Proust Musicien

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Proust Musicien ❮BOOKS❯ ⚡ Proust Musicien Author Jean-Jacques Nattiez – Polishdarling.co.uk Proust, dans A la Recherche du temps perdu, a crit des pages qui figurent parmi les plus belles sur la musique En particulier dans Un amour de Swann, l crivain fait preuve d une exceptionnelle acuit a Proust, dans A la Recherche du temps perdu, a crit des pages qui figurent parmi les plus belles sur la musique En particulier dans Un amour de Swann, l crivain fait preuve d une exceptionnelle acuit auditive , digne d un grand musicien Suite des s minaires interdisciplinaires et de r flexion sur les changes entre les arts, le musicologue Jean Jacques Nattiez propose avec cet ouvrage form de trois chapitres Proust et Wagner Parsifal comme mod le r dempteur de l ouvre r demptrice , La musique comme mod le r dempteur de la litt rature et De Vinteuil Schopenauer une analyse du r le de la musique dans la progression du roman il voque aussi la qu te mystique laquelle donnent lieu Debussy, Wagner et Beethoven Cette nouvelle dition revue et corrig e tient notamment compte des d couvertes sur la gen se du roman.

    Download Book Best Sellers in PDF format Proust et Wagner Parsifal comme mod le r dempteur de l ouvre r demptrice , La musique comme mod le r dempteur de la litt rature et De Vinteuil Schopenauer une analyse du r le de la musique dans la progression du roman il voque aussi la qu te mystique laquelle donnent lieu Debussy, Wagner et Beethoven Cette nouvelle dition revue et corrig e tient notamment compte des d couvertes sur la gen se du roman."/>
  • Paperback
  • 187 pages
  • Proust Musicien
  • Jean-Jacques Nattiez
  • French
  • 14 May 2019
  • 2267003716

About the Author: Jean-Jacques Nattiez

Is a well known author, some of his books are a fascination for readers like in the Proust Musicien book, this is one of the most wanted Jean Jacques Nattiez author readers around the world.



