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french-music

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Journal Articles
The Journal of Musicology. 2014; 314471–502 doi: https://doi.org/10.1525/jm.2014.31.4.471
Published: 01 October 2014
... defined by something other than the presence or absence of texts. Moreover, that Dujardin uses the phrase “absolute in music” rather than “absolute music” suggests the terrain of the absolute was not exclusively musical. This article reveals that the word “absolute” had a rich and varied history in French...
Journal Articles
The Journal of Musicology. 2008; 254473–502 doi: https://doi.org/10.1525/jm.2008.25.4.473
Published: 01 October 2008
... reflect French musical traditions and political realities. Libéérons Thaelmann by Charles Koechlin and Jeunesse by Arthur Honegger exemplify this engagement with Communist politics and aesthetics, confirming the musical and political relevance of socialist realism for French composers during the mid-1930s...
Journal Articles
The Journal of Musicology. 2018; 35176–103 doi: https://doi.org/10.1525/jm.2018.35.1.76
Published: 01 January 2018
...Matthew Mugmon As one of the chief representatives of French music in the early twentieth century, Nadia Boulanger is typically ignored in discussions of the reception of Gustav Mahler’s music, which—like most studies of reception—focus primarily on press accounts and public events. Moreover...
Journal Articles
The Journal of Musicology. 2008; 254394–433 doi: https://doi.org/10.1525/jm.2008.25.4.394
Published: 01 October 2008
... precepts altogether in the quest for transparent, or ““Natural,”” representation. Even while adopting contrasting methods, representatives of both approaches were unanimous in regarding rhetoric and music as sister disciplines. Furthermore, French musicians and rhetoricians alike rejected the prevailing...
Journal Articles
The Journal of Musicology. 2002; 193503–526 doi: https://doi.org/10.1525/jm.2002.19.3.503
Published: 01 July 2002
...Maribeth Clark During the 1830s in Paris the quadrille, a five-movement figure dance, became musically omnipresent to the distress of many critics, who saw the genre as detrimental to French music and musical taste. Discussions of the dance in journalism and literature associate bourgeois women and...
Journal Articles
The Journal of Musicology. 2005; 222173–202 doi: https://doi.org/10.1525/jm.2005.22.2.173
Published: 01 April 2005
... concert societies dedicated to supporting French music and to making what would become the standard repertoire more accessible to the average citizen. Music heightened reactions to the turmoil of war and revolution in Paris at this crucial moment in France's history. Because of their stringent...
Journal Articles
The Journal of Musicology. 2012; 2911–43 doi: https://doi.org/10.1525/jm.2012.29.1.1
Published: 01 January 2012
...Blake Stevens Jean-Jacques Rousseau's entry for “monologue” in his Dictionnaire de musique (1767) marks the first appearance of the term in French musical lexicography. This definition, which would exert an influence on later discussion of the form, synthesizes principles drawn from poetics and...
Journal Articles
The Journal of Musicology. 2020; 37194–121 doi: https://doi.org/10.1525/jm.2020.37.1.94
Published: 01 January 2020
...Louis Epstein In 1930 the French composer Darius Milhaud achieved a major career milestone: his ambitious opera Christophe Colomb received its premiere at Berlin’s Staatsoper Unter den Linden. The premiere was the most prestigious of a surprisingly large number of performances of Milhaud’s music in...
Journal Articles
The Journal of Musicology. 2003; 2013–44 doi: https://doi.org/10.1525/jm.2003.20.1.3
Published: 01 January 2003
...DON FADER ABSTRACT The French concept of Taste ( goûût ) has largely been viewed from an 18th-century tradition of aesthetics in which philosophers attempted to incorporate it into a rationalized systematic theory of musical expression. Its original 17th-century usage, however, was derived from the...
Journal Articles
The Journal of Musicology. 2018; 354498–534 doi: https://doi.org/10.1525/jm.2018.35.4.498
Published: 01 October 2018
... Viennese theaters typically made changes, sometimes quite radical, in the spoken dialogue and music to accommo- date such factors as Austrian censorship, singers strengths and limita- tions, and audience sensibilities.3 Although Beethoven probably studied published scores of French operas, one can assume...
