmony. The text has students learn musical techniques and progressively build on their functions and importance to create their own compositions. With short, digestible chapters, Music Theory and Composition clearly presents otherwise complicated ideas not as strict rules, but as artistic ideals, encouraging the interactive creation of new compositions as a tool for learning. The textbook is versatile and easily customizable, suiting -Different skill levels with species counterpoint providing a framework for the beginner while providing an interesting challenge for more experienced students -Different curricular schedules with complete exercises in two, three, and four voices, allowing for an optional skip from two voices to four -Different pedagogical approaches with species exercises encouraging students to consider harmonic choices and figured bass ensuring functional progressions Specific features of this text include: -complete curriculum for first-year theory courses -over 500 musical examples drawn from Common Practice Era compositions as well as more contemporary and popular pieces -workbook sections printed at the end of each chapter and available for download on companion website -focus on active composition throughout the text and workbook sections -conversational tone to encourage student engagement Designed for first-year college music theory courses, but accessible enough for the interested lay reader or high school student, the text offers a true balance of counterpoint and harmony.â .
(source: Nielsen Book Data)9781538101230 20180403
Music Library
Book
xxxiv, 523 pages : illustrations, music ; 28 cm
  • 1. General Considerations and Prerequisites. 2. Basic Percussion Technique Through the Study of the Snare Drum. 3. Multiple Percussion. 4. Keyboard Percussion. 5. Timpani. 6. Bass Drum, Cymbals, and Accessories. 7. Percussion Instruments of the World. 8. Drum Set. 9. Marching Percussion. 10. Musical Interpretation of Percussion Parts. 11. Supplemental Playing Exercises. Appendix A--Orchestral Excerpts for Percussion and Discography of Percussion Music. Appendix B -Select Percussion Solo and Ensemble Music.
  • (source: Nielsen Book Data)9781337560719 20180226
Gain the knowledge and skills needed to learn--and teach--percussion with TEACHING PERCUSSION, Enhanced 3rd Edition! Providing a comprehensive introduction to every aspect of percussion education, technique and performance, this text and its accompanying videos guide you toward a greater musical awareness and improved technique. Illustrations, examples and exercises acquaint you with the special needs of all percussion instruments. And modern techniques and numerous exercises give you greater insight into music learning and performance. Available with MindTap Music, the digital study tool that empowers you to learn when, where and how you want--even on your mobile.
(source: Nielsen Book Data)9781337560719 20180226
Music Library
Book
222 pages ; 20 cm.
Music Library
Book
227 pages : illustration, portrait, charts, music ; 21 cm
  • L'arbre et la sève : la musique de Dominique Lemaître et sa généalogie -- L'anima et la praxis : l'opus conçu pour être écouté -- Un singulier pluriel -- D'une perle irrégulière, la musique -- Une impression de musique à fleur de temps -- Le mysterium des arcanes des compositions de Lemaître -- Passage du millénaire -- Regards obliques sur la décennie 1996-2007 -- Focale sur l'imaginaire acoustique des années 2007-2017 -- La fabrique du temps musical -- OEuvres en devenir -- À propos du temps : l'intuition sensible, entretiens de Dominique Lemaître avec Pierre Albert Castanet réalisés durant l'été 2017 -- Témoignages & compagnonnages -- La fulgurance de l'instant contient l'éternité... et sa lumière -- Affaire à suivre -- Une musique d'ombre et de lumière -- À propos de Pulsars, Ombra della serra, Échos des cinq éléments, Laps et Trois chants de l'évidence -- Catalogue chronologique (opus 1 à 98, de 1982 à 2017) des oeuvres de Dominique Lemaître -- Éléments bibliographiques.