10 thoughts on “Proust Musicien

  1. Kalliope Kalliope says:

    The musicologist Jean Jacques Nattiez conducted a seminar during 1981 83 at the Universit de Montr al and this study is its result Nattiez starts the book with the pertinent question of What defines a musician Is it one s ability to appreciate or to make or to compose music that lies behind the identity One may well expect that Nattiez thinks that Proust, if not in profession, was indeed a musician thanks to his deep understanding of the art And yet, Louis Gautier Vignal, a friend of Pro The musicologist Jean Jacques Nattiez conducted a seminar during 1981 83 at the Universit de Montr al and this study is its result Nattiez starts the book with the pertinent question of What defines a musician Is it one s ability to appreciate or to make or to compose music that lies behind the identity One may well expect that Nattiez thinks that Proust, if not in profession, was indeed a musician thanks to his deep understanding of the art And yet, Louis Gautier Vignal, a friend of Proust s and also a musicologist, thought that his friend s knowledge of music was a bit shaky and that his comments on music found in the novel needed further editing Proust connu et inconnu La recherche is famous for its very numerous references to the arts This study tells us that 160 writers, 80 painters and 40 composers are named Tabulating the composers according to the number of times they are mentioned, Wagner comes up first followed by Beethoven and Debussy.And indeed Wagner gets his own chapter in this study The other two are on the petite phrase from Vinteuil s Sonata, and on Schopenhauer The structure of this book seems to correspond to the kind of explorations undertaken in Seminars Each chapter probably originated in a Paper.Nattiez s discussion of Wagner, as found in Proust, mentions but does not focus on the use of leitmotivs This would be too obvious Any reader of La recherche does not need a study to learn about this These leitmotivs just jump at you when reading the work So, it is fortunate that Nattiez decided not to elaborate on this No need.More interesting is the parallel he sees between Parsifal s crusade in the search for salvation and the quest of Proust s Narrator For this pertainsdeeply to the structure of the work We are also given some additional considerations For example and attuned to Proust s fascination with names , Parsifal entering Montsalvat accompanied by Gurnemanz finds its correspondence in the Narrator entering the Library of the Guermantes This cannot be fortuitous.Venice also plays a similar aesthetic revelatory role in both Wagner and Proust Nattiez quotes from Wagner s massive autobiography, the aesthetic significance that the golden city had on the composer A Proustian will be reminded of similar passages La recherche.The second chapter in this study is, in my opinion, the weakest It traces in too academic a manner each appearance of the famous petite phrase of Vinteuil s Sonata The overall argument is nonetheless relevant The petite phrase and the Sonata, so ubiquitous for a considerable part of the novel, eventually prove to be not entirely adequate in their aesthetic value And Nattiez includes a quote that amused me In a letter from Proust to Jacques de Lacretelle regarding la petite phrase he writes la phrase charmante mais enfin m diocre d une sonate pour piano et violon de Saint Sa ns, musicien que je n aime pasAs few readers go beyond the first couple of volumes, the petite phrase has become almost as iconic the madeleine But this quote accords with the fact that this Sonata had to undergo through a metamorphosis for it to succeed in its redemptive power Not until La prisonni re, or fifth volume, is the Septuor or Septet, first heard Thisunusual musical ensemble emerges as a composition that has picked some of the Sonata elements but has transformed them The new work finally succeeds in offering a much wider reverberation and a deeper aesthetic revelation.The redemptive transformation of the Sonata into the Septet leads Nattiez into a slightly sterile discussion on the ranking of the arts in Proust s aesthetics It is to be expected from a musicologist that for him Music would play the highest role.He acknowledges that in La recherche, music and painting vie with each other Painting makes a very clear presence from the beginning of the novel, but it drops significantly from the fourth volume onwards Sodome Gomorrhe A look at the index of Karpeles Paintings in Proust A Visual Companion to In Search of Lost Time easily confirms this, as the later volumes contain far fewer paintings Music, however, stays until the end of La Recherche We also learn from Nattiez s study that in the first version of the last volume Matin e Chez La Princesse De Guermantes Cahiers Du Temps Retrouv now published and waiting for my attention in my shelves it is Wagner s L enchantement du Vendredi Saint again from Parsifal that plays the key illuminating role that will indicate the Narrator the path that his life has to follow if he is to Regain Time Even if Proust later dropped an existing piece and adopted the fictional Septet to play the role that originally Wagner s piece played, Nattiez sees that it is the abstract character of music that gives it its preeminent place in La recherche As music is non mimetic or non representational, and as it also needs time to unfold, it acquires stronger redeeming powers Music alone goes beyond l int lligence or rationality that the Narrator tries to shun.Nattiez makes a strong case, but I am not entirely convinced by his emphasis on music as the preeminent vehicle for art in Proust Paintings do blur as the novel advances, but the visual does not Even the whiteness of the Sonata transforms in a red Septet evoking also the magic and visual hawthorns Proust art is not easy to reduce to a single dimension.The last and shortest chapter was for me the best I hadto learn from it Nattiez starts with Schopenhauer s designation of music as the art of the highest order and we do then remember that the philosopher s writings on music are mentioned by one of Proust s characters But it is the concept of Representation, understood in Schopenhauer s sense as the Will to exist and which he found could be expressed through Music that makes the thoughts of this philosopher interesting to me Nattiez applies Schopenhauer in his understanding that Music is the metaphysical force that indicates the Narrator how to handle that evasive dimension of Time But Proust was not a musician he was a writer.And this Schopenhauerian understanding of art, Representation, and Proust s handling of it through his art is the one I would like to explore further

  2. Aragorn Aragorn says:

    Per i Proust dipendenti La musica, nella Recherche du temps perdu, svolge un ruolo fondamentale, basti pensare che al settimino di Vinteuil, opera immaginaria e archetipa, che Proust affida il compito di svelare al Narratore la sua vocazione letteraria nonch quello di riunire le due parti , quella di M s glise e quella di Guermantes Il saggio di Nattiez, professore di musica dell Universit di Montreal, si propone di indagare ed approfondire il ruolo che la musica svolge nell opera di Prou Per i Proust dipendenti La musica, nella Recherche du temps perdu, svolge un ruolo fondamentale, basti pensare che al settimino di Vinteuil, opera immaginaria e archetipa, che Proust affida il compito di svelare al Narratore la sua vocazione letteraria nonch quello di riunire le due parti , quella di M s glise e quella di Guermantes Il saggio di Nattiez, professore di musica dell Universit di Montreal, si propone di indagare ed approfondire il ruolo che la musica svolge nell opera di Proust e in che misura essa contamini il fatto letterario Il compito arduo e, visto che la Recherche un universo complesso, totale e chiuso in se stesso, gli sconfinamenti negli altri settori d indagine sembrerebbero scontati L Autore non cede alla tentazione e, in 5 parti o capitoli, porta a termine la sua indagine Nell Introduzione si riassumono i precedenti lavori svolti sull argomento e si dichiarano le ipotesi che si seguiranno e le tesi che si dimostreranno L opera di Vinteuil, naturalmente,sar il tema principale da analizzare Nella prima parte vengono analizzate le poiesi di Wagner e Proust Vengono colti i tanti parallelismi e le tante similitudini, che si ritroveranno, poi, nelle opere dei due artisti, essendo stato Proust infettato proprio da Wagner dall ossesssione dell unit e della ricerca dell assoluto attraverso l opera d arte Nella seconda parte viene vivisezionata l opera di Vinteuil e si ricercano i vari modelli reali della Sonata Notevole come Nattiez analizzi i livelli di comprensione attraverso cui devono passare Swann prima e il Narratore poi nell ascoltare l opera del maestro di Combray Si analizzano, inoltre, la funzione di rivelazione estetica che la musica svolge nei confronti del Narratore e come essa riesca a riprodurre il meccanismo della memoria involontaria Nella terza e ultima parte si cerca e trova la fonte della concezione estetica e metafisica della musica in Proust Schopenhauer, il vero deus ex machina che si cela non solo dietro la teorizzazione del settimino di Vinteuil ma, cosa illuminante e forse deludente per chi alle prese con le sue prime letture critiche sulla Recherche, dietro l intera opera di Proust Il saggio ben scritto Nattiez, con umilt e onest intellettuale, non ha la presunzione di presentare il suo come un lavoro definitivo sull argomento, si pone degli obiettivi specifici che riesce a raggiungere brillantemente Non mancano i colpi di scena Per gli amanti di Proust, una piccola luce che rende meno fitta l affascinante oscurit di Alla ricerca del Tempo perduto

