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Condizione: new. Expédition le jour même. Libraire depuis 23 ans. Envoi soigné avec suivi.

Condizione: New. HAUTE-CONTRE I .

Condizione: New.

Notenblatt. Condizione: Neu. Neuware - Dieser Band enthält die Hälfte der großen Monologe, Arien und Arietten, die Rameau für Haute-contre komponierte und heute von einem hohen Tenor ausgeführt werden.Arien für Haute-contre (Tenor) aus den Opern: 'Acanthe et Céphise' (Acanthe) / 'Anacréon' (Batile) / 'Castor et Pollux' (Castor, un Athlète) / 'Daphnis et Églé' Mit detaillierten historischen Einleitungen (frz./engl.) Praktikable Klavierauszug-Arrangements basierend auf 'Opera Omnia Rameau' Jede Nummer wird eingeführt von einer kurzen.

Condizione: New.

Paperback. Condizione: new. Paperback. As the forerunners to the Paris Opera, the Academie d'operas (1669-1672) and the Academie royale de musique (1672-1791) inspired first historical then aesthetic research, research that appeared very steadily through the eighteenth, nineteenth, and twentieth centuries. At the beginning of the twenty-first century, researchers and performers alike began to change their perspective on the institution and its legacy, shifting away from the Academie's image as a tool used in the propaganda machine and towards a focus on aspects of performance practice. However, despite the scale and diversity of the current body of scholarship, many facets of the Academie royale de musique remain unexplored. It was first and foremost a cultural institution, one that developed its own identity and savoir-faire, some aspects of which still need to be uncovered. This study aims to reconsider the institution from a new angle, thanks to an interdisciplinary approach and three sustained motivations: questioning the institution's very nature, as well as its place and status in the French academic network; highlighting practical, logistical, and material questions as yet unexplored; and reevaluating not only its interactions with other theaters in Paris, at court, and in the provinces, but also the ways its repertoire spread in general. For once, poets and composers are not the main subject. We choose to concentrate instead on those who helped the pieces to exist and to come to life: directors and administrators, performers, teachers, and craftsmen. The papers focus on their hierarchical relationships, their decision-making authority, and their respective responsibilities, in order to better understand all that the fashioning of operas entails. 36 b/w illus, 23 col illus, 27 b/w tbls, 8 exemples musicaux Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Taschenbuch. Condizione: Neu. Haute-contre, Klavierauszug. Vol.1 | Haute-contre | Jean-Philippe Rameau | Taschenbuch | Klavierauszug | Englisch | 2015 | Bärenreiter | EAN 9790006561148 | Verantwortliche Person für die EU: Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Postfach:10 03 29, 34131 Kassel, https://www[dot]baerenreiter[dot]com | Anbieter: preigu.

Condizione: As New. Unread book in perfect condition.

Condizione: New. 2023. Bilingual. paperback. . . . . .

Condizione: New. 2023. Bilingual. paperback. . . . . . Books ship from the US and Ireland.

Paperback. Condizione: new. Paperback. As the forerunners to the Paris Opera, the Academie d'operas (1669-1672) and the Academie royale de musique (1672-1791) inspired first historical then aesthetic research, research that appeared very steadily through the eighteenth, nineteenth, and twentieth centuries. At the beginning of the twenty-first century, researchers and performers alike began to change their perspective on the institution and its legacy, shifting away from the Academie's image as a tool used in the propaganda machine and towards a focus on aspects of performance practice. However, despite the scale and diversity of the current body of scholarship, many facets of the Academie royale de musique remain unexplored. It was first and foremost a cultural institution, one that developed its own identity and savoir-faire, some aspects of which still need to be uncovered. This study aims to reconsider the institution from a new angle, thanks to an interdisciplinary approach and three sustained motivations: questioning the institution's very nature, as well as its place and status in the French academic network; highlighting practical, logistical, and material questions as yet unexplored; and reevaluating not only its interactions with other theaters in Paris, at court, and in the provinces, but also the ways its repertoire spread in general. For once, poets and composers are not the main subject. We choose to concentrate instead on those who helped the pieces to exist and to come to life: directors and administrators, performers, teachers, and craftsmen. The papers focus on their hierarchical relationships, their decision-making authority, and their respective responsibilities, in order to better understand all that the fashioning of operas entails. 36 b/w illus, 23 col illus, 27 b/w tbls, 8 exemples musicaux Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

paperback. Condizione: New. 1st.

