harbec jacinthe (18 resultados)

paperback. Condición: New.

Condición: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Condición: Neuf.

Condición: AS NEW. Etat de NEUF / AS NEW condition 9782711625277 9782711625277 1037A 1.

Condición: As New. Unread book in perfect condition.

Paperback. Condición: New. NA2975, PC1343, 0.490, 9782711625277. L'oeuvre monumentale de Darius Milhaud (1892-1974) retrace la trajectoire d'un compositeur de son temps, conscient des enjeux esthétiques de la modernité musicale française. Figure de proue de la polytonalité, membre du Groupe des Six, Milhaud n'a cessé tout au long de sa carrière d'expérimenter des avenues compositionnelles novatrices. Sa nature profondément inventive, conjuguée à une constante ouverture d'esprit aux arts et aux lettres, l'amène à se tailler une place de choix parmi ses contemporains de la scène musicale internationale. Les onze études rassemblées ici permettent de découvrir de nouveaux aspects de la production et de la personnalité créatrice du compositeur français. Divisé en trois parties, l'ouvrage s'ouvre sur la figure de l'« expérimentateur » chez Milhaud, saisissable depuis ses premiers essais polytonaux, jusqu'aux compositions aléatoires de maturité en passant par des partitions montrant de véritables innovations dans le domaine vocal. La deuxième partie gravite autour de la question des rapports particuliers que Milhaud entretient avec ses contemporains, en l'occurrence Maurice Ravel et Charles Koechlin, ainsi qu'avec le couple brésilien Nininha et Oswaldo Guerra. La dernière partie se consacre au contexte sociopolitique français des années 1930 où Milhaud est confronté à de nouveaux défis esthétiques à travers ses collaborations pour le Front populaire, le théâtre et le film. En plus de présenter de nombreux documents d'archives inédits (lettres, correspondances, programmes de concert et documents iconographiques), ce collectif jette un regard critique sur des oeuvres généralement ignorées, et tout particulièrement celles écrites pour la voix, la scène, le ballet et le cinéma.

Condición: New.

Paperback. Condición: new. Paperback. Dans le Paris des Annees folles, le ballet connait une vive effervescence suscitee par des collaborations inedites entre la musique et les arts. Le ballet Parade, presente par les Ballets russes en 1917, devient le prototype d'un echange collaboratif entre Cocteau, Picasso et Satie, qui a engendre un spectacle memorable sous l'empreinte du cubisme et du futurisme. Avec l'arrivee des Ballets suedois en 1920, la convergence entre les arts - litterature, peinture, danse et musique - se place vraiment au centre du processus creatif transformant la scene en de pures manifestations cubistes, futuristes, surrealistes et dadaistes. L'ouvrage souligne l'interaction artistique et la cohesion esthetique de sept ballets issus de ces compagnies de danse: Parade (1917), Les Maries de la tour Eiffel (1921), L'Homme et son desir (1921), Skating Rink (1922), Within the Quota (1923), La Creation du monde (1923) et Relache (1924). On y croise, entre autres, Cocteau, Claudel, Cendrars, Picasso, Leger, Satie, Milhaud et Honegger. Les elements composant chacun de ces ballets - livret, decor, costumes, choregraphie et musique - sont systematiquement etudies. Plusieurs illustrations, documents d'archives, exemples musicaux, tableaux et schemas accompagnent les propos qui jettent un regard neuf sur la rencontre entre la musique et les arts. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condición: Neuf.

Condición: New. 2021. Paperback. . . . . .

Condición: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Hardback. Condición: New. This collection uncovers how music criticism contributed to national and transnational preoccupations and agendas.Music Criticism in France examines the aesthetic battles that animated and informed French musical criticism during the interwar period (1918-1939). Drawing upon a rich corpus of critical writings and archival documents, the book uncovers some of the public debates surrounding classical music in the immediate aftermath of the Great War until the eve of World War II. As such, it provides new insights into the priorities, values and challenges that affected the musical milieu of this war-bound generation. This collection of essays brings together scholars from different areas of musicology and related humanities disciplines; it also draws on different anglophone and francophone intellectual traditions. As well as considering the reception of individual works, the contributors examine key individuals, composer-critic pairings, the composer as critic and technician, the role of influential journals, and music criticism as a pedagogical tool for concert-going and radio audiences. Focusing on the themes of authority, advocacy and legacy, it shows the contribution of principal critics such as Vuillermoz, Vallas, Prunières, Schloezer and Koechlin to shaping our understanding of music in the first half of the twentieth century in France. We see how criticism contributes to national and transnational preoccupations and agendas, which were of considerable importance throughout the interwar period and continue to have relevance today. BARBARA L. KELLY is Director of Research and Professor of Musicology at the Royal Northern College of Music, Manchester. CHRISTOPHER MOORE is Associate Professor of Musicology at the University of Ottawa. Contributors: PHILIPPE CATHÉ, MICHEL DUCHESNEAU, KIMBERLY FRANCIS, JACINTHE HARBEC, BARBARA L. KELLY, PASCAL LÉCROART, CHRISTOPHER MOORE, RACHEL MOORE, JANN PASLER, CAROLINE RAE, DANICK TROTTIER, MARIANNE WHEELDON.