"Auteur de plus d'une centaine de partitions allant du solo à la forme concertante, du quatuor à cordes au monodrame, de l'opus orchestral à la pièce pédagogique Dominique Lemaître est un compositeur à la fois prolifique et poétique. Vocale et / ou instrumentale, sa production fait actuellement l'objet de sept disques monographiques. Dans ce riche contexte des noces de l'imagination et de la perception, la rencontre révélatrice entre un compositeur français et un auditeur/lecteur avide de bien-être musical ne peut être de ce fait que stimulante et bénéfique. Jouée par les plus grands interprètes d'aujourd'hui, sa musique est reconnue internationalement. Dans ce cadre cosmopolite, préfacé par Biagio Putignano, compositeur italien et postfacé par Dan Barrett, violoncelliste américain, cet ouvrage comporte de nombreux chapitres désirant traiter, en général, de l'"éternel présent" et du statut de la "musique contemporaine" en ce début de troisième millénaire, mais il est surtout centré sur les thématiques de la généalogie constitutive de l'oeuvre lemaîtrienne et sur l'imaginaire acoustique, sur le faire et l'entendre, sur la singularité plurielle des contextes "mystérieux" de composition et des riches relations entretenues notamment avec les peintres et les poètes... Se terminant par un entretien avec l'artiste musicien, l'ensemble tente de pointer la part d'"intuition sensible" qui préside à toute recherche de "temps suspendu" maîtres-mots de Dominique Lemaître."--Page 4 of cover.
Music Library
Book
lxxxi, 119 pages ; 24 cm.
Music Library
Book
viii, 241 pages ; 22 cm.
  • Chapter 1 Introduction: Afrofuturism and Black Sound Studies.- Chapter 2. Blackness, Technology, and the Changing Same.- Chapter 3. Space and Time.- Chapter 4. Vibrations, Rhythm and Cosmology.- Chapter 5. Interstellar Space, Outer Space, and Inner Space.- Chapter 6. The Sounds of the Future.- Conclusion.
  • (source: Nielsen Book Data)9783319660400 20180115
This book interrogates the meeting point between Afrofuturism and Black Sound Studies. Whereas Afrofuturism is often understood primarily in relation to science fiction and speculative fiction, it can also be examined from a sonic perspective. The sounds of Afrofuturism are deeply embedded in the speculative - demonstrated in mythmaking - in frameworks for songs and compositions, in the personas of the artists, and in how the sounds are produced. In highlighting the place of music within the lived experiences of African Americans, the author analyses how the perspectives of Black Sound Studies complement and overlap with the discussion of sonic Afrofuturism. Focusing upon blackness, technology, and sound, this unique text offers key insights in how music partakes in imagining and constructing the future. This innovative volume will appeal to students and scholars of sound studies, musicology and African American studies.
(source: Nielsen Book Data)9783319660400 20180115
Music Library

8. Al musiqa [2018]

Book
221 pages : illustrations (chiefly color) ; 28 cm
  • À l'écoute du monde arabe / Véronique Rieffel -- Aux sources de la vie musicale -- La qasida, de la poésie bédouine à la poésie savante -- La qayna, "esclave-chanteuse" / Nil Deniz -- Le dromadaire musical / Christian Poché -- La voix du sacré / Anis Fariji -- Message religieux et pratiques musicales / Jean Lambert -- L'empreinte des traditions -- Le danseur et la joueuse de luth / Étienne Blondeau -- Le oud Nahhât, luth mythique de Damas / Marc Loopuyt -- Instruments originaires du monde arabe / Philippe Bruguière -- La musique arabo-andalouse / Mohamed Métaisi -- Les musiques du Moyen-Orient: patrimoines en danger ? / Jean Lambert -- Musiques mystiques -- Les rituels de transe au nord de l'Afrique / Camel Zekri -- Musique et soufisme: l'écoute spirituelle / Éric Geoffroy -- La renaissance égyptienne -- Le Congrès de musique arabe du Caire / Jean Lambert -- Oum Kalthoum au kilomètre / Christian Poché -- Aux origines de la fabrique du patrimoine musical copte / Séverine Gabry-Thienpont -- Musiques de l'exil -- La mémoire troublée des musiciens juifs arabes / Coline Houssais -- Destin français de la chanson maghrébine / Naïma Yahi -- Du raï des champs au raï des villes / Rabah Mezouane -- Les musiques des camps de réfugiés palestiniens au Liban / Nicolas Puig -- Arabia remix -- Les scènes culturelles arabes / Frank Mermier -- Qu'est-ce que la musique arabe? / Abderraouf Ouertani -- Al musiqa en écho dans la peinture / Anissa Bouayed -- La bande son d'un peuple en mouvement / Nadia Meflah -- La musique contemporaine arabe / Anis Fariji -- La ville égyptienne au rythme de l'électro / Nicolas Puig -- Pop arabe et politique / Zoé Carle.
