‎Joseph Haydn, son art, son époque, sa gloire.‎

‎Paris, Editions Corrêa, 1950. 14 x 19, 289 pp., reliure rexine rouge, très bon état.‎

‎"Préface de Thomas Mann; traduit par M. Buchet."‎

‎La symphonie. Collection : Que sais-je ?, N° 1633.‎

‎Paris, Presses Universitaires de France (PUF), 1976. 12 x 18, 128 pp., broché, très bon état.‎

‎La symphonie. Que sais-je ?, N° 1633.‎

‎Paris, Presses Universitaires de France, PUF,1976. 11 x 18, 126 pp., broché, bon état (1 cachet de librairie).‎

‎Histoire musicale du Moyen-Age‎

‎Paris, PUF, 1950, in-8, Broché, 355 pages. Index. Bon état. ‎

‎ NB. Les commandes et questions seront traitées dans les 48h et expédiées à partir du 7 octobre. Merci.‎

‎Melodik und Harmonik bei Richard Wagner.‎

‎Berlin, Harmonie, 1899. 8°. 28 S. Orig.-Broschur.‎

‎Mit Gebrauchsspuren mit Klebstreifen. Papier gebräunt und stockfleckig.‎

‎LA PERCUSSION .‎

‎ Editions Payot, Lausanne, 1979, couverture illustrée couleurs, illutrations dans le texte en noir et en couleurs, croquis, cartonnage pelliculé de l'éditeur, 108pp. très bon état, 210x187 . (p4) ‎

‎La percussion. Collection : Instruments de musique.‎

‎Lausanne, Payot, 1977. 19 x 21, 108 pp., 86 illustrations en couleurs et en N/B, reliure d'édition carton imprimé, très bon état.‎

‎"L'orgue. Collection : ""Instruments de musique""."‎

‎Lausanne, Editions Payot, 1970. 19 x 21, 96 pp., nombreuses illustrations en N/B et en couleurs, quelques dessins, reliure d'édition carton illustré, très bon état.‎

‎Music and the Politics of Censorship From the Fascist Era to the Digital Age‎

‎, Brepols - Harvey Miller, 2025 Hardback, Pages: xvi + 464 pages, Size:210 x 270 mm, Illustrations:15 b/w, 1 tables b/w., Language:English, *new. ISBN 9782503618463.‎

‎In relation to music, the word censorship immediately calls to mind the totalitarian regimes of the twentieth century, in particular those of Nazi Germany and the USSR. But music censorship is arguably even more prominent and pervasive in our own age, not only in authoritarian states but also in Western liberal democracies. This book aims to enhance our understanding of censorship practices, the social and political values they serve, and the governmental and legal frameworks that have enabled them to flourish. Its twenty chapters ? written by a team of international scholars ? explore both historical case studies and the new forms of censorship that have emerged in the digital age. It evaluates different theories and models for understanding censorship, applying the concept not only to top-down government controls but also to the measures that cultural institutions, the media, and global corporations have put in place to police music and musicians. Crucial too is the exploration of how music censorship relates to other forms of political action, including cancelling, critique, and performative activism. The book also reveals the diverse strategies that musicians and listeners have employed to circumvent censorial control and to march to a different beat. TABLE OF CONTENTS James Garratt, Music and the Politics of Censorship: An Introduction Theories and Models Beate Kutschke, Five Strictures on Music Censorship James Garratt, Rethinking Music Censorship under Neoliberalism Naomi Waltham-Smith, Silenced Music, Civil Liberties, and Human Rights Law Classical Music under Censorship in the Fascist Era and Cold War Alison Minkus, Censorship at the New York Philharmonic during World War Two Thomas Radecke, Subversive Institutional Censorship: The Reluctant Dispersal of the Allgemeine Deutsche Musikverein by the National Socialist Regime, 1933-1937 Isabella Abbonizio, Theatre Censorship in Italo-Turkish Diplomatic Relations: Lodovico Rocca?s Monte Ivn r (1938-1939) R?ta Stanevi?i?t?, (Self-)Censorship in Soviet Lithuanian Music during the Stalinist Period Michal ??ep n, Censorship Practices in Music during the Totalitarian Regime in Slovakia Bel n P rez Castillo, The Said and the Unsaid: Luis de Pablo, Xenakis, and Hispanic-French Relations Arising from Two Uncomfortable Concerts at the Beginning of the 1970s Policing Subversive and Transgressive Music and Musicians Iv n Iglesias, Rethinking Popular Music Censorship: Jazz in European Dictatorships (1925-1948) Robert Gyorgyi, Whose Cziffra? Cultural Diplomacy in the Cold War and the Political Value of a Dissident Artist Marie Josephine Bennett, Frankly, the Hypocrisy over the Censorship of This Single Horrifies Me : Scott Walker?s ?Jackie? (1967) Mara Favoretto, Censorship in Rock Music in Argentina, 1976?1983: The Case of Luis Alberto Spinetta Raffaella Bianchi, Is Morality the New Nationalism? Shifting Paradigms for Music Censorship in T rkiye Music Censorship in Contemporary Neoliberal and Authoritarian Regimes Andrew Holden, Censorship of Opera in the Twenty-First Century: The Discontents of a Transnational Art Form Edwin K. C. Li, Hermeneutic Mischief and the Affect of Sonic Remainders Thiago Cazarim, Brazilian Rap Music, Censorship, and the Economy of Performativity: The Fiction/Reality Relation on Trial Audrey Amsellem, Listening as Silencing: Sonic Data, Extraction, and Surveillance Rachel Griffin, The Politics of Algorithmic Censorship: Automated Moderation and its Regulation Abstracts and Biographies Index of Names‎

‎Office of the Holy Trinity at Saint Martial de Limoges during the Eleventh Century‎

‎, Brepols, 2020 Paperback, lxxiv + 131 pages, Size:210 x 297 mm, Illustrations:16 tables b/w., 68 musical examples, Languages: English, Latin. ISBN 9782503574561.‎

‎Summary The Holy Trinity forms a cornerstone of Christian belief, and references to it abound in the liturgy. Every Psalm ends with the invocation of the Father, the Son and the Holy Ghost in the Doxology supplied as the final verse. But around the turn of the tenth century, clerics decided to devote the first Sunday after Pentecost to the veneration of the Trinity. They created a new liturgy for the day, and evidence suggests that Stephen, Bishop of Li ge (? 920) revised an earlier form of the Office into the version that saw wide dissemination in the Latin West from the end of the tenth century. The abbey of Saint Martial in Limoges exhibited considerable enthusiasm for the feast and its Office beginning in the early eleventh century. Its scriptorium prepared no fewer than five copies of the Office, including four fully neumed versions between ca. 1010 and 1050, including the earliest extant transcribable copy with music in the hand of Ad mar de Chabannes, musician, scribe, homilist and historian. This edition presents a critical text of the Office as it was practised at Saint Martial during the first half of the eleventh century, beginning with Ad mar's version, but also considering the other witnesses from the abbey. It includes full critical and explanatory commentary with an Introduction that discusses the role of Stephen of Li ge in the authorship of the Office, the witnesses from Saint Martial and their relationship to other early witnesses of the Office, and its musical and literary style. TABLE OF CONTENTS Introduction with discussion of the contribution of Bishop Stephen of Li ge to the authorship of the Office, the witnesses, liturgical considerations, editorial principles and the musical styles of the melodies as transmitted at Saint Martial. The edition itself, with comprehensive commentary. Appendix with liturgical lections from Matins. Indices.‎

‎Les Géorgiques Chrétiennes. Chants I et II. Chants III et IV. Chants V, VI et VII.‎

‎ Paris, Mercure de France 1912, 205x160mm, 60 + 60 + 89pages, reliure demi-toile à coins. Plats papier amrbré. Pièce de titre doré au dos. Belle reliure. Exemplaire sur papier vergé. Bel exemplaire. ‎

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‎"Le cor; aperçu de son histoire et de son usage. Collection : ""Instruments de musique""."‎

‎Lausanne, Editions Payot, 1977. 19 x 21, 112 pp., nombreuses illustrations en N/B et en couleurs, quelques notations musicales, reliure d'édition carton illustré, très bon état.‎