Condizione: Neuf.

Softcover. Condizione: Bon. Ancien livre de bibliothèque avec équipements. Edition 2011. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Edition 2011. Ammareal gives back up to 15% of this item's net price to charity organizations.

Condizione: Gut. Zustand: Gut | Seiten: 776 | Sprache: Französisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Condizione: Bon. Merci, votre achat aide à financer des programmes de lutte contre l'illettrisme.

Paperback, 440 pages, Size:178 x 254 mm, Illustrations:36 b/w, 23 col., 27 tables b/w., 8 exemples musicaux, Language(s): English, French. ISBN 9782503604787. Summary As the forerunners to the Paris Opera, the Acad mie d'op ras (1669-1672) and the Acad mie royale de musique (1672-1791) inspired first historical then aesthetic research, research that appeared very steadily through the eighteenth, nineteenth, and twentieth centuries. At the beginning of the twenty-first century, researchers and performers alike began to change their perspective on the institution and its legacy, shifting away from the Acad mie's image as a tool used in the propaganda machine and towards a focus on aspects of performance practice. However, despite the scale and diversity of the current body of scholarship, many facets of the Acad mie royale de musique remain unexplored. It was first and foremost a cultural institution, one that developed its own identity and savoir-faire, some aspects of which still need to be uncovered. ? This study aims to reconsider the institution from a new angle, thanks to an interdisciplinary approach and three sustained motivations: questioning the institution's very nature, as well as its place and status in the French academic network; highlighting practical, logistical, and material questions as yet unexplored; and reevaluating not only its interactions with other theaters in Paris, at court, and in the provinces, but also the ways its repertoire spread in general. For once, poets and composers are not the main subject. We choose to concentrate instead on those who helped the pieces to exist and to come to life: directors and administrators, performers, teachers, and craftsmen. The papers focus on their hierarchical relationships, their decision-making authority, and their respective responsibilities, in order to better understand all that the fashioning of operas entails. Le d veloppement de l'op ra en France est intrins quement li l'histoire de l'Acad mie royale de musique de Paris?: le genre et l'institution naissent et voluent en parall le, se nourrissant l'un de l'autre. L'institution en tant que telle reste cependant moins tudi e?: son administration, son mod le conomique, sa gestion des carri res et des comp tences, son personnel (artistes, artisans, ma tres de chant et de danse, employ s), ses fournisseurs, son organisation quotidienne, l'interaction entre les corps de m tier qui la composent (et notamment la notion de responsabilit , de droit ou de fait, incombant chacun), son volution dans le temps, la diffusion de son r pertoire et de son image fournissent autant de pistes explorer. Ces aspects sont d terminants pour comprendre la nature de l'institution, mais aussi celle de son r pertoire. la diff rence des autres acad mies tablies par Louis XIV, l'Acad mie royale de musique est en effet avant tout une entreprise culturelle, qui ?fabrique du spectacle? avec des contraintes de production, de rentabilit et d'attractivit . Unique th tre de r pertoire en Europe l' poque, elle entretient des forces artistiques permanentes (orchestre, ballet, troupe) et g re des fonds consid rables (musique, d cors, costumes). Le succ s public d pend tout autant de la qualit du spectacle et de l'interpr tation que de la valeur intrins que du po me et de la musique. Ce fonctionnement particulier place l'?uvre au croisement de multiples consid rations pragmatiques, dont l' tude permet de r valuer le geste cr ateur et la notion d'?uvre elle-m me. C'est ce que le CMBV a souhait mettre en valeur dans un ouvrage collectif interdisciplinaire. 0 g.