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Looking Back and Moving Forward : = from Baillot's L'art Du Violon to Boulez's Hyper-Violin.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Looking Back and Moving Forward :/
其他題名:	from Baillot's L'art Du Violon to Boulez's Hyper-Violin.
作者:	Lambert, Marjolaine.
面頁冊數:	1 online resource (86 pages)
附註:	Source: Dissertations Abstracts International, Volume: 83-05, Section: B.
Contained By:	Dissertations Abstracts International83-05B.
標題:	Fine arts. -
電子資源:	click for full text (PQDT)
ISBN:	9798515259631

Looking Back and Moving Forward : = from Baillot's L'art Du Violon to Boulez's Hyper-Violin.
Lambert, Marjolaine.

Looking Back and Moving Forward :from Baillot's L'art Du Violon to Boulez's Hyper-Violin. - 1 online resource (86 pages)

Source: Dissertations Abstracts International, Volume: 83-05, Section: B.

Thesis (D.M.)--McGill University (Canada), 2014.

Includes bibliographical references

The establishment of the Paris Conservatoire, in 1795, resulted in a new type of vio1in teaching, and subsequently violin playing, one that was institutionalized andstandardized. Pierre Baillot, an eminent violinist and pedagogue, was especially influential in this regard, as he co-wrote and edited the first official violin method of theConservatoire, the Methode de violon (1803). He revised and expanded this method as L 'art du violon (1834) to account for technological breakthroughs and new repertoire.This study revisits this groundbreaking violin method from a performer's perspective and applies it to Pierre Boulez's Anthemes I pour violon seul (1991-1992) and Anthemes 2 pour violon et dispositif electronique ( 1997).The study is divided into five parts. First, it discusses the historical and cultural link between Baillot and Boulez. Second, it elaborates on the history of the violin and bow and their construction from the eighteen century to the present day. Parts three and four then illustrate how Baillot's L 'art du violon addresses technical challenges in Boulez's Anthemes I. This explanation accounts for Baillot's methodology and etudes, and is divided into right- and left-hand techniques, respectively. Finally, part five, investigates how the live electronics in Anthemes 2 redefine the violin's sound, as well as the violinist herself.The primary focus of this work is the application of Baillot's methodology to Boulez's Anthemes I and 2. Nevertheless, parts three, four, and five examine violin techniques found in a wide range of repertoire. Baillot's method remains full of musical treasures and insightful remarks applicable for new repertoire far beyond the nineteenth century.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798515259631Subjects--Topical Terms:

1112523
Fine arts.
Index Terms--Genre/Form:

554714
Electronic books.

Looking Back and Moving Forward : = from Baillot's L'art Du Violon to Boulez's Hyper-Violin.
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520 $a The establishment of the Paris Conservatoire, in 1795, resulted in a new type of vio1in teaching, and subsequently violin playing, one that was institutionalized andstandardized. Pierre Baillot, an eminent violinist and pedagogue, was especially influential in this regard, as he co-wrote and edited the first official violin method of theConservatoire, the Methode de violon (1803). He revised and expanded this method as L 'art du violon (1834) to account for technological breakthroughs and new repertoire.This study revisits this groundbreaking violin method from a performer's perspective and applies it to Pierre Boulez's Anthemes I pour violon seul (1991-1992) and Anthemes 2 pour violon et dispositif electronique ( 1997).The study is divided into five parts. First, it discusses the historical and cultural link between Baillot and Boulez. Second, it elaborates on the history of the violin and bow and their construction from the eighteen century to the present day. Parts three and four then illustrate how Baillot's L 'art du violon addresses technical challenges in Boulez's Anthemes I. This explanation accounts for Baillot's methodology and etudes, and is divided into right- and left-hand techniques, respectively. Finally, part five, investigates how the live electronics in Anthemes 2 redefine the violin's sound, as well as the violinist herself.The primary focus of this work is the application of Baillot's methodology to Boulez's Anthemes I and 2. Nevertheless, parts three, four, and five examine violin techniques found in a wide range of repertoire. Baillot's method remains full of musical treasures and insightful remarks applicable for new repertoire far beyond the nineteenth century.
520 $a La creation du Conservatoire de Paris, en 1795, a donne lieu a un nouveau type d'enseignement du violon, et par le fait meme de jeu violonistique, celui-ci etant desormais institutionnalise et normalise. Pierre Baillot, un eminent violoniste et pedagogue, fut specialement influent a cet egard, en collaborant a l'ecriture de la premiere methode officielle pour violon du Conservatoire, soit la Methode de violon ( 1803 ), de laquelle il fut egalement 1' editeur. Il revisa et enrichit la methode en L 'art du violon (1834) pour y integrer les avancees technologiques de l'epoque, ainsi que le nouveau repertoire disponible. L'etude qui suit revisite cette methode de violon revolutionnaire du point de vue d'un interprete, et !'applique aux Anthemes 1 pour violon seul ( 1991-1992) et Anthemes 2 pour violon et dispositif electronique ( 1997) de Pierre Boulez.Cette etude se divise en cinq parties. Premierement, il y a une discussion sur le fil historique et culturel partage par Baillot et Boulez, puis, deuxiemement, une elaboration sur l'histoire du violon et de l'archet en lien avec leur construction depuis le dix-huitieme siecle. Dans les parties trois et quatre se retrouvent les problemes techniques presents dans les Anthemes de Boulez illustres a travers L 'art du violon de Baillot. Les explications sont ancrees dans la methodologie et les etudes de Baillot, et sont divisees en techniques pour la main droite, et techniques pour la main gauche, respectivement. Finalement, dans la cinquieme partie, le dispositif electronique d'Anthemes 2 est analyse, en considerant comment il redefinit le son du violon, de meme que le role du violoniste. Cette section explique les difficultes d' execution et les issues techniques du dispositif electronique joue en temps reel, dans Anthemes 2, en plus d'offrir des solutions poursurmonter ces difficultes.
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