Système universitaire de documentation
The système universitaire de documentation or SUDOC is a system used by the libraries of French universities and higher education establishments to identify and manage the documents in their possession. The catalog, which contains more than 10 million references, allows students and researcher to search for bibliographical and location information in over 3,400 documentation centers, it is maintained by the Bibliographic Agency for Higher Education. Official website
France the French Republic, is a country whose territory consists of metropolitan France in Western Europe and several overseas regions and territories. The metropolitan area of France extends from the Mediterranean Sea to the English Channel and the North Sea, from the Rhine to the Atlantic Ocean, it is bordered by Belgium and Germany to the northeast and Italy to the east, Andorra and Spain to the south. The overseas territories include French Guiana in South America and several islands in the Atlantic and Indian oceans; the country's 18 integral regions span a combined area of 643,801 square kilometres and a total population of 67.3 million. France, a sovereign state, is a unitary semi-presidential republic with its capital in Paris, the country's largest city and main cultural and commercial centre. Other major urban areas include Lyon, Toulouse, Bordeaux and Nice. During the Iron Age, what is now metropolitan France was inhabited by a Celtic people. Rome annexed the area in 51 BC, holding it until the arrival of Germanic Franks in 476, who formed the Kingdom of Francia.
The Treaty of Verdun of 843 partitioned Francia into Middle Francia and West Francia. West Francia which became the Kingdom of France in 987 emerged as a major European power in the Late Middle Ages following its victory in the Hundred Years' War. During the Renaissance, French culture flourished and a global colonial empire was established, which by the 20th century would become the second largest in the world; the 16th century was dominated by religious civil wars between Protestants. France became Europe's dominant cultural and military power in the 17th century under Louis XIV. In the late 18th century, the French Revolution overthrew the absolute monarchy, established one of modern history's earliest republics, saw the drafting of the Declaration of the Rights of Man and of the Citizen, which expresses the nation's ideals to this day. In the 19th century, Napoleon established the First French Empire, his subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a tumultuous succession of governments culminating with the establishment of the French Third Republic in 1870.
France was a major participant in World War I, from which it emerged victorious, was one of the Allies in World War II, but came under occupation by the Axis powers in 1940. Following liberation in 1944, a Fourth Republic was established and dissolved in the course of the Algerian War; the Fifth Republic, led by Charles de Gaulle, remains today. Algeria and nearly all the other colonies became independent in the 1960s and retained close economic and military connections with France. France has long been a global centre of art and philosophy, it hosts the world's fourth-largest number of UNESCO World Heritage Sites and is the leading tourist destination, receiving around 83 million foreign visitors annually. France is a developed country with the world's sixth-largest economy by nominal GDP, tenth-largest by purchasing power parity. In terms of aggregate household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, human development.
France is considered a great power in global affairs, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a leading member state of the European Union and the Eurozone, a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, La Francophonie. Applied to the whole Frankish Empire, the name "France" comes from the Latin "Francia", or "country of the Franks". Modern France is still named today "Francia" in Italian and Spanish, "Frankreich" in German and "Frankrijk" in Dutch, all of which have more or less the same historical meaning. There are various theories as to the origin of the name Frank. Following the precedents of Edward Gibbon and Jacob Grimm, the name of the Franks has been linked with the word frank in English, it has been suggested that the meaning of "free" was adopted because, after the conquest of Gaul, only Franks were free of taxation.
Another theory is that it is derived from the Proto-Germanic word frankon, which translates as javelin or lance as the throwing axe of the Franks was known as a francisca. However, it has been determined that these weapons were named because of their use by the Franks, not the other way around; the oldest traces of human life in what is now France date from 1.8 million years ago. Over the ensuing millennia, Humans were confronted by a harsh and variable climate, marked by several glacial eras. Early hominids led a nomadic hunter-gatherer life. France has a large number of decorated caves from the upper Palaeolithic era, including one of the most famous and best preserved, Lascaux. At the end of the last glacial period, the climate became milder. After strong demographic and agricultural development between the 4th and 3rd millennia, metallurgy appeared at the end of the 3rd millennium working gold and bronze, iron. France has numerous megalithic sites from the Neolithic period, including the exceptiona
Charles-Simon Catel was a French composer and educator born at L'Aigle, Orne. Catel studied at the Royal School of Singing in Paris, he was the chief assistant to François-Joseph Gossec at the orchestra of the National Guard in 1790. A member of the Institute, he jointly composed pieces of military music for official state ceremonies, including L'Hymne à la Victoire, with words by Ponce-Denis Écouchard-Lebrun, he was appointed inaugural professor of harmony at the Conservatoire de Paris, but was destitute in 1814. Amongst his students was the Prix de Rome winning composer Joseph Daussoigne-Méhul, the Belgian composer Martin-Joseph Mengal, the famous, if eccentric, harpist Nicolas Bochsa. See: List of music students by teacher: C to F#Charles-Simon Catel. Catel died in Paris, his works include a "Treatise on Harmony", used by the young Berlioz, several concert band works, several dramatic compositions at the National Opera of Paris: Sémiramis, Les bayadères. Sémiramis, lyric tragedy in three acts, libretto by Philippe Desriaux based on Voltaire, performed by the Opéra de Paris on 4 May 1802.
Les artistes par occasion, farcical opera in one act, libretto by Alexandre Duval, performed at the Opéra-Comique in 1807. L'auberge de Bagnères, farcical opera in 3 acts, libretto by C. Jalabert, performed by the Opéra-Comique in 1807. Les bayadères, opera in 3 acts, libretto by Victor-Joseph-Étienne de Jouy based on Voltaire, performed at Opéra de Paris on 8 August 1810. Les aubergistes de qualité, comedy in 3 acts, libretto by Victor-Joseph-Étienne de Jouy, performed at Opéra-Comique on 17 June 1812 Bayard à Mézières, comedy in one act, libretto by Alisvan de Chazet and Louis Emmanuel Mercier Dupaty, performed at Opéra-Comique in 1814. Le premier en date, comedy in one act, libretto by Marc-Antoine Désaugiers and Pessey, performed at Opéra-Comique in 1814. Wallace ou Le ménestrel écossais, epic opera in 3 acts, libretto by L. Ch. J. Fontanes de Saint-Marcellin, performed at Opéra-Comique in 1817. Zirphile et fleur de myrte ou cent ans en un jour, "opéra-féerie" in 2 acts, libretto by Victor-Joseph-Étienne de Jouy and Nicolas Lefebvre, performed at Opéra de Paris in 1818.
L'officier enlevé, comedy in one act, libretto by Alexandre Duval, performed at Opéra-Comique in 1819. Chant triomphal, 1807. Ode sur le Vaisseau Le Vengeur, words by Ponce-Denis Écouchard-Lebrun, for euphonium and orchestra. Hymne sur la reconquête de Toulon, for male choir and orchestra. Bouillet's Dictionnaire d'histoire et de géographie
An orchestra is a large instrumental ensemble typical of classical music, which combines instruments from different families, including bowed string instruments such as the violin, viola and double bass, brass instruments such as the horn, trumpet and tuba, woodwinds such as the flute, oboe and bassoon, percussion instruments such as the timpani, bass drum, snare drum and cymbals, each grouped in sections. Other instruments such as the piano and celesta may sometimes appear in a fifth keyboard section or may stand alone, as may the concert harp and, for performances of some modern compositions, electronic instruments. A full-size orchestra may sometimes be called philharmonic orchestra; the actual number of musicians employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played and the size of the venue. The term chamber orchestra refers to smaller-sized ensembles of about fifty musicians or fewer. Orchestras that specialize in the Baroque music of, for example, Johann Sebastian Bach and George Frideric Handel, or Classical repertoire, such as that of Haydn and Mozart, tend to be smaller than orchestras performing a Romantic music repertoire, such as the symphonies of Johannes Brahms.
The typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras called for in the works of Richard Wagner, Gustav Mahler. Orchestras are led by a conductor who directs the performance with movements of the hands and arms made easier for the musicians to see by use of a conductor's baton; the conductor sets the tempo and shapes the sound of the ensemble. The conductor prepares the orchestra by leading rehearsals before the public concert, in which the conductor provides instructions to the musicians on their interpretation of the music being performed; the leader of the first violin section called the concertmaster plays an important role in leading the musicians. In the Baroque music era, orchestras were led by the concertmaster or by a chord-playing musician performing the basso continuo parts on a harpsichord or pipe organ, a tradition that some 20th century and 21st century early music ensembles continue. Orchestras play a wide range of repertoire, including symphonies and ballet overtures, concertos for solo instruments, as pit ensembles for operas and some types of musical theatre.
Amateur orchestras include those made up of students from an elementary school or a high school, youth orchestras, community orchestras. The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus; the typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass and strings. Other instruments such as the piano and celesta may sometimes be grouped into a fifth section such as a keyboard section or may stand alone, as may the concert harp and electric and electronic instruments; the orchestra, depending on the size, contains all of the standard instruments in each group. In the history of the orchestra, its instrumentation has been expanded over time agreed to have been standardized by the classical period and Ludwig van Beethoven's influence on the classical model. In the 20th and 21st century, new repertory demands expanded the instrumentation of the orchestra, resulting in a flexible use of the classical-model instruments and newly developed electric and electronic instruments in various combinations.
The terms symphony orchestra and philharmonic orchestra may be used to distinguish different ensembles from the same locality, such as the London Symphony Orchestra and the London Philharmonic Orchestra. A symphony orchestra will have over eighty musicians on its roster, in some cases over a hundred, but the actual number of musicians employed in a particular performance may vary according to the work being played and the size of the venue. Chamber orchestra refers to smaller-sized ensembles; the term concert orchestra may be used, as in the BBC Concert Orchestra and the RTÉ Concert Orchestra. The so-called "standard complement" of doubled winds and brass in the orchestra from the first half of the 19th century is attributed to the forces called for by Beethoven; the composer's instrumentation always included paired flutes, clarinets, bassoons and trumpets. The exceptions to this are his Symphony No. 4, Violin Concerto, Piano Concerto No. 4, which each specify a single flute. Beethoven calculated the expansion of this particular timbral "palette" in Symphonies 3, 5, 6, 9 for an innovative effect.
The third horn in the "Eroica" Symphony arrives to provide not only some harmonic flexibility, but the effect of "choral" brass in the Trio movement. Piccolo and trombones add to the triumphal finale of his Symphony No. 5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth known as the Pastoral Symphony; the Ninth asks for a second pair of horns, for reasons similar to the "Eroica".
The Paris Opera is the primary opera and ballet company of France. It was founded in 1669 by Louis XIV as the Académie d'Opéra, shortly thereafter was placed under the leadership of Jean-Baptiste Lully and renamed the Académie Royale de Musique, but continued to be known more as the Opéra. Classical ballet as it is known today arose within the Paris Opera as the Paris Opera Ballet and has remained an integral and important part of the company. Called the Opéra National de Paris, it produces operas at its modern 2700-seat theatre Opéra Bastille which opened in 1989, ballets and some classical operas at the older 1970-seat Palais Garnier which opened in 1875. Small scale and contemporary works are staged in the 500-seat Amphitheatre under the Opéra Bastille; the company's annual budget is in the order of 200 million euros, of which 100 million come from the French state and 70 million from box office receipts. With this money, the company runs the two houses and supports a large permanent staff, which includes the orchestra of 170, a chorus of 110 and the corps de ballet of 150.
Each year, the Opéra presents about 380 performances of opera and other concerts, to a total audience of about 800,000 people, a good average seat occupancy rate of 94%. In the 2012/13 season, the Opéra presented 18 opera titles, 13 ballets, 5 symphonic concerts and two vocal recitals, plus 15 other programmes; the company's training bodies are active, with 7 concerts from the Atelier Lyrique and 4 programmes from the École de Danse. The poet Pierre Perrin began thinking and writing about the possibility of French opera in 1655, more than a decade before the official founding of the Paris Opera as an institution, he believed that the prevailing opinion of the time that the French language was fundamentally unmusical was incorrect. Seventeenth-century France offered Perrin two types of organization for realizing his vision: a royal academy or a public theater. In 1666 he proposed to the minister Colbert that "the king decree'the establishment of an Academy of Poetry and Music' whose goal would be to synthesize the French language and French music into an new lyric form."Even though Perrin's original concept was of an academy devoted to discussions of French opera, the king's intention was in fact a unique hybrid of royal academy and public theatre, with an emphasis on the latter as an institution for performance.
On 28 June 1669, Louis XIV signed the Privilège accordé au Sieur Perrin pour l'établissement d'une Académie d'Opéra en musique, & Vers François. The wording of the privilège, based in part on Perrin's own writings, gave him the exclusive right for 12 years to found anywhere in France academies of opera dedicated to the performance of opera in French, he was free to set the price of tickets. No one was to have the right of free entry including members of the royal court, no one else could set up a similar institution. Although it was to be a public theatre, it retained its status as royal academy in which the authority of the king as the primary stakeholder was decisive; the monopoly intended to protect the enterprise from competition during its formative phase, was renewed for subsequent recipients of the privilege up to the early French Revolution. As Victoria Johnson points out, "the Opera was an organization by nature so luxurious and expensive in its productions that its survival depended on financial protection and privilege."Perrin converted the Bouteille tennis court, located on the Rue des Fossés de Nesles, into a rectangular facility with provisions for stage machinery and scenery changes and a capacity of about 1200 spectators.
His first opera Pomone with music by Robert Cambert opened on 3 March 1671 and ran for 146 performances. A second work, Les peines et les plaisirs de l'amour, with a libretto by Gabriel Gilbert and music by Cambert, was performed in 1672. Despite this early success and two other associates did not hesitate to swindle Perrin, imprisoned for debt and forced to concede his privilege on 13 March 1672 to the surintendant of the king's music Jean-Baptiste Lully; the institution was renamed the Académie Royale de Musique and came to be known in France as the Opéra. Within one month Lully had convinced the king to expand the privilege by restricting the French and Italian comedians to using two singers rather than six, six instrumentalists, rather than twelve; because of legal difficulties Lully could not use the Salle de la Bouteille, a new theatre was built by Carlo Vigarani at the Bel-Air tennis court on the Rue de Vaugirard. Lully and his successors bitterly negotiated the concession of the privilege, in whole or in part, from the entrepreneurs in the provinces: in 1684 Pierre Gautier bought the authorisation to open a music academy in Marseille the towns of Lyon, Rouen and Bordeaux followed suit in the following years.
During Lully's tenure, the only works performed were his own. The first productions were the pastorale Les fêtes de l'Amour et de Bacchus and his first tragedie lyrique called Cadmus et Hermione. After Molière's death in 1673, his troupe merged with the players at the Théâtre du Marais to form the Théâtre Guénégaud, no longer needed the theatre built by Richelieu at his residence the Palais-Royal, near the Louvre. (In 1680 the troupe at the Guénégaud merged again with the players from the Hôtel de Bourgogne forming the Comédie-Fr
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC