Auswahl der wissenschaftlichen Literatur zum Thema „Facture (instruments de musique)“
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Zeitschriftenartikel zum Thema "Facture (instruments de musique)"
Feneyrou, Laurent. „Portrait de Brice Pauset en maître du temps jadis“. Circuit 28, Nr. 2 (12.09.2018): 25–38. http://dx.doi.org/10.7202/1051290ar.
Der volle Inhalt der QuelleDavy, Yvon, und Pascal Joulain. „De la facture à la musique“. Études Normandes 54, Nr. 2 (2005): 80–90. http://dx.doi.org/10.3406/etnor.2005.1592.
Der volle Inhalt der QuelleDugot, Joel, Helene Charnasse und Laurence Helleu. „Instruments et musique instrumentale“. Galpin Society Journal 44 (März 1991): 161. http://dx.doi.org/10.2307/842220.
Der volle Inhalt der QuelleAubert, Laurent, und Lucie Rault. „Instruments de musique du monde“. Cahiers de musiques traditionnelles 14 (2001): 277. http://dx.doi.org/10.2307/40240413.
Der volle Inhalt der QuelleDUCHESNE-GUILLEMIN, Marcelle. „Les instruments de musique dans l'antiquité“. Iranica Antiqua 31 (01.01.1996): 213–38. http://dx.doi.org/10.2143/ia.31.0.519281.
Der volle Inhalt der QuelleDUCHESNE-GUILLEMIN, Marcelle. „Les instruments de musique dans l'antiquit?“ Iranica Antiqua 31, Nr. 1 (14.04.2005): 213–38. http://dx.doi.org/10.2143/ia.31.1.519281.
Der volle Inhalt der QuelleSiclen, Charles C. Van, und Christiane Ziegler. „Catalogue des Instruments de Musique Égyptiens“. Journal of the American Research Center in Egypt 22 (1985): 228. http://dx.doi.org/10.2307/40000420.
Der volle Inhalt der QuelleBarclay, R. L. „La conservation des instruments de musique“. Museum International (Edition Francaise) 48, Nr. 1 (24.04.2009): 9–14. http://dx.doi.org/10.1111/j.1755-5825.1996.tb00713.x.
Der volle Inhalt der QuelleGaël, Jean-François. „4. Petite salutation aux instruments de musique“. Vibrations 2, Nr. 1 (1986): 177–86. http://dx.doi.org/10.3406/vibra.1986.910.
Der volle Inhalt der QuelleHarbec, Jacinthe. „Within the Quota de Cole Porter et Charles Koechlin : la francisation du jazz américain“. Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, Nr. 1-2 (25.04.2017): 39–50. http://dx.doi.org/10.7202/1039611ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Facture (instruments de musique)"
Liavas, Lambros. „La Lira piriforme en Crète et dans le Dodécanèse facture, histoire et implications sociales“. Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb375991909.
Der volle Inhalt der QuelleKoppe, Dominique. „La trompette dans la seconde moitié du vingtième siècle : facture, technique et interprétation“. Paris 4, 1996. http://www.theses.fr/1996PA040198.
Der volle Inhalt der QuelleDuring the eighteenth century, composers used to consider the trumpet as a fringe instrument cut off from the strings, the latters being dealt with as the foundation of the orchestra. In the nineteenth century, on the contrary, the making of this neglected instrument as well as the concern of musicians themselves, worked towards giving a less subdued lighting on trumpets and opened new developments for them. Several aesthetics trends of the early 1900s strengthened the position of the trumpet as a key instrument among soloists but equally in the circle of chamber music. Nowadays the trumpet still retains favour with an inseparable threesome composed of the maker, the performer, and the composer. The writer of this thesis sets out to study the link between the making, the technique and the rendering of the trumpet during the second half of this century thanks to the observation of the Berliner Philharmonische Orchester, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Orchestre de l'Opéra de Paris and the Wiener Philharmonische Orchester
Fritsch, Philippe. „Les ateliers alsaciens et saxon de la dynastie des Silbermann : étude des "Claviers"“. Tours, 1996. http://www.theses.fr/1996TOUR2017.
Der volle Inhalt der QuelleThe study of measuring-units used during the 18th century in the Silbermann-workshops, both in Alsace and Saxony, has led to the identification of several unsigned harpsichords and clavichords. Links could then be established between both countries, leading to a new concept, that of a specific instrument-making tradition: the Saxon-Alsatian school, or Silbermann-school. The comparative analysis has been extended to the different aspects of craftmanship concerning all stringed keyboard-instruments including fortepianos and spinets. Some antique techniques have been discovered, especially in terms of design. Follows a new approach of pitch and instrumental function
Lefeuvre, Gilbert. „Les instruments de musique dans la vie quotidienne de la picardie au xvieme siecle“. Paris 4, 1986. http://www.theses.fr/1986PA040268.
Der volle Inhalt der QuelleThe first part of this musical instruments in picardie daily life during the xvi c. Study presents the organisation shart in the theoratical works of xvi c. And begining of xvii c. Compares these whole elements to the instrumental patrimony shown in paris an brussels instrumental art galleries public collections. The second part, 9 chapters made up, describes the picardie instrumental practising during this period according to its society part or exactly studies the place that returus to the musical instruments in human activity different sides : instruments linked to public function, the brotherhood used instruments founded in the royal halls entrances, the army music and hunting sound instruments, the church music musical instruments, the popular music instruments, the middle class interior instruments, the repertoire reconstitution. In the 3d part, 2 chapters made up : "from the organisation chart to the instrumental making", we did think it essential to change four analysis to a suitable resouding reality for this study. The 2 instruments achievement, one 4 chorus renaissance guitar and one henry the 2nd, kinf of france, hurdy gurdy has been possible from originals kept in art galleries. The coherence between the work research an the making can be the promising hope for many old music ensembles an allows their musicians to play on faithfully reproduced copy instruments
Eveno, Pauline. „L' impédance d'entrée pour l'aide à la facture des instruments de musique à vent : mesures, modèles et lien avec les fréquences de jeu“. Paris 6, 2012. http://www.theses.fr/2012PA066502.
Der volle Inhalt der QuelleThis work deals with the evaluation and the choice of relevant objective descriptors of the wind instruments quality. It is part of a collaborative project which aims at developping a platform helping instruments making. The work is essentially based on the notion of input impedance. A comparative study of different calculation methods for the input impedance of horns are compared with the measurement. Results show that the transmission line method used with curvilinear abscissa and a suitable model of radiation, allows predicting resonance frequencies with an accuracy of 8 cents. Above the cutoff frequency, numerical methods are closer to the measurement but high frequencies have a minor influence on playing frequencies. Furthermore, a study on the pad “resonators” of a saxophone shows that they have to be considered as “stiffeners”. The presence or absence of “resonators” can cause visible differences on the input impedance of the instrument, which can also be perceived by the musician in playing conditions. Finally, an analysis comparing the resonance frequencies and the playing frequencies of a trumpet with a parametrized leadpipe was led with various musicians. After a statistical analysis of the results, the playing frequency appears to be controlled by the resonance frequency, with a 8 cents precision, which is the order of magnitude of the musician repeatability. For the trumpets, the resonance frequencies seem to be suitable descriptors of the instrument intonation
Mohamad, Barzan. „Les instruments de musique du Kurdistan et leur rôle dans la tradition“. Paris 4, 2008. http://www.theses.fr/2008PA040085.
Der volle Inhalt der QuelleThis body of research is devoted to the study of the musical instruments of the four parts of Kurdistan region, which is divided between Iran, Iraq, Turkey and Syria. The instruments encompass several centuries of Middle Eastern history and attest their bonds with Mesopotamia, with the beliefs of old Iran and the culture of Islam. This study more particularly examines the historical aspect and symbolic system of the music, the construction and materials of the instruments and their organology. This work proposes a classification of the instruments according to their use in the profane and sacred world, (some being exclusively played by Sufi brotherhoods during their ceremonies)
Wilmotte, Marie-Hélène. „La flûte traversière et le système Böhm : 200 ans d'histoire, d'enjeux et d'enseignement : du début de XIXe siècle au début du XXIe siècle“. Rouen, 2009. http://www.theses.fr/2009ROUEL001.
Der volle Inhalt der QuelleDuring 1960s, the instrument still develops : creation of instruments which can reach(affect) surprising tessituras, development of flutes intended for the youngest pupils. . . The comment of this work is to determine the place occupied by the new flutes in the musical creation of the XIXth century in our days, by studying the organologiques innovations, the stakes and the intrinsically connected musical and educational enrichments, as testimony of a tremendous vitality of the traverse flute. The multipolar meetings of metalworkers, specialists of surface treatments, factors of flutes, composers, teachers and interpreters allow us to approach the study of the invoice of the traverse flute in the XXth century in a very complete way, succeeding on propositions of innovations and future experiments. The crossed involvements of the evolution of the system Böhm on the musical creation, the education and the evolution of the invoice of the traverse flute, and al's link flute Böhm in the concept of art-science are demonstrated
Tiffou, Augustin. „Le basson en France au XIXème : facture, théorie et répertoire“. Paris 4, 2008. http://www.theses.fr/2008PA040260.
Der volle Inhalt der QuelleThis research tries to bring light on the environment in which the bassoon took place in France during the 19th century. The instrument, in a primitive form at the beginning of the 19th century, endures multiple modifications and finds at the end of the same century a manufacturing stability, a more homogeneous sound, a greater volume sound, giving the instrument a steady place in the orchestra. But, two bassoons systems were developed side by side at this time: the German system and the French system. Even though there are researches on the bassoon, many of them concern the German one. For these reasons, this research tries to give a better idea of the situation of the French bassoon. The three parts of this research (the manufacturing, the theory and the repertoire) should give a more precise idea of the condition of the bassoon in France during the 19th century. Finally, the preference given these days to the German system is obvious and if the French system has to disappear one day, this research will keep it in mind
Grévrend, Isabelle. „Les orgues néoclassiques en Normandie : études de la facture instrumentale et de l'écriture musicale : études historiques et analyses techniques de quelques instruments normands“. Rouen, 2006. http://www.theses.fr/2006ROUEL533.
Der volle Inhalt der QuelleThis studying deals with characteristic elements of the instrumental technique and musical composition as regards neoclassical organ, as well as the historical origin of this style. With these explanations add a glossary and two indexes. The concerned period opens out between the nineteen-thirties years and the nineteen-seventies years. In comparison with these generalities, historical and technical analyses, with documentary and iconographical appendices from Basse- and Haute-Normandie, are providing precisions concerning the instrumental technique. Some musical extracted shed light on explanations about composition process
Marconi, Emanuele. „Le Musée des instruments à vent de La Couture-Boussey : genèse et développement d'un musée ouvrier“. Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL039.
Der volle Inhalt der QuelleThe La Couture-Boussey Wind Instrument Museum (Eure Department, Normandy) was founded in 1888 by members of the “Chambre Syndicale des Ouvriers en Instruments de Musique (Finisseurs)”. The only example of its time as a French museum dedicated to music instrument making, it was founded both in connection with the growing interest in public collections of musical instruments which took shape at the beginning of this century, and in the context of the workers' strikes of the 1880s. Its purpose is to promote and perpetuate the know-how of the makers of the La Couture basin, a group of about ten villages around La Couture-Boussey, epicentre of the manufacture of woodwinds since the beginning of the 17th century. Its history, characterized by alternating periods of activity and abandonment, reflecting the socio-economic dynamics of the village, can be read through the main events of the 20th century: the two World Wars, the crisis of the 1930s, the economic boom of the 1950s and 1960s and, finally, the globalization of the market and the closure of businesses.Developed from numerous archival sources collected and for the most part unknown to date, this thesis successively addresses, with an approach and new results, the history of the making of woodwinds in La Couture- Boussey, the deconstruction of the myths of its origins, the strikes at the origin of the creation of the Union, the history of the Museum, and that of its collections of instruments and tools, of its library, while highlighting its leading role at the European level, at the end of the 19th century, in the creation of copies of old musical instruments (facsimiles) which constitute a founding part of his collection
Bücher zum Thema "Facture (instruments de musique)"
Carmelle, Bégin, und Nebel Constance, Hrsg. Opus: La facture instrumentale au Canada. Hull, Québec: Musée canadien des civilisations, 1992.
Den vollen Inhalt der Quelle findenTrop facile, la musique! Arles [France]: Actes Sud, 2013.
Den vollen Inhalt der Quelle findenColloque "Recherche scientifique & facture d'instruments de musique" (1985 Paris, France). Actes du Colloque "Recherche scientifique & facture d'instruments de musique": Paris, 19-20 avril 1985. Paris: CENAM, 1986.
Den vollen Inhalt der Quelle findenHaine, Malou. Les facteurs d'instruments de musique actifs en Wallonie et à Bruxelles en 1985. Liège: P. Mardaga, 1985.
Den vollen Inhalt der Quelle findenBlaxland, Wendy. Guitars. South Yarra, Vic: Macmillan Education Australia, 2010.
Den vollen Inhalt der Quelle findenDas Musikbuch für Kinder. Ravensburg: Otto Maier, 1992.
Den vollen Inhalt der Quelle findenMalou, Haine, und Meeùs