"Au XXIe siècle, les échos sonores du monde arabe résonnent bien au-delà des frontières - par ailleurs mouvantes - des pays qui le constituent. De l'Arabie heureuse de la Reine de Saba, en passant par l'âge d'or égyptien symbolisé par Oum Kalthoum, jusqu'à nos jours où les pays arabes oscillent entre bouleversements politiques et luttes pour la liberté, les sons et les voix de ce monde en ébullition s'épanouissent en formant avec les autres cultures un voisinage familier et fécond. Cet ouvrage, exploration de formes musicales traditionnelles et modernes, mystiques et profanes, populaires et savantes, est un manifeste pour la sauvegarde d'un patrimoine culturel aujourd'hui en danger, en même temps qu'un témoignage de l'exceptionnelle vitalité de la création musicale contemporaine dans le monde arabe."--Page 4 of cover.
Music Library
Book
342 pages ; 23 cm.
Music Library
Book
576 pages ; 24 cm
Music Library
Book
197 pages ; 25 cm.
  • Acknowledgments [-]Introduction [-]1. Alan Lomax's Deep Rivers of Digitality [-]2. Pete Seeger's Time-Biased Tactics [-]3. Bob Dylan's Noisy Faces [-]4. A Folk Approach to Imaginary Media [-]5. Another Authentic Folk Is Possible [-]6. American Folk Music as Strategic Media [-]Epilogue [-]References [-]Index[-].
  • (source: Nielsen Book Data)9789462984943 20180226
Media archeology; American folk music; digital culture; tactical media; authenticity.
(source: Nielsen Book Data)9789462984943 20180226
Music Library
Book
xxi, 641 pages : illustrations (some color) ; 24 cm
Music Library
Book
xv, 157 pages : illustrations, music ; 24 cm.
  • Table of Contents Series Editor's Foreword Preface Part I Introduction to the Musicalische Paradoxal-Discourse Werckmeister Biography Werckmeister Treatises Contents and Sources of the Musicalische Paradoxal-Discourse Part II Translation of the Musicalische Paradoxal-Discourse Title page and dedicatory comments Preface Index and contents of the chapters Chapter 1 An introduction to this work: the division of the musical proportions Chapter 2 A testimonial through mathematics and Holy Scriptures themselves, that the course of the heavens are harmonic Chapter 3 How the mortal body and soul are harmonically created, and furthermore, on the influence of the stars Chapter 4 Why humans find such pleasure in music, and whence composers and musicians arise Chapter 5 As the image of God, humans are to praise the Creator with music. Buildings and eras in scripture are also harmonic wonders of spiritual music. Chapter 6 On the abuse of music, which the authorities could abolish Chapter 7 How the inclination of a people determines its attitude towards music, and how the heathens were so scattered in their views on music Chapter 8 On the music of the early Christians, and the subsequent changes Chapter 9 The great difficulties arising out of solmization and the linear staff-system Chapter 10 Proof that the linear staff system is accompanied by great difficulties Chapter 11 Proof of how everything can be played or sung through the twelve note-names Chapter 12 Further proof, that the linear staff system has many more variants than the twelve note-names Chapter 13 How the temperaments can be examined, and on German tablature Chapter 14 How the chromatic system is to be applied to the tempered keyboard Chapter 15 On the disorder of hymn singing Chapter 16 On the simplicity of old organs Chapter 17 How the musical modes can be differentiated Chapter 18 On the nature and property of the harmonic numerals Chapter 19 On the hidden meaning of the numerals Chapter 20 On the properties of the harmonic numerals, when they themselves are subdivided Chapter 21 On the subdivision of the harmonic numerals Chapter 22 On the properties of the dissonant musical numerals Chapter 23 How the harmonic radical numerals are transformed into a tempered tuning, and of their hidden meaning Chapter 24 A comparison of incorrect tempered tuning with false Christianity Chapter 25 How the temperament can be perfect or imperfect, and how the same can be compared with Christianity Chapter 26 The Lord's Prayer in the musical proportional numerals Bibliography About the author.
