Sujets De Déchiffrages Du Conservatoire De Paris De 1825 À 2006
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2011 Western Illinois Horn Festival All Other Audible Devices
Concert Etiquette So that others around you may enjoy WESTERN ILLINOIS UNIVERSITY the performance without distraction, we ask that you refrain from: College of Fine Arts & Communication School of Music speaking audibly; The Western Illinois Horn Institute taking photographs; entering or leaving the hall unnecessarily; presents or any other aural or visual distractions. Please turn off cellular phones, wristwatch alarms, and 2011 Western Illinois Horn Festival all other audible devices. The use of unauthorized recording devices featuring special guests is strictly prohibited. David Griffin, horn Thank you. Marian Hesse, horn Patrick Smith, horn with Randall Faust, horn Bernadette Lo, piano Western Illinois University Horn Ensemble Lee Kessinger Ensemble and the Festival Horn Choir COFAC Recital Hall Sunday, February 20, 2011 Ushering services provided by the Western Illinois University Chapter of Mu Phi Epsilon. February 20, 2011 Since 1990, his work has been recognized as an annual recipient of the prestigious ASCAP AWARD. In 1987, he received the Orpheus Award from The Auburn University Chapter of Phi Mu Alpha Sinfonia Dear Hornists: Fraternity for "significant and lasting contributions to music in America." Most recently, he was honored by the Western Illinois University Chapter of the Honor Society of Phi Kappa Phi as the Welcome to the Western Illinois Horn Festival 2011. Since 2002, the Western recipient of its Outstanding Artist Award for 2004. During the Spring Semester (2006), Dr, Faust was Illinois Horn Institute has brought a number of outstanding hornists to the selected for the College of Fine Arts and Communication's Creative Activity Award. On June 7, 2009, Western Illinois University campus as guest clinicians. -
Open Research Online Oro.Open.Ac.Uk
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Open Research Online Open Research Online The Open University’s repository of research publications and other research outputs Beyond neoclassicism: symphonic form, catharsis, and political commentary in Barraine’s Deuxi`eme symphonie (1938) Book Section How to cite: Hamer, Laura (2018). Beyond neoclassicism: symphonic form, catharsis, and political commentary in Barraine’s Deuxi`eme symphonie (1938). In: Mawer, Deborah ed. Historical Interplay in French Music and Culture 1860 - 1960. Abingdon and New York: Routledge, pp. 121–138. For guidance on citations see FAQs. c 2018 The Author Version: Accepted Manuscript Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk 1 PART II: French Music and Culture, 1930–1960 2 6 Beyond Neoclassicism: Symphonic Form, Catharsis and Political Commentary in Barraine’s Deuxième symphonie (1938) Laura Hamer By the 1930s, neoclassical trends – especially of the Stravinskian variety – were very well established in France. The French preoccupation with the past had been developing throughout the later nineteenth century and increased with Stravinsky’s residency in France.1 Stravinsky’s particular brand of neoclassicism did not find favour, however, with a number of intellectual young composers of the 1930s, notably those associated with La Jeune France, who regarded neoclassicism as a false path for musical modernism and were scathing in their attacks upon it. -
Jacques Charpentier
Jacques Charpentier Jacques Charpentier est un compositeur et un organiste français du XXe siècle, né à Paris le 18 octobre 1933 et mort le 15 juin 2017 à Lézignan-Corbières. Biographie Enfant, Jacques Charpentier commence seul l'apprentissage de la musique au piano. De 1950 à 1953, il travaille avec Jeanine Rueff, puis part pour l'Inde et s'initie à la musique traditionnelle hindoue, à Bombay et Calcutta. Il y restera dix-huit mois, ce séjour s'avérant décisif pour son évolution musicale à venir. De retour en France, en 1954, il travaille la composition avec Tony Aubin et la philosophie de la musique avec Olivier Messiaen au Conservatoire de Paris. Il entre aux jeunesses musicales de France en 1959, puis André