Hardback. Condición: New. This collection uncovers how music criticism contributed to national and transnational preoccupations and agendas.Music Criticism in France examines the aesthetic battles that animated and informed French musical criticism during the interwar period (1918-1939). Drawing upon a rich corpus of critical writings and archival documents, the book uncovers some of the public debates surrounding classical music in the immediate aftermath of the Great War until the eve of World War II. As such, it provides new insights into the priorities, values and challenges that affected the musical milieu of this war-bound generation. This collection of essays brings together scholars from different areas of musicology and related humanities disciplines; it also draws on different anglophone and francophone intellectual traditions. As well as considering the reception of individual works, the contributors examine key individuals, composer-critic pairings, the composer as critic and technician, the role of influential journals, and music criticism as a pedagogical tool for concert-going and radio audiences. Focusing on the themes of authority, advocacy and legacy, it shows the contribution of principal critics such as Vuillermoz, Vallas, Prunières, Schloezer and Koechlin to shaping our understanding of music in the first half of the twentieth century in France. We see how criticism contributes to national and transnational preoccupations and agendas, which were of considerable importance throughout the interwar period and continue to have relevance today. BARBARA L. KELLY is Director of Research and Professor of Musicology at the Royal Northern College of Music, Manchester. CHRISTOPHER MOORE is Associate Professor of Musicology at the University of Ottawa. Contributors: PHILIPPE CATHÉ, MICHEL DUCHESNEAU, KIMBERLY FRANCIS, JACINTHE HARBEC, BARBARA L. KELLY, PASCAL LÉCROART, CHRISTOPHER MOORE, RACHEL MOORE, JANN PASLER, CAROLINE RAE, DANICK TROTTIER, MARIANNE WHEELDON.

Hardback. Condición: New. This collection uncovers how music criticism contributed to national and transnational preoccupations and agendas.Music Criticism in France examines the aesthetic battles that animated and informed French musical criticism during the interwar period (1918-1939). Drawing upon a rich corpus of critical writings and archival documents, the book uncovers some of the public debates surrounding classical music in the immediate aftermath of the Great War until the eve of World War II. As such, it provides new insights into the priorities, values and challenges that affected the musical milieu of this war-bound generation. This collection of essays brings together scholars from different areas of musicology and related humanities disciplines; it also draws on different anglophone and francophone intellectual traditions. As well as considering the reception of individual works, the contributors examine key individuals, composer-critic pairings, the composer as critic and technician, the role of influential journals, and music criticism as a pedagogical tool for concert-going and radio audiences. Focusing on the themes of authority, advocacy and legacy, it shows the contribution of principal critics such as Vuillermoz, Vallas, Prunières, Schloezer and Koechlin to shaping our understanding of music in the first half of the twentieth century in France. We see how criticism contributes to national and transnational preoccupations and agendas, which were of considerable importance throughout the interwar period and continue to have relevance today. BARBARA L. KELLY is Director of Research and Professor of Musicology at the Royal Northern College of Music, Manchester. CHRISTOPHER MOORE is Associate Professor of Musicology at the University of Ottawa. Contributors: PHILIPPE CATHÉ, MICHEL DUCHESNEAU, KIMBERLY FRANCIS, JACINTHE HARBEC, BARBARA L. KELLY, PASCAL LÉCROART, CHRISTOPHER MOORE, RACHEL MOORE, JANN PASLER, CAROLINE RAE, DANICK TROTTIER, MARIANNE WHEELDON.

Condición: fine. couverture souple, moyen format , très bon état. . 2030003 - Darius Milhaud: Compositeur et experimentateur, Harbec, Jacinthe, Vrin, 2014.

Condición: New. 2021. Paperback. . . . . . Books ship from the US and Ireland.

État de NEUF / New condition 000-223526 '9782711629565 14/02/2022 MusicologieS Broché.

Paperback. Condición: new. Paperback. Dans le Paris des Annees folles, le ballet connait une vive effervescence suscitee par des collaborations inedites entre la musique et les arts. Le ballet Parade, presente par les Ballets russes en 1917, devient le prototype d'un echange collaboratif entre Cocteau, Picasso et Satie, qui a engendre un spectacle memorable sous l'empreinte du cubisme et du futurisme. Avec l'arrivee des Ballets suedois en 1920, la convergence entre les arts - litterature, peinture, danse et musique - se place vraiment au centre du processus creatif transformant la scene en de pures manifestations cubistes, futuristes, surrealistes et dadaistes. L'ouvrage souligne l'interaction artistique et la cohesion esthetique de sept ballets issus de ces compagnies de danse: Parade (1917), Les Maries de la tour Eiffel (1921), L'Homme et son desir (1921), Skating Rink (1922), Within the Quota (1923), La Creation du monde (1923) et Relache (1924). On y croise, entre autres, Cocteau, Claudel, Cendrars, Picasso, Leger, Satie, Milhaud et Honegger. Les elements composant chacun de ces ballets - livret, decor, costumes, choregraphie et musique - sont systematiquement etudies. Plusieurs illustrations, documents d'archives, exemples musicaux, tableaux et schemas accompagnent les propos qui jettent un regard neuf sur la rencontre entre la musique et les arts. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.