  • (source: Nielsen Book Data)9781498566346 20180129
Andreas Werckmeister (1645 - 1706), a late seventeenth-century German Lutheran organist, composer, and music theorist, is the last great advocate and defender of the Great Tradition in music, with its assumptions that music is a divine gift to humanity, spiritually charged yet rationally accessible, the key being a complex of mathematical proportions which govern and are at the root of the entire universe and all which that embraces. Thus understood, music is the audible manifestation of the order of the universe, allowing glimpses, sound-bites of the very Creator of a well-tempered universe, and of our relationship to each other, our environment, and the divine powers which placed us here. This is the subject matter of the conversation which Werckmeister wishes to have with us, his readers, particularly in his last treatise, the Musicalische Paradoxal-Discourse. But he does not make it easy for today's readers. He assumes certain proficiencies from his readers, including detailed biblical knowledge, a fluency in Latin, and a familiarity with treatises and publications concerning music, theology, and a number of related disciplines. He writes in a rather archaic German, riddled with obscure references which require a thorough explanation. With its extensive commentary and translation of the treatise, this book seeks to bridge Werckmeister's world with that of the twenty-first century. Werckmeister wrote for novice and professional musicians alike, an author who wanted to consider with his readers the basic and existential questions and issues regarding the wondrous art of music, questions as relevant then as they are now.
(source: Nielsen Book Data)9781498566346 20180129
Music Library
Book
xiv, 674 pages : illustrations ; 22 cm
Every musical form has had an impact on the linguistic practices of our society. French song is a vector of cultural, social, and stylistic values. Throughout the world, songs in the French language are used in the teaching of French: professors incorporate songs into the curriculum in order to illustrate differences of register and linguistic variation, as well as to raise lexical or grammatical questions. As a form of popular expression, song is a genre that has, in recent years, become the focus of serious academic scholarship and criticism. However, few linguists have paid attention to French song and its linguistic uses. This richly illustrated mini-dictionary about French singers fills this gap by offering a collection of portraits of the greatest singers of the French language and how they have constructed the musical landscape in both France and the larger francophone community and the world as a whole. Through (re)discovering these classic and contemporary artists who contribute to the creation of the sonorous universe of the 20th and 21st centuries, the volume determines how these musical genres influence the French language and nourish our collective imagination. By plunging into francophone song, one can achieve a better understanding of the culture and the language of its speakers.
(source: Nielsen Book Data)9781527503540 20180312
Music Library
Book
77 pages : color illustrations ; 22 cm x 25 cm.
Music Library
Book
25 x 18 cm
Music Library
Book
142 pages : illustrations (some color), music ; 25 cm.
  • Essays: Conte de la Barbe-bleue / Charles Perrault
  • Moralité à la façon des contes de Perrault / Paul Dukas
  • La lumière luit dans les ténèbres... / Olivier Messiaen
  • Échos de la presse après la création / Catherine Lorent
  • Les trois fils d'une même Ariane / André Tubeuf
  • La création du Château de Barbe-bleue / Zoltán Kodály
  • Les musiciens hongrois et la France / Béla Bartók
  • Barbe-bleue ou l'amour impossible / Jean-Michel Brèque
  • Barbe-bleue : la clef du mystère / Pierre Enckell
  • Sept compositeurs pour une Barbe-bleue / Pierre Cadars
  • Le fil d'Ariane et la clef du château / Pierre Michot
  • La liberté ou la mort / Marcel Marnat.
Music Library
Book
54 bladen. : illustraties. ; 14 x 29 cm.