Malraux le nomme inspecteur principal de la musique en 1966 et inspecteur général de la musique au secrétariat d'État à la Culture en 1975. Il est titulaire du grand orgue de Saint-Nicolas du Chardonnet à Paris depuis 1974. L'année où il intègre le secrétariat d'État à la Culture, il fonde le Centre d'études grégoriennes et de musiques traditionnelles comparées à l'abbaye de Sénanque, et est aussi chargé de cours d'orchestration au Conservatoire de Paris. Par la suite, il succède à Jean Maheu au poste de directeur de la musique, de l'art lyrique et de la danse au ministère de la Culture et de la Communication de 1979 à 1981. Il est ensuite directeur de la musique de la ville de Nice, puis réside à Carcassonne. Jacques Charpentier est aussi l'auteur d'ouvrages didactiques sur le chant grégorien et sur la musique de l'Inde. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Download Booklet
Music from Paris Claude Pascal Claude Arrieu Jules Mouquet François Casadesus Gabriel Pierné Francis Chagrin The Atlanta Chamber Winds WWW.ALBANYRECORDS.COM TROY1127 ALBANY RECORDS U.S. Robert J. Ambrose, conductor 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2009 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. The Music Jules Mouquet: Suite Jules Mouquet was born in Paris on July 10, 1867 and spent his entire life there. He studied harmony and composition Claude Pascal: Octuor pour Instruments à Vent at the Paris Conservatory, eventually becoming Professor of Harmony in 1913. Mouquet won many prizes for his Claude Pascal was born in Paris on February 19, 1921. Showing unusually strong musical talent early in life, he music including the Prix de Rome, the Prix Trémont and the Prix Chartier. Like many turn of the century French entered the Paris Conservatory at age ten. In 1952 he became a Professor of Music at the Conservatory and by 1966 composers, Mouquet favored subjects from Greek mythology, as a sort of neoclassical reaction against the treatments was named Deputy Director. He also achieved success as an active opera singer and was hired at opera theatres of Norse legend in Wagner’s operas. His best known work is his flute sonata entitled La Flute de Pan. He died in Paris around Paris. He served as a music critic for the French journal Le Figaro from 1969-1979. -
The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000
The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Performative and Analytical Study, with a Catalogue Raisonné of the Extant Works Analytical Study: The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Study of Instrumental Techniques, Forms and Genres, with a Catalogue Raisonné of the Extant Corpus By Brandon Philip Jones ORCHID ID# 0000-0001-9083-9907 Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy July 2018 Faculty of Fine Arts and Music The University of Melbourne ABSTRACT The Conservatoire de Paris concours were a consistent source of new literature for the trumpet and cornet from 1835 to 2000. Over this time, professors and composers added over 172 works to the repertoire. Students and professionals have performed many of these pieces, granting long-term popularity to a select group. However, the majority of these works are not well-known. The aim of this study is to provide students, teachers, and performers with a greater ability to access these works. This aim is supported in three ways: performances of under-recorded literature; an analysis of the instrumental techniques, forms and genres used in the corpus; and a catalogue raisonné of all extant contest works. The performative aspect of this project is contained in two compact discs of recordings, as well as a digital video of a live recital. Twenty-six works were recorded; seven are popular works in the genre, and the other nineteen are works that are previously unrecorded. The analytical aspect is in the written thesis; it uses the information obtained in the creation of the catalogue raisonné to provide an overview of the corpus in two vectors. -
Mai 1968 Au Conservatoire National Superieur De Musique Noémi Lefebvre
Mai 1968 au Conservatoire National Superieur de Musique Noémi Lefebvre To cite this version: Noémi Lefebvre. Mai 1968 au Conservatoire National Superieur de Musique. 2008. halshs-00382630 HAL Id: halshs-00382630 https://halshs.archives-ouvertes.fr/halshs-00382630 Preprint submitted on 9 May 2009 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Mai 1968 au Conservatoire National Supérieur de Musique Noémi Lefebvre docteur en science politique, chercheur associé, UMR PACTE / IEP Grenoble communication présentée au colloque La musique en mai 68 / Mai 68 dans la musique jeudi 3 avril et vendredi 4 avril 2008 Conservatoire National de Région, 14 rue de Madrid (Paris 8°) 1 Seul établissement d’enseignement supérieur, premier établissement public d’enseignement musical, modèle des premières écoles succursales par son organisation, son règlement et sa pédagogie, le Conservatoire National Supérieur constitue, en 1968, le centre vital de la musique en France C’est par rapport à celui-ci que se construit la pyramide de l’enseignement musical spécialisé, étrange pyramide dont la pointe constitue paradoxalement le socle. La création, en 1966, au sein du Ministère des Affaires Culturelles, d’un Service de la musique confié à Marcel Landowski, et la politique de réforme de l’enseignement musical engagée par celui-ci, marque le départ d’ une ambitieuse réforme de l’enseignement musical qui vise à renforcer la profession musicale en ouvrant le plus largement possible l’accès à ce métier tout en permettant aux musiciens français d’atteindre au plus haut niveau international. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Escola Francesa De Clarinete José Eduardo Guerra Viana
MESTRADO MÚSICA - INTERPRETAÇÃO ARTÍSTICA Clarinete Escola Francesa de Clarinete José Eduardo Guerra Viana SETEMBRO/2017 ESMAE ESCOLA SUPERIOR DE MÚSICA E ARTES DO ESPETÁCULO POLITÉCNICO DO PORTO MESTRADO MÚSICA - INTERPRETAÇÃO ARTÍSTICA M Clarinete Escola Francesa de Clarinete José Eduardo Guerra Viana Projeto apresentado à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Música – Interpretação Artística, especialização Sopros, Clarinete Professor Orientador Nuno Fernandes Pinto SETEMBRO/2017 2 Dedico este trabalho aos meus pais, ao meu irmão e aos amigos pelo incansável apoio. iii Agradecimentos Ao meu pai, à minha mãe e ao meu irmão pelo incondicional apoio, carinho e paciência, que nunca lhes poderei retribuir. À restante família, que sempre me apoiou. A todos os meus amigos e um especial agradecimento ao Diogo Taveira, pela sua amizade e ajuda incansável. Aos professores Luís Santos e Michel Arrignon, que para além de todo o conhecimento que me transmitiram no clarinete e na música, transmitiram valores para a vida toda. Por último, ao professor Nuno Pinto, que para além de meu professor, orientador e referência clarinetística, é um amigo que irei preservar. iv Resumo Este trabalho propõe entender as bases e as características representativas da Escola Francesa de Clarinete. É composto por uma contextualização do Conservatório de Paris, desde os seus Professores às obras escritas para o Concours de Prix, que tanta influência teve sobre esta Escola. São, também, abordados dois momentos marcantes na evolução organológica do clarinete realizado por Ivan Müller e Hyacinthe Klosé. Neste trabalho é também apresentada uma breve análise sobre quatro obras que espelham esta Escola. -
Press Kit Download
Duo Azar Carl-Emmanuel Fisbach, saxophone Wenjiao Wang, piano Born to a bicultural French-South American artistic family, Carl- Emmanuel Fisbach has consistently sought to explore and expand the saxophone’s repertoire. Above and beyond the more traditional works he performs as a soloist (Auvergne Orchestra, Ekaterinburg Philharmonic) and within the Denisov and Azar Duos, he collaborates regularly with composers and ensembles (Ensemble Intercontemporain, Red Note Ensemble) and is a member of the “Futurs composés” network dedicated to new music. He integrates transcriptions into his repertoire, including tango. This open and eclectic approach has led to invitations to perform in international festivals (Flâneries Musicales de Reims, Festival Archipel Geneva, Shanghai Oriental Arts Center, Suntory Hall Tokyo). His recordings feature Hispanic repertoire (Duo Azar, PAI Records, 2011) and new works for saxophone and cello (Denisov Duo, Meyer Foundation, 2014). A third CD for saxophone and percussion with original arrangements by Piazzolla and new works is released in 2016 (Tango Continuo, Paraty–Harmonia Mundi). Carl-Emmanuel Fisbach teaches at the Conservatories of the Paris 9th and 15th arrondissements, is a guest Professor at the Conservatoire of Lima, and has given master-classes throughout Europe, South America and Asia. A graduate of the Paris Conservatoire, he is a prize-winner in several national and international competitions. Wenjiao Wang was born in China in 1985. At twelve, she was admitted at the Shenyang Conservatory of Music. In 1997, she was invited as a guest soloist with the Aiyue Symphony Orchestra of North-East China. In 2003, she began her international career in France. She studied at the National Superior Conservatory of Paris for Music and Dance where she obtained a Piano Master’s Degree and a Master’s Degree in Chamber Music. -
Rethinking the Dynamics of Music and Nationalism
Rethinking the Dynamics of Music and Nationalism University of Amsterdam, 26-29 September 2017 Conference Booklet Organizational committee: Prof. dr. Joep Leerssen, Professor of Modern European Literature, University of Amsterdam dr. Kasper van Kooten, Postdoctoral Research Fellow, University of Amsterdam 1 Table of Contents: Schedule p. 3 Abstracts p. 10 Practical Information p. 44 2 Schedule: Tuesday 26 September Opening of Conference Location: Vlaams Cultuurhuis De Brakke Grond, Nes 45, 1012 KD Amsterdam (close to Dam Square) 18.30 Registration, coffee and tea 19.00 Kasper van Kooten, Postdoctoral research fellow, Modern European Literature, University of Amsterdam – Welcome and introduction 19.05 Katharine Ellis, Professor of Music, University of Cambridge – Nationalism, Ethnic Nationalism, and the Third Republic’s Folk Music Problem 19.50 Joep Leerssen, Professor of Modern European Literature, University of Amsterdam – The Persistence of Voice: Instrumental Music and Romantic Orality of the Late John Neubauer (1933-2015) 20.10 Krisztina Lajosi-Moore, Assistant Professor in Modern European Literature and Culture, University of Amsterdam, and Kasper van Kooten – Opera and National Identity-Articulation in Germany and Hungary 20.30 – 21.15 Audience questions and panel discussion – The Outer Edges of National-Classical Music: Territory, Society, Tradition 21.15 - 22.00 Drinks 3 Wednesday 27 September Location: De Rode Hoed, Cultureel Centrum, Keizersgracht 102, 1015 CV Amsterdam Room: Vrijburgzaal Banningzaal 09.00-10.00 Keynote: Graeme -
Who Is Paule Maurice?? Her Relative Anonymity and Its Consequences
WHO IS PAULE MAURICE? HER RELATIVE ANONYMITY AND ITS CONSEQUENCES by Anthony Jon Moore A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL December 2009 Copyright © Anthony Jon Moore 2009 ii ACKNOWLEDGEMENTS I would like to express my sincere and deep appreciation to the many people who fielded my incessant queries and one-track mind conversations for the last two years, especially Dr. Kenneth Keaton, Dr. Laura Joella, Dr. Stuart Glazer, and my translator, Elsa Cantor. The unbelievable support that materialized from individuals I never knew existed is testimony to the legacy left behind by the subject of this thesis. I want to extend my heartfelt appreciation to Jean-Marie Londeix for responding to my many emails; Sophie Levy, Archivist of the Conservatoire National Supérieur de Musique de Paris for providing me with invaluable information; Marshall Taylor for donating his letter from Paule Maurice and his experiences studying Tableaux de Provence with Marcel Mule; Claude Delangle for Under the Sign of the Sun; James Umble for his book, Jean-Marie Londeix: Master of the Modern Saxophone; and Theodore Kerkezos for his videos of Tableaux de Provence. I want to thank Dr. Eugene Rousseau, Professor Emeritus Jack Beeson, Sarah Field, the Clarinet and Saxophone Society of Great Britain, Dr. Julia Nolan, Dr. Pamela Youngdahl Dees, Dr. Carolyn Bryan, and Dr. William Street, for generously taking a call from a stranger in search of Paule Maurice.