Journal Articles
The Journal of Musicology. 2017; 343432–472 doi: https://doi.org/10.1525/jm.2017.34.3.432
Published: 01 July 2017
... what James Hepokoski refers to as a topic family within nineteenth-century French piano music: see James Hepokoski, Program Music in Aesthetics of Music: Musicological Perspectives, ed. Stephen Downes (New York: Routledge, 2014), esp. 69 71. More broadly, these pieces were part of an extensive...
Journal Articles
The Journal of Musicology. 2017; 344473–514 doi: https://doi.org/10.1525/jm.2017.34.4.473
Published: 01 October 2017
... Press, 1996), 2 5. 13 M. Elizabeth C. Bartlet, The New Repertory at the Ope´ra during the Reign of Terror: Revolutionary Rhetoric and Operatic Consequences in Music and the French Rev- olution, ed. Malcolm Boyd (Cambridge: Cambridge Univ. Press, 1992), 107 56; and Winton rubinoff 477 revolutionary...
Journal Articles
The Journal of Musicology. 2018; 352145–182 doi: https://doi.org/10.1525/jm.2018.35.2.145
Published: 01 April 2018
...Rose Pruiksma The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande ’s rich history as a theatrical dance regularly...
Journal Articles
The Journal of Musicology. 2009; 26185–131 doi: https://doi.org/10.1525/jm.2009.26.1.85
Published: 01 January 2009
... postwar period in France within a synchronic view of the early Cold War era. But the 1945 protests against Stravinsky were not about the decisive embrace of a single musical style; rather, they were about the desire of young French composers to play an active role in shaping the postwar future of music in...
Journal Articles
The Journal of Musicology. 2009; 263327–378 doi: https://doi.org/10.1525/jm.2009.26.3.327
Published: 01 July 2009
... French Baroque Cantata MICHELE C ABRINI It would be dangerous . . . if painting had the same force to move our passions as music; excellent painters would be able to produce consid- erable disorder.1 Félibien I n a passage from his fifth Entretien, seventeenth- century art historian André Félibien (1619...
Journal Articles
The Journal of Musicology. 2016; 333277–331 doi: https://doi.org/10.1525/jm.2016.33.3.277
Published: 01 July 2016
... proposed as central characters Ivan Annenkov and his wife, the French emigre´e shop girl Polina, who later followed him into Siberian exile. He and Tolstoi produced a libretto, and Shaporin com- posed music for two scenes, presented in a concert performance at the former Mariinskii Theater on 28 December.1...
Journal Articles
Journal of Musicology. 2020; 372158–196 doi: https://doi.org/10.1525/jm.2020.37.2.158
Published: 11 May 2020
... print in the 1870s, initially in reference to paintings by Claude Monet and his associates; in the 1880s, French critics began to apply the term to literature and music as well.13 Writers in the Austro-German sphere were not far behind. Brief, scat- tered discussions of impressionism appeared in German...
Journal Articles
Journal of Musicology. 2020; 372123–157 doi: https://doi.org/10.1525/jm.2020.37.2.123
Published: 11 May 2020
..., 2010); and Sindhumathi Revuluri, French Folk Songs and the Invention of History, Nineteenth-Century Music 39 (2016): 248 71. 14 In the absence of recorded sound, the historical musicologist s best bet is to embark on what Ana Mar ´a Ochoa Gautier calls an acoustically tuned exploration of the...
Journal Articles
Journal of Musicology. 2020; 372231–266 doi: https://doi.org/10.1525/jm.2020.37.2.231
Published: 11 May 2020
... which they live. When listening to the music of Ravel, will anyone today doubt his Frenchness ? [sic] Or will anyone see in Mendelssohn whose monument in Leipzig was recently destroyed anything other than the clean blood of a romantic? In Darius Milhaud s compositions, so full of fire and heat, can...
Journal Articles
Journal of Musicology. 2020; 372197–230 doi: https://doi.org/10.1525/jm.2020.37.2.197
Published: 11 May 2020
.... Indeed, beyond its threat to childhood innocence, sexuality has long been a concern of the pastoral and especially so within the French fe te galante tradition, which originated in the erotically charged paintings of Antoine Watteau and was revived in the poetry of Verlaine and the music of Debussy.27...