Dit boekje is bedoeld voor klarinetinstructeurs, en presenteert en illustreert verschillende articulatietypen op de klarinet. Het legt de verschillende articulaties uit, door korte beschrijvingen en nauwkeurig de vormen van de mondholte weer te geven. Het kan instructeurs helpen om het staccato-fenomeen en andere oplossingen voor articulatie uit te leggen aan hun leerlingen.
Music Library
Book
183 pages : illustrations ; 22 cm
  • Olivier Messiaen (1908-1992) -- Elliott Carter (1908-2012) -- Gian Carlo Menotti (1911-2007) -- John Cage (1912-1992) -- Witold Lutoslawski (1913-1994) -- Henri Dutilleux (1916-2013 -- György Ligeti (1923-2006) -- Luigi Nono (1924-1990) -- Klaus Huber (1924-2017) -- Luciano Berio (1925-2003) -- Pierre Boulez (1925-2016) -- Hans Werner Henze (1926-2012) -- Karlheinz Stockhausen (1928-2007) -- Edison Denisov (1929-1996) -- Cristôbal Halffter (1930) -- Tôru Takemitsu (1930-1996) -- Sofia Gubaidulina (1931) -- Krzysztof Penderecki (1933) -- Alfred Schnittke (1934-1998) -- Arvo Pärt (1935) -- Toshio Hosokawa (1955).
"Ce livre propose une rencontre avec vingt-et-un des plus grands compositeurs de la seconde moitié du 20e siècle. Il s'agit d'entretiens que l'auteur a conduits tout au long de sa carrière de journaliste. Elle nous restitue ici ces moments privilégiés, Ce furent parfois de brèves réflexions saisies à l'occasion d'une création, d'un festival ou d'une tournée d'orchestre. Les rencontres eurent lieu dans une loge d'artiste, un café, ou une salle de répétition d'autres fois, ce furent de longues conversations qui se déroulèrent chez les compositeurs eux-mêmes, chaque fois, des moments uniques. Ce sont vingt-et-un instantanés, toujours passionnants par la spontanéité, l'honnêteté et la lucidité des propos; des instantanés, parce qu'ils rapportent les paroles d'un moment, d'une étape dans la carrière de ces compositeurs qui ont fait la musique du 20e siècle et ou vert les portes de celle du 21e siècle. Pris sur le vif, ces compositeurs l'ont aussi été par la caméra de l'auteur qui a pu, à l'exception de deux d'entre eux, les photographier tous lors des interviews. Cela confère à ce livre un caractère d'intimité complice."--Page 4 of cover.
Music Library
Book
148 pages ; 18 cm.
  • Le Lac des cygnes au miroir de la littérature -- Le Lac des cygnes au miroir d'une lecture biographique -- Le Lac des cygnes au miroir de la musique -- Le Lac des cygnes au miroir des chorégraphies : du vilain petit canard au cygne majestueux -- Le Lac des cygnes au miroir de la psychanalyse : la conception de Noureev -- Le Lac des cygnes au miroir d'une lecture de genres : la chorégraphie de Matthew Boume -- Le Lac des cygnes au miroir du cinéma fantastique : Black Swan.
"Le thème d'Odette du Lac des cygnes est connu de tous, sans que l'on sache toujours d'où il vient. Pourtant, les débuts du ballet de Tchaïkovski ont été difficiles, avec en 1877 un premier chorégraphe, Reisinger, réfractaire aux nouveautés musicales, trop difficiles à mettre en pas". Il faut attendre 1895 et le travail de Petipa et lvanov avec l'aide du compositeur Drigo pour que l'oiseau prenne enfin son envol. Un Petipa pour Tchaikovski et un grand pas pour le ballet : version de référence, cette oeuvre se transforme au fil du temps, en fonction des regards et des interprétations qu'elle suscite... À partir d'un corpus pluridisciplinaire (littérature, biographies, musique, chorégraphies, cinéma fantastique...) et à l'aide de démarches méthodologiques issues des Bender studies ainsi que de l'histoire culturelle, cet essai propose une analyse de l'oeuvre et de sa réception."--Page 4 of cover.
Music Library