scholarly journals Intertextualidade e narratividade na Sinfonia nº 1 (“O imprevisto”) de Villa-Lobos

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Paulo de Tarso Salles
Keyword(s):  
Vincent D'indy

O propósito deste trabalho é apresentar uma análise da Sinfonia n. 1 (“O Imprevisto”) de Heitor Villa-Lobos (1887–1959) a partir de sua estrutura formal e narrativa. A obra foi composta em 1916 e é estruturada como se fosse um poema sinfônico, com texto programático escrito pelo próprio compositor. A narrativa literária é recoberta por outra, de caráter musical, estruturada em forma cíclica segundo o método de Vincent d’Indy (1909). A análise irá buscar pontos de aproximação e afastamento entre as narrativas literária e musical, segundo teorias da forma musical, usando terminologias de Hepokoski e Darcy (2006), Vande Moortele (2009, 2013) e Stoïanova (2000); teorias de narratividade musical propostas por Eero Tarasti (1994) e Byron Almén (2003, 2008); e análises tópicas, segundo Leonard Ratner (1980), Wye Allanbrook (1983), Raymond Monelle (2000, 2006) e outros. A intertextualidade se manifesta no plano musical, com obras de Berlioz, Liszt, Wagner, Franck, Nepomuceno e Debussy, mas também no plano literário, com Dante, Camões, Drummond, Graça Aranha e Haroldo de Campos. Palavras-chave: Villa-Lobos; Sinfonia; Narratividade; Teoria das tópicas; Análise musical; Intertextualidade

scholarly journals Iphigénie à Paris: Positioning Gluck Historically in Early Twentieth-Century France

2012 ◽  
Vol 27 (1) ◽  
pp. 3-15
Author(s):  
William Gibbons
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Music History ◽  
Critical Reception ◽  
Unusual Event ◽  
Early Twentieth Century ◽  
Vincent D'indy

In December 1907, Gluck's opera Iphigénie en Aulide was produced in Paris at the Opéra-Comique, the last of his major operas to be revived in France. The ensuing critical reception pitted Vincent d'Indy, who harshly criticized the production, against its director, Albert Carré; d'Indy further responded by conducting the overture to Iphigénie only a few weeks later as a musical corrective to the performance at the Opéra-Comique. This unusual event highlights the historiographie problem Gluck presented to early twentieth-century critics in France: did his music look backwards to the tragédies lyriques of Lully and Rameau, or did it prefigure the Wagnerian music-dramas of the nineteenth century? The 1907 Opéra-Comique production of Iphigénie and its aftermath encapsulate the struggle to incorporate Gluck into newly developing and often competing narratives of music history.

Vincent d'Indy and the Minor Mode. II

1920 ◽  
Vol 61 (934) ◽  
pp. 805
Author(s):  
Richard Capell
Keyword(s):  
Mode Ii ◽  
Minor Mode ◽  
Vincent D'indy

Some Reflections on Gloriana

Tempo ◽  
1953 ◽  
pp. 16-21 ◽  
Author(s):  
John W. Klein
Keyword(s):  
Common Sense ◽  
Artistic Integrity ◽  
History Of ◽  
La Traviata ◽  
Vincent D'indy

Occasionally, in the history of operatic art, great works, with no pronounced revolutionary tendencies, yet models of simplicity, of sincerity, of artistic integrity, have been subjected to the most savage criticism, as unintelligent as it was undiscerning. We remain astounded at the lack of insight, of common-sense on the part of cultured critics. Even la Traviata was held up for censure as “prurient, foul and hideous”; whereas, in the whole of Verdi's work, there is nothing more poignant and sublime than Violetta's appeal: “Dite alia giovane.” Carmen was stigmatized as “grossly vulgar and vile,” whilst Vincent d'Indy—amazed at the aberrations of men—sadly remarked that the “music seemed crazy to nearly everybody.”

Vincent d'Indy

1936 ◽  
Vol 17 (59) ◽  
pp. 144
Author(s):  
Julien Tiersot ◽  
Marguerite-Marie de Fraguier
Keyword(s):  
Vincent D'indy

scholarly journals The Ideas of M. Vincent D'Indy. I

1920 ◽  
Vol 61 (925) ◽  
pp. 176
Author(s):  
C. Saint-Saens ◽  
Fred Rothwell
Keyword(s):  
Vincent D'indy

THE DISCOVERY OF MUSICAL GERMANY BY VINCENT D'INDY IN 1873

1939 ◽  
Vol XXV (2) ◽  
pp. 176-194
Author(s):  
LEON VALLAS
Keyword(s):  
Vincent D'indy

scholarly journals Une oeuvre purement musicale? Analyse de la spiritualité des Soeurs des Saints Noms de Jésus et de Marie à partir de l’exemple de l’École de musique Vincent-d’Indy

2011 ◽  
Vol 74 ◽  
pp. 71-92
Author(s):  
Dominique Laperle
Keyword(s):  
Nous Pouvons ◽  
Vincent D'indy

L’École de musique Vincent-d’Indy des Soeurs des Saints Noms de Jésus et de Marie (connue avant 1951 sous le nom d’École supérieure de musique d’Outremont) fut considérée comme l’une des meilleures du genre dans la province de Québec. Cette réputation ne peut passer sous silence le fait qu’il s’agisse d’une institution catholique. Dans la vie scolaire quotidienne, quelle place occupait réellement la spiritualité ? En étudiant les Constitutions, le Coutumier, les programmes musicaux, les lettres circulaires et différents imprimés des religieuses, nous pouvons mieux identifier la spiritualité à laquelle se rattache cette communauté et comprendre comment elle l’a vécue et partagée.

scholarly journals Une harmonie sans fausses notes ? Les questions de contrôle, d’autonomie et de pouvoir entre l’École de musique Vincent-d’Indy et les Universités de Montréal et de Sherbrooke (1933–1978)

2009 ◽  
pp. 85-102
Author(s):  
Dominique Laperle
Keyword(s):  
School Of Music ◽  
Pedagogical Relations ◽  
The University ◽  
Vincent D'indy

This text seeks to understand the administrative and pedagogical relations between the School of Music Vincent-d’Indy, owned by the Sisters of the Holy Names of Jesus and Mary, the University of Montreal and the University of Sherbrooke, from 1933 to 1978. The nature of the affiliation has been a major concern, particularly for the syllabus content and the diplomas.

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