Information om | Engelska ordet RAMEAU

Exempel på hur man kan använda RAMEAU i en mening

• The editorial line was clearly bent towards humor, with Greg (as editor-in-chief and author of series such as the remake of Zig et Puce), Jo-El Azara (with Taka Takata), Dany (with Olivier Rameau) and Dupa (with Cubitus).
• Along with spirituals, Lillian presented a wide range of repertoire including works by Handel, Scarlatti, Bellini, Rameau which grabbed the attention of a few "white" papers, although they neglected to identify her as a black singer.
• Important French composers include Pérotin, Machaut, Du Fay, Ockeghem, Josquin, Lully, Charpentier, Couperin, Rameau, Leclair, Grétry, Méhul, Auber, Berlioz, Alkan, Gounod, Offenbach, Franck, Lalo, Saint-Saëns, Delibes, Bizet, Chabrier, Massenet, Widor, Fauré, d'Indy, Chausson, Debussy, Dukas, Vierne, Duruflé, Satie, Roussel, Hahn, Ravel, Honegger, Milhaud, Poulenc, Auric, Messiaen, Françaix, Dupré, Dutilleux, Xenakis, Boulez, Guillou, Grisey, and Murail.
• He has since released several recordings, including works of Maurice Ravel, Sergei Rachmaninoff, Jean-Philippe Rameau, John Adams, Igor Stravinsky, and Alexander Scriabin, as well as a recording of Rhapsody in Blue with the Royal Philharmonic Orchestra.
• Just as the harmonic series was and is used as a justification for consonance, such as by Rameau, among others, the harmonic series is often used as physical or psychoacoustic justification for the gradual emancipation of intervals and chords found further and further up the harmonic series over time, such as is argued by Henry Cowell in defense of his tone clusters.
• His recordings include, as a flautist, selections from the Pièces de Clavecin en Concerts of Jean-Philippe Rameau, and as a conductor, Instrumental Suites of Rameau's operas (Dardanus, Les Boréales, Castor & Pollux, Les Indes galantes, Naïs, Zoroastre, Les Fêtes d'Hébé, Acante et Céphise), symphonies of Ludwig van Beethoven, Joseph Haydn, Wolfgang Amadeus Mozart and Franz Schubert.
• The unmeasured harpsichord prelude became a typical French genre, used by many famous composers including Jean-Philippe Rameau, Jean-Henri d'Anglebert, Louis Marchand and Élisabeth Jacquet de la Guerre.
• Members of the pro-Italian faction, such as the philosopher and musician Jean-Jacques Rousseau, attacked serious French opera, represented by the tragédies en musique of Jean-Philippe Rameau, in favor of what they saw as the simplicity and "naturalness" of Italian comic opera (opera buffa), exemplified by Pergolesi's La serva padrona, which had recently been performed in Paris by a traveling Italian troupe.
• The early 18th century was dominated by the operas of George Frideric Handel, while other important works include Pepusch's The Beggar's Opera, Pergolesi's' La serva padrona, and various works by Jean-Philippe Rameau.
• Cuthbert Girdlestone conjectured in his "Mozart and His Piano Concertos" that the sonata rondo form derives also in part from the dances en rondeau of Jean-Philippe Rameau, among others, by structural elaboration, possibly an innovation of Mozart's.
• Inspired in part by the keyboard writing of Couperin and Rameau, the movement shifts restlessly between 3/4 and 5/4 time and abounds in energy, driving the work to a brilliant conclusion.
• Turkish music also appears in works of Jean-Philippe Rameau, Michael Haydn (Marcia turchesca, MH 601), Gioacchino Rossini, Ludwig Spohr, in two operas of Gluck – Die Pilger von Mekka (1764) and Iphigenie auf Tauris (1779) – and in Symphony No.
• In the middle of the 19th century, a revival of interest in choral music swept France, and Saint-Saëns, an admirer of the oratorios of Handel and Mendelssohn, made plans to compose an oratorio on the subject of Samson and Delilah as suggested by Voltaire's libretto Samson for Rameau.
• In 1739 the Society of the Caveau, which numbered among its members Helvétius, Charles Pinot Duclos, Pierre Joseph Bernard, called Gentil-Bernard, Jean-Philippe Rameau, Alexis Piron, and the two Crébillons, was dissolved, and was not reconstituted till twenty years afterwards.
• This and similar passages by Rameau (in his first Gavotte) clearly show that this means to apply an even greater amount of inequality to dotted eighth–sixteenth note pairs than to eighth–eighth pairs, which are already understood to be played unequally.
• This is not, in my eyes, the most precious kind of Rameau nor, fortunately, the commonest; indeed, it is seldom that he abides successfully within the slender framework of the bergerie; but he has done so here and the result is perfection, even though the perfection be of a modest order.
• The leading French opera composer in the period between Jean-Baptiste Lully and Jean-Philippe Rameau, Campra wrote several tragédies en musique and opéra-ballets that were extremely well received.
• His other works include bibliographies of Prosper Mérimée (1876), of Théophile Gautier (1876), of the brothers de Goncourt (1897) and others; also editions of FM Grimm's , of Diderot's Neveu de Rameau (1884), of Montesquieu's Lettres persanes (Persian Letters, 1886), etc.
• Volumes 4 to 10 continue the graded selection by incorporating 'standard' or 'traditional' student violin solos by composers such as Seitz, Vivaldi, Bach, Veracini, Corelli, Dittersdorf, Rameau, Handel, Mozart and Fiocco.
• In the early 18th century, Jean-Philippe Rameau composed a famous harpsichord piece, Les Niais de Sologne, whose name translates as "the simpletons of Sologne".

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