‎La musique et les heures.‎

‎ Paris, Editions du Seuil 1988, 205x140mm, 292pages, broché. Exemplaire à l'état de neuf.‎

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‎La musique et l'ineffable.‎

‎ Paris, Editions du Seuil 1983, 205x140mm, 194pages, broché. Bel exemplaire.‎

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‎Le nocturne. Fauré. Chopin et la Nuit. Satie et le Matin. Avec 24 exemples musicaux.‎

‎ Paris, Editions Albin Michel 1957, 185x120mm, 220pages, broché. Cet ouvrage a été tiré sur alfa “Cellunaf”. Très bel exemplaire.‎

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‎Ravel. Collection : Microcosme, Solfèges, N° 3.‎

‎Paris, Editions du Seuil, 1956. 12 x 18, 191 pp., nombreuses illustrations et notations musicales, broché, très bon état (couverture légèrement défraîchie).‎

‎Debussy et le mystère de l'instant.‎

‎ S.l., Plon, (2019). Un vol. au format in-8 (226 x 142 mm) de 313 pp., broché.‎

‎ ''Deux mouvements inverses semblent, chez Debussy, parcourir l’espace musical : l’un est descente aux enfers de la profondeur ; l’autre remontée à l’air libre, ascension vers les grands espaces de lumière. Mais quand on étudie ces deux mouvements, on comprend bien vite que l’essentiel chez Debussy n’est ni l’un ni l’autre : l’essentiel est l’instant impalpable, celui-là même que nous appelons apparition disparaissante, surgissement sur fond de silence et de ténèbres ; cet instant est l’éclair, ou à l’inverse (ce qui revient au même) l’étincelle qui est l’apparition saisie à l’instant où elle disparaît : Midi est dans le même instant le comble de la lumière et la lumière saisie dans le premier instant de son déclin. Debussy donne une voix aux choses les plus impondérables et les plus précaires, les plus inconsistantes et les plus inexistantes de la création : une brève rencontre et une légère respiration, une réminiscence fugitive qui, comme l’étoile filante, traverse l’espace nocturne de la mémoire, un reflet qui tremble dans l’eau, un souffle de vent qui passe dans l’air du soir, un nuage dans le ciel.'' Présence de passages stabilotés. Du reste, très belle condition. ‎

‎Begrippen van Gregoriaanschen Zang‎

‎Mechelen, H. Dierickx-Beke zonen 1927 116pp., 18cm., originele omslag, wat roestplekjes, verder in goede staat, M97755‎

‎Manuscripts, Music, Machaut: Essays in Honor of Lawrence Earp‎

‎, Brepols, 2022 Paperback, 628 pages, Size:178 x 254 mm, Illustrations:7 b/w, 73 col., 38 tables b/w., 76 music examples, Language: English. ISBN 9782503602998.‎