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10 thoughts on “Proust Musicien

  1. Kalliope Kalliope says:

    The musicologist Jean Jacques Nattiez conducted a seminar during 1981 83 at the Universit de Montr al and this study is its result Nattiez starts the book with the pertinent question of What defines a musician Is it one s ability to appreciate or to make or to compose music that lies behind the identity One may well expect that Nattiez thinks that Proust, if not in profession, was indeed a musician thanks to his deep understanding of the art And yet, Louis Gautier Vignal, a friend of Pro The musicologist Jean Jacques Nattiez conducted a seminar during 1981 83 at the Universit de Montr al and this study is its result Nattiez starts the book with the pertinent question of What defines a musician Is it one s ability to appreciate or to make or to compose music that lies behind the identity One may well expect that Nattiez thinks that Proust, if not in profession, was indeed a musician thanks to his deep understanding of the art And yet, Louis Gautier Vignal, a friend of Proust s and also a musicologist, thought that his friend s knowledge of music was a bit shaky and that his comments on music found in the novel needed further editing Proust connu et inconnu La recherche is famous for its very numerous references to the arts This study tells us that 160 writers, 80 painters and 40 composers are named Tabulating the composers according to the number of times they are mentioned, Wagner comes up first followed by Beethoven and Debussy.And indeed Wagner gets his own chapter in this study The other two are on the petite phrase from Vinteuil s Sonata, and on Schopenhauer The structure of this book seems to correspond to the kind of explorations undertaken in Seminars Each chapter probably originated in a Paper.Nattiez s discussion of Wagner, as found in Proust, mentions but does not focus on the use of leitmotivs This would be too obvious Any reader of La recherche does not need a study to learn about this These leitmotivs just jump at you when reading the work So, it is fortunate that Nattiez decided not to elaborate on this No need.More interesting is the parallel he sees between Parsifal s crusade in the search for salvation and the quest of Proust s Narrator For this pertainsdeeply to the structure of the work We are also given some additional considerations For example and attuned to Proust s fascination with names , Parsifal entering Montsalvat accompanied by Gurnemanz finds its correspondence in the Narrator entering the Library of the Guermantes This cannot be fortuitous.Venice also plays a similar aesthetic revelatory role in both Wagner and Proust Nattiez quotes from Wagner s massive autobiography, the aesthetic significance that the golden city had on the composer A Proustian will be reminded of similar passages La recherche.The second chapter in this study is, in my opinion, the weakest It traces in too academic a manner each appearance of the famous petite phrase of Vinteuil s Sonata The overall argument is nonetheless relevant The petite phrase and the Sonata, so ubiquitous for a considerable part of the novel, eventually prove to be not entirely adequate in their aesthetic value And Nattiez includes a quote that amused me In a letter from Proust to Jacques de Lacretelle regarding la petite phrase he writes la phrase charmante mais enfin m diocre d une sonate pour piano et violon de Saint Sa ns, musicien que je n aime pasAs few readers go beyond the first couple of volumes, the petite phrase has become almost as iconic the madeleine But this quote accords with the fact that this Sonata had to undergo through a metamorphosis for it to succeed in its redemptive power Not until La prisonni re, or fifth volume, is the Septuor or Septet, first heard Thisunusual musical ensemble emerges as a composition that has picked some of the Sonata elements but has transformed them The new work finally succeeds in offering a much wider reverberation and a deeper aesthetic revelation.The redemptive transformation of the Sonata into the Septet leads Nattiez into a slightly sterile discussion on the ranking of the arts in Proust s aesthetics It is to be expected from a musicologist that for him Music would play the highest role.He acknowledges that in La recherche, music and painting vie with each other Painting makes a very clear presence from the beginning of the novel, but it drops significantly from the fourth volume onwards Sodome Gomorrhe A look at the index of Karpeles Paintings in Proust A Visual Companion to In Search of Lost Time easily confirms this, as the later volumes contain far fewer paintings Music, however, stays until the end of La Recherche We also learn from Nattiez s study that in the first version of the last volume Matin e Chez La Princesse De Guermantes Cahiers Du Temps Retrouv now published and waiting for my attention in my shelves it is Wagner s L enchantement du Vendredi Saint again from Parsifal that plays the key illuminating role that will indicate the Narrator the path that his life has to follow if he is to Regain Time Even if Proust later dropped an existing piece and adopted the fictional Septet to play the role that originally Wagner s piece played, Nattiez sees that it is the abstract character of music that gives it its preeminent place in La recherche As music is non mimetic or non representational, and as it also needs time to unfold, it acquires stronger redeeming powers Music alone goes beyond l int lligence or rationality that the Narrator tries to shun.Nattiez makes a strong case, but I am not entirely convinced by his emphasis on music as the preeminent vehicle for art in Proust Paintings do blur as the novel advances, but the visual does not Even the whiteness of the Sonata transforms in a red Septet evoking also the magic and visual hawthorns Proust art is not easy to reduce to a single dimension.The last and shortest chapter was for me the best I hadto learn from it Nattiez starts with Schopenhauer s designation of music as the art of the highest order and we do then remember that the philosopher s writings on music are mentioned by one of Proust s characters But it is the concept of Representation, understood in Schopenhauer s sense as the Will to exist and which he found could be expressed through Music that makes the thoughts of this philosopher interesting to me Nattiez applies Schopenhauer in his understanding that Music is the metaphysical force that indicates the Narrator how to handle that evasive dimension of Time But Proust was not a musician he was a writer.And this Schopenhauerian understanding of art, Representation, and Proust s handling of it through his art is the one I would like to explore further


  2. Aragorn Aragorn says:

    Per i Proust dipendenti La musica, nella Recherche du temps perdu, svolge un ruolo fondamentale, basti pensare che al settimino di Vinteuil, opera immaginaria e archetipa, che Proust affida il compito di svelare al Narratore la sua vocazione letteraria nonch quello di riunire le due parti , quella di M s glise e quella di Guermantes Il saggio di Nattiez, professore di musica dell Universit di Montreal, si propone di indagare ed approfondire il ruolo che la musica svolge nell opera di Prou Per i Proust dipendenti La musica, nella Recherche du temps perdu, svolge un ruolo fondamentale, basti pensare che al settimino di Vinteuil, opera immaginaria e archetipa, che Proust affida il compito di svelare al Narratore la sua vocazione letteraria nonch quello di riunire le due parti , quella di M s glise e quella di Guermantes Il saggio di Nattiez, professore di musica dell Universit di Montreal, si propone di indagare ed approfondire il ruolo che la musica svolge nell opera di Proust e in che misura essa contamini il fatto letterario Il compito arduo e, visto che la Recherche un universo complesso, totale e chiuso in se stesso, gli sconfinamenti negli altri settori d indagine sembrerebbero scontati L Autore non cede alla tentazione e, in 5 parti o capitoli, porta a termine la sua indagine Nell Introduzione si riassumono i precedenti lavori svolti sull argomento e si dichiarano le ipotesi che si seguiranno e le tesi che si dimostreranno L opera di Vinteuil, naturalmente,sar il tema principale da analizzare Nella prima parte vengono analizzate le poiesi di Wagner e Proust Vengono colti i tanti parallelismi e le tante similitudini, che si ritroveranno, poi, nelle opere dei due artisti, essendo stato Proust infettato proprio da Wagner dall ossesssione dell unit e della ricerca dell assoluto attraverso l opera d arte Nella seconda parte viene vivisezionata l opera di Vinteuil e si ricercano i vari modelli reali della Sonata Notevole come Nattiez analizzi i livelli di comprensione attraverso cui devono passare Swann prima e il Narratore poi nell ascoltare l opera del maestro di Combray Si analizzano, inoltre, la funzione di rivelazione estetica che la musica svolge nei confronti del Narratore e come essa riesca a riprodurre il meccanismo della memoria involontaria Nella terza e ultima parte si cerca e trova la fonte della concezione estetica e metafisica della musica in Proust Schopenhauer, il vero deus ex machina che si cela non solo dietro la teorizzazione del settimino di Vinteuil ma, cosa illuminante e forse deludente per chi alle prese con le sue prime letture critiche sulla Recherche, dietro l intera opera di Proust Il saggio ben scritto Nattiez, con umilt e onest intellettuale, non ha la presunzione di presentare il suo come un lavoro definitivo sull argomento, si pone degli obiettivi specifici che riesce a raggiungere brillantemente Non mancano i colpi di scena Per gli amanti di Proust, una piccola luce che rende meno fitta l affascinante oscurit di Alla ricerca del Tempo perduto


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