{"id":2995,"date":"2024-08-01T17:19:55","date_gmt":"2024-08-01T15:19:55","guid":{"rendered":"http:\/\/obkgqww.cluster023.hosting.ovh.net\/?page_id=2995"},"modified":"2025-12-30T21:26:58","modified_gmt":"2025-12-30T20:26:58","slug":"livres","status":"publish","type":"page","link":"https:\/\/www.berlioz-anhb.com\/index.php\/actualite\/livres\/","title":{"rendered":"Livres et articles"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_mad_blog_posts items=&#8221;10&#8243; categories=&#8221;livres&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=&#8221;&#8221;]<\/p>\r\n<p>&nbsp;<\/p>\r\n<hr class=\"wp-block-separator has-text-color has-cyan-bluish-gray-color has-alpha-channel-opacity has-cyan-bluish-gray-background-color has-background\" \/>\r\n<p><!-- \/wp:post-content -->\u00a0<\/p>\r\n<!-- wp:heading -->\r\n<h2 class=\"wp-block-heading\"><strong>Articles et chapitres d\u2019ouvrages<\/strong><\/h2>\r\n<!-- \/wp:heading -->\r\n<p><!-- wp:paragraph -->Violaine ANGER, \u00ab\u00a0Hector Berlioz, du symphoniste au dramaturge\u00a0\u00bb, <em>\u00c9tudes<\/em>, 2019\/10, p.\u00a097-106<\/p>\r\n<!-- \/wp:paragraph -->\r\n<p><!-- wp:paragraph -->Mariko KIUCHI, \u00ab\u00a0Topiques, narrativit\u00e9 et effets dramatiques du \u2018Rex Tremend\u00e6\u2019 de la <em>Grande Messe des Morts<\/em> de Berlioz\u00a0\u00bb, <strong><em>Musurgia<\/em><\/strong>, 30\/3 (2024), p.\u00a025-50<\/p>\r\n<!-- \/wp:paragraph -->\r\n<p><!-- wp:paragraph -->Mara LACCHE, \u00ab\u00a0Berlioz e Delacroix\u00a0: il faustismo romantic tra musica e arti figurative\u00a0\u00bb. In\u00a0: Roberto Iliano (dir.), <strong><em>Music and the Figurative Arts in the Nineteenth Century<\/em><\/strong>. Turnhout, Brepols, 2020, xiv\/527\u00a0p. (<em>Speculum music\u00e6<\/em>, 39)<\/p>\r\n<!-- \/wp:paragraph -->\r\n<p><!-- wp:paragraph -->Alban RAMAUT, \u00ab\u00a0Hector Berlioz et l\u2019expression du spirituel\u00a0\u00bb. In\u00a0: Nicolas Dufetel (dir.), <strong><em>La musique religieuse en France au xix<sup>e<\/sup>\u00a0si\u00e8cle. Le sentiment religieux entre profane et sacr\u00e9 (1830-1914)<\/em><\/strong>. Turnhout, Brepols, 2021, lvi\/436\u00a0p. (<em>Speculum music\u00e6<\/em>, 44)<\/p>\r\n<!-- \/wp:paragraph -->\r\n<p><!-- wp:paragraph -->Alban RAMAUT, \u00ab\u00a0Le Napol\u00e9on d\u2019Hector Berlioz, proposition de lecture\u00a0\u00bb. In\u00a0: Federico Gon, Emmanuel Reibel (dir.), <strong><em>The Sound of Empire. Soundscapes, \u00c6sthetics and Performance between <\/em>Ancien R\u00e9gime<em> and Restoration<\/em>. <\/strong>Turnhout, Brepols, 2024, xv\/351\u00a0p. (<em>Speculum music\u00e6<\/em>, 51)<\/p>\r\n<!-- \/wp:paragraph -->\r\n<p><!-- wp:paragraph -->Alban RAMAUT, \u00ab\u00a0Pierre Narcisse de Gu\u00e9rin inspirateur du \u2018Quintette\u2019 des Troyens\u00a0\u00bb. In\u00a0: Roberto Iliano (dir.), <strong><em>Music and the Figurative Arts in the Nineteenth Century<\/em><\/strong>. Turnhout, Brepols, 2020, xiv\/527\u00a0p. (<em>Speculum music\u00e6<\/em>, 39)<\/p>\r\n<!-- \/wp:paragraph -->\r\n<p><!-- wp:paragraph -->Virginia WHEALTON, \u00ab\u00a0Transformed Abruzzi\u00a0: Harold en Italie, the r\u00e9cit de voyage, and French Romantic Visual Culture\u00a0\u00bb. In\u00a0: Jos\u00e9 Ignacio Su\u00e1rez Garc\u00eda, Ram\u00f3n Dobrino (dir.), <strong><em>Symphonism in Nineteenth Century Europe<\/em><\/strong>. Turnhout, Brepols, 2024, xiv\/484\u00a0p. (<em>Speculum music\u00e6<\/em>, 35)<\/p>\r\n<p>&nbsp;<\/p>\r\n<p><!-- wp:spacer -->[\/vc_column_text][\/vc_column][\/vc_row]<\/p><!-- \/wp:spacer --><\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_mad_blog_posts items=&#8221;10&#8243; categories=&#8221;livres&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=&#8221;&#8221;] &nbsp; \u00a0 Articles et chapitres d\u2019ouvrages Violaine ANGER, \u00ab\u00a0Hector Berlioz, du symphoniste au dramaturge\u00a0\u00bb, \u00c9tudes, 2019\/10, p.\u00a097-106 Mariko KIUCHI, \u00ab\u00a0Topiques, narrativit\u00e9 et effets dramatiques du \u2018Rex [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":2772,"parent":15,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2995","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.berlioz-anhb.com\/index.php\/wp-json\/wp\/v2\/pages\/2995","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.berlioz-anhb.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.berlioz-anhb.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.berlioz-anhb.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.berlioz-anhb.com\/index.php\/wp-json\/wp\/v2\/comments?post=2995"}],"version-history":[{"count":24,"href":"https:\/\/www.berlioz-anhb.com\/index.php\/wp-json\/wp\/v2\/pages\/2995\/revisions"}],"predecessor-version":[{"id":4714,"href":"https:\/\/www.berlioz-anhb.com\/index.php\/wp-json\/wp\/v2\/pages\/2995\/revisions\/4714"}],"up":[{"embeddable":true,"href":"https:\/\/www.berlioz-anhb.com\/index.php\/wp-json\/wp\/v2\/pages\/15"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.berlioz-anhb.com\/index.php\/wp-json\/wp\/v2\/media\/2772"}],"wp:attachment":[{"href":"https:\/\/www.berlioz-anhb.com\/index.php\/wp-json\/wp\/v2\/media?parent=2995"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}