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Repertoire has multiple meanings, which can't be subsumed under a unique concept. These different definitions result from vehement debates in history, which sometimes continue until nowadays. Thus repertoire raises political, juridical and economical questions, so as aesthetical and ontological ones. Repertorialisation of music occured in the middle of 18th century France : borrowing a theatrical term, lyrical music constructed itself in parallel and opposition with theatre. Repertoire took for object only scores, in order to be strictly a musical repertoire. Consequently it participated to the formation of the modern concept of musical work. When instrumental music is repertorialised occured an aesthetical chiasm : opera became a problematic genre, because only scores are repertoire objects, but at the same time instrumental music got a lyrical manner of functioning, because of its repertorialisation. The notion of repertoire implicates therefore a latent thought of music, which has to be clarified by an historical and philosophical method. ; Le répertoire est une notion aux multiples acceptions, qui ne sont pas subsumables sous un concept unique. Ces significations sont le fruit de débats historiques très vifs, dont les enjeux perdurent parfois jusqu'à nos jours. Le répertoire soulève ainsi des questions non seulement politiques, juridiques et économiques, mais également esthétiques et ontologiques. La répertorialisation de la musique a lieu au milieu du xviiie siècle en France : empruntant un terme théâtral, la musique lyrique se construit parallèlement et en opposition au théâtre. Le répertoire prend pour objet la seule partition afin de se musicaliser, participant ainsi de la construction de l'idée moderne d'œuvre musicale. Lorsque la répertorialisation s'étend à toute la musique instrumentale, un chiasme esthétique s'opère : l'opéra devient un genre problématique, le répertoire n'ayant pour objet que les partitions, mais d'un autre côté la musique instrumentale acquiert un fonctionnement lyrique, du fait ...

Repertoire has multiple meanings, which can't be subsumed under a unique concept. These different definitions result from vehement debates in history, which sometimes continue until nowadays. Thus repertoire raises political, juridical and economical questions, so as aesthetical and ontological ones. Repertorialisation of music occured in the middle of 18th century France : borrowing a theatrical term, lyrical music constructed itself in parallel and opposition with theatre. Repertoire took for object only scores, in order to be strictly a musical repertoire. Consequently it participated to the formation of the modern concept of musical work. When instrumental music is repertorialised occured an aesthetical chiasm : opera became a problematic genre, because only scores are repertoire objects, but at the same time instrumental music got a lyrical manner of functioning, because of its repertorialisation. The notion of repertoire implicates therefore a latent thought of music, which has to be clarified by an historical and philosophical method. ; Le répertoire est une notion aux multiples acceptions, qui ne sont pas subsumables sous un concept unique. Ces significations sont le fruit de débats historiques très vifs, dont les enjeux perdurent parfois jusqu'à nos jours. Le répertoire soulève ainsi des questions non seulement politiques, juridiques et économiques, mais également esthétiques et ontologiques. La répertorialisation de la musique a lieu au milieu du xviiie siècle en France : empruntant un terme théâtral, la musique lyrique se construit parallèlement et en opposition au théâtre. Le répertoire prend pour objet la seule partition afin de se musicaliser, participant ainsi de la construction de l'idée moderne d'œuvre musicale. Lorsque la répertorialisation s'étend à toute la musique instrumentale, un chiasme esthétique s'opère : l'opéra devient un genre problématique, le répertoire n'ayant pour objet que les partitions, mais d'un autre côté la musique instrumentale acquiert un fonctionnement lyrique, du fait ...

Repertoire has multiple meanings, which can't be subsumed under a unique concept. These different definitions result from vehement debates in history, which sometimes continue until nowadays. Thus repertoire raises political, juridical and economical questions, so as aesthetical and ontological ones. Repertorialisation of music occured in the middle of 18th century France : borrowing a theatrical term, lyrical music constructed itself in parallel and opposition with theatre. Repertoire took for object only scores, in order to be strictly a musical repertoire. Consequently it participated to the formation of the modern concept of musical work. When instrumental music is repertorialised occured an aesthetical chiasm : opera became a problematic genre, because only scores are repertoire objects, but at the same time instrumental music got a lyrical manner of functioning, because of its repertorialisation. The notion of repertoire implicates therefore a latent thought of music, which has to be clarified by an historical and philosophical method. ; Le répertoire est une notion aux multiples acceptions, qui ne sont pas subsumables sous un concept unique. Ces significations sont le fruit de débats historiques très vifs, dont les enjeux perdurent parfois jusqu'à nos jours. Le répertoire soulève ainsi des questions non seulement politiques, juridiques et économiques, mais également esthétiques et ontologiques. La répertorialisation de la musique a lieu au milieu du xviiie siècle en France : empruntant un terme théâtral, la musique lyrique se construit parallèlement et en opposition au théâtre. Le répertoire prend pour objet la seule partition afin de se musicaliser, participant ainsi de la construction de l'idée moderne d'œuvre musicale. Lorsque la répertorialisation s'étend à toute la musique instrumentale, un chiasme esthétique s'opère : l'opéra devient un genre problématique, le répertoire n'ayant pour objet que les partitions, mais d'un autre côté la musique instrumentale acquiert un fonctionnement lyrique, du fait même de sa répertorialisation. La notion de répertoire implique donc une pensée latente de la musique, devant être explicitée par une méthode historico-philosophique.

Repertoire has multiple meanings, which can't be subsumed under a unique concept. These different definitions result from vehement debates in history, which sometimes continue until nowadays. Thus repertoire raises political, juridical and economical questions, so as aesthetical and ontological ones. Repertorialisation of music occured in the middle of 18th century France : borrowing a theatrical term, lyrical music constructed itself in parallel and opposition with theatre. Repertoire took for object only scores, in order to be strictly a musical repertoire. Consequently it participated to the formation of the modern concept of musical work. When instrumental music is repertorialised occured an aesthetical chiasm : opera became a problematic genre, because only scores are repertoire objects, but at the same time instrumental music got a lyrical manner of functioning, because of its repertorialisation. The notion of repertoire implicates therefore a latent thought of music, which has to be clarified by an historical and philosophical method. ; Le répertoire est une notion aux multiples acceptions, qui ne sont pas subsumables sous un concept unique. Ces significations sont le fruit de débats historiques très vifs, dont les enjeux perdurent parfois jusqu'à nos jours. Le répertoire soulève ainsi des questions non seulement politiques, juridiques et économiques, mais également esthétiques et ontologiques. La répertorialisation de la musique a lieu au milieu du xviiie siècle en France : empruntant un terme théâtral, la musique lyrique se construit parallèlement et en opposition au théâtre. Le répertoire prend pour objet la seule partition afin de se musicaliser, participant ainsi de la construction de l'idée moderne d'œuvre musicale. Lorsque la répertorialisation s'étend à toute la musique instrumentale, un chiasme esthétique s'opère : l'opéra devient un genre problématique, le répertoire n'ayant pour objet que les partitions, mais d'un autre côté la musique instrumentale acquiert un fonctionnement lyrique, du fait même de sa répertorialisation. La notion de répertoire implique donc une pensée latente de la musique, devant être explicitée par une méthode historico-philosophique.

Dante's impact on music has been studied completely enough, but so far mainly in an empirical and descriptive way. The article examines the works of romantic composers of the 19th - early 20th centuries, based on the plot of Dante's "Divine Comedy": Liszt's fantasy-sonata "After reading Dante" and the "Dante-Symphony", the "Francesca da Rimini" by Tchaikovsky (symphonic fantasy) and Rachmaninoff (opera). The author analyses compositional and stylistic models of the romantic music inspired by Dante's poetry as a system, which is relevant for modern musicology, in particular, for the theories of musical language, style, and musical meaning. Along with the traditional musicological methods of analysis of form and intonational dramaturgy, an interdisciplinary methodology is applied, associated with the coverage of the entire system of musical compositional prototypes as a structuring of meaning. This has a pronounced narrative poetic nature in romantic music. The results of the study demonstrate a system of structural and semantic invariants (secondary, musical models) conditioned by Dante's figurative world and manifested in melody, harmony, fret organization, composition. The conclusions of the article reveal the roles of Dante's models of the world in the works considered in the following aspects: in the process of extreme intensification of the contrasts of romantic music in the semantic coordinates of "Hell – Paradise"; "Love – Death"; in the approval of the concept of Liebestod; in the creation of new, extreme expressive possibilities for the given style, which significantly expanded the idea of the boundaries of beauty and caused transformations in musical sound (harmony, texture, melody); in the formation of stable idioms of romantic music from Liszt to Rachmaninov; in the modification of the structures of a one-part sonata, of the cyclic symphony, and of opera, which have received the quality of a vectorial dramaturgical process and open dramaturgy.

Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.

Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.

Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.

This book investigates the relationship between music and war from the end of the XVIII century to WWI. 0The centennial commemorations of the Great War in 2014 have yielded significant research on the relationship between music and this first world-wide conflict. Thanks to several conferences and publications, our knowledge about the musical repertoire played on the home front, the musical practices of the soldiers, or the war?s impact on European musical life, is expanding. While joining the efforts to enlighten this particularly little-known period of music history, this book aims to investigate that relationship by adopting a larger time-span: from the end of eighteenth century until the outbreak of the First World War. What kind of connections can be found between music, musicians or the musical economy (editions, the circulation of scores, opera and concert programming, professionalisation) and the different conflicts that would tear the European continent apart? Bringing together more than twenty case studies dealing with several European wars, this volume also investigates the evolution of the perception of the sound of war (by Martin Kaltenecker), and proposes new perspectives based on recent 20th-century music and war studies

The female image presented in the small painting "Allegory of Music" by Filippino Lippi (Gemaeldegalerie, Berlin) is most likely associated with the plot of a theatrical performance played out in 1475 in Pesaro on the occasion of the wedding of Costanzo Sforza and Camilla of Aragon. Th e similarity of the attributes of the heroine with the attributes of the muse Erato, who greeted the newlyweds, was pointed out by A. Warburg, who placed two images, the Filippino board and an illustration from the Vatican manuscript containing the text of the wedding performance, next to each other in his "Mnemosine Atlas". It is impossible to substantiate this version with documents, but the Florentine artist, who nominally interprets the plot differently from the anonymous northern Italian miniatur-ist, could be familiar with the description of the celebration, known not only from illustrated lists, but also from printed brochures. Th e origins of the "Allegory of Music" are traditionally traced to a wedding commission — on the occasion of the marriage of Giovanni Vespucci and Namicina Nerli in 1500 — which also included paired spalliers depicting "History of Lucretia" and "History of Virginia" by San-dro Botticelli and a panel by Piero di Cosimo displaying bacchanalia. Th e present article advances arguments in favor of this version, building on other episodes of cooperation between Botticelli and Filippino Lippi, both between the two of them and with the two intermarried Florentine families. Th e painting in question contains elements that may indicate its connection with the wedding ritual. It is impossible to establish how all the listed panels were arranged in the interior. How-ever, on the whole, this alleged ensemble, designed in the all'antica style, could be thought of as a glorification of sublime and chaste love. Th e theme, traditional for the decoration of the matrimonial bedroom, is eleborated simultaneously in brutal scenes from Roman history, which in Florentine artistic culture were laden with explicit republican connotations, as well as in small-scale mythological "poetry", that soft ens political accents and, moreover, can be associated with a magnificent princely wedding, glorifying the nobility of the newlyweds.

International audience ; Quels sont les enjeux symboliques et politiques de la mobilisation de la musique au sein des dispositifs diplomatiques ? De quels pouvoirs est investie la musique pour qu'elle soit inlassablement utilisée comme métaphore ou donnée comme modèle des relations internationales ? Lecture critique de Rebekah Ahrendt, Mark Ferraguto, Damien Mahiet (eds.), Music and Diplomacy from the Early Modern Era to the Present, New York, Palgrave Macmillan, 2014, 291 p. ; et Todd H. Hall, Emotional Diplomacy. Official emotion on the international stage, Ithaca, Cornell University Press, 2015, 248 p.