‎Summary This multidisciplinary volume celebrates the scholarship and career of Lawrence Earp, whose work has profoundly shaped the fields of Machaut studies, musicology, codicology, and fourteenth-century studies in general. For over four decades, Earp's meticulous scholarship and generosity in collaboration have been a constant inspiration for medieval scholars, students, and colleagues alike. The twenty-six innovative essays herein gratefully acknowledge his influence and showcase a variety of fresh approaches. Recognizing both the breadth and depth of Earp's work, the sections of this book are devoted to bibliography, historiography, literature, art history, and several musicological topics. Many of the chapters focus on the oeuvre of Guillaume de Machaut, but readers will also find explorations on Hildegard of Bingen, Philippe de Vitry, child performers in medieval theater, notation, genre, motets from the late thirteenth to the early fifteenth centuries, and polyphony in Italy and England. Made possible by Earp's foundational and guiding work, this amply illustrated volume invites future interdisciplinary research. TABLE OF CONTENTS Introduction Jared C. Hartt, Tamsyn Mahoney-Steel, Benjamin L. Albritton Guiding Research 1. A Guide to Research: 'je vous tiens pour ma guide', Helen J. Swift 2. Guillaume de Machaut: The Greatest Fourteenth-Century Poet and Composer of the Twenty-First Century, Tamsyn Mahoney-Steel 3. The Impact of Hildegard of Bingen's Bibliographers and Catalogers, Jennifer Bain 4. Child Performers on the Medieval French Stage: A Review of the Published Evidence, Julie Singer (Re)examining and (Re)assessing the Fourteenth Century 5. Guillaume de Machaut and Yolande of Flanders, Andrew Wathey 6. Ex historia Guillelmi di Mascandio: Machaut in the Annales Hannoniae of Jacques de Guise, Benjamin L. Albritton 7. The Fourteenth-Century Polyphonic Mass Ordinary: A Nascent Meta-Genre, Kevin N. Moll 8. Classical Vitry/Romantic Machaut, Anna Zayaruznaya Reading Machaut 9. Machaut's Dit dou Vergier and Prologue: Some Thoughts, R. Barton Palmer 10. Machaut as Poet Figure in the Prise d'Alexandre, Kevin Brownlee 11. The Poetics of destour and ordenance in Machaut's Lyrico-Narrative dits, Anne-H l ne Miller 12. Silencing the Sirens and Rethinking Masculinity in Machaut's Voir dit, Deborah McGrady Image and Illumination 13. Fine Feathered Friends, or, Machaut and the Magicians, Kathleen Wilson Ruffo 14. Notes on Reconstructing the Pictorial Program in a Mutilated Machaut Manuscript, Domenic Leo 15. Seeing Sens: A Picture of Two Guillaumes and Two Brothers?Elizabeth Eva Leach Machaut Musicology 16. Singing from the Source: Performance Markings in Machaut Manuscript G, Uri Smilansky 17. Machaut on the Loose in Italy: Two Case Studies, Yolanda Plumley and Anne Stone 18. Making Song Speak: Machaut's ars nova Word Setting, David Maw 19. To See or Not to See: Machaut's Motet 11, Dame, je sui/ Fins cuers dous/ Fins cuers dous, Jacques Boogaart Motets and Chant 20. Polyphony from and for Refrains in Dance-Song Motets, Catherine A. Bradley 21. Another Look at Vos/Gratissima, Richard Dudas 22. Dolor meus: Competing Visions of Suffering in a Pair of Motets, Alice V. Clark 23. Two 'Textless' Elaborations of Chant from the Ivrea Codex, Michael Scott Asato Cuthbert Music in Medieval England 24. Tempus, Tempo, and Insular Semibreves, Karen Desmond 25. Washington, Library of Congress, M2.1 .C6 1400 Case: A Neglected English Fragment, Margaret Bent 26. A Missing Middle-Voice Melody: Reconstructing the Tenor of A solis ortus/Salvator mundi Domine, Jared C. Hartt Bibliography General Index Index of Manuscripts‎

‎La musique arabe. Collection : Que sais-je ?, N° 1436. ‎

‎Paris, Presses Universitaires de France (PUF), 1971. 11 x 17, 127 pp., broché, très bon état .‎

‎Debussy impressionnisme et symbolisme‎

‎Paris, Seuil 1970 200pp., 21cm., brochure originale, bon état, peu commun, M95115‎

‎Jazz classique/Jazz moderne (2 volumes).‎

‎Casterman, 1971. 21 x 24, 261 + 256 Pages, feuillets sous chemise carton illustrée, très bon état.‎

‎La musique française d'aujourd'hui. Préface de M. Gabriel Fauré.‎

‎ Paris, Librairie Académique Perrin et Cie. 1916, 190x120mm, XIII - 306pages, broché. Bon état. ‎

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‎Ludwig van Beethoven‎

‎Paris, Le Club Français du Livre, 1955, in-8, Reliure toilée, 855 pages. Exemplaire 1/6500 du tirage hors commerce. Bon état ‎

‎ NB. Les commandes et questions seront traitées dans les 48h et expédiées à partir du 7 octobre. Merci.‎

‎Musée de Montmartre : Images musicales : Jolivet, Milhaud, Honegger, Casadesus, Satie (exposirion du 1er mars 1995 au 31 mai 1995).‎

‎Paris, Société d'Histoire et d'Archéologie Le Vieux Montmartre, 1995. 21 x 30, 47 pp., quelques illustrations dont certaines en couleurs, broché, très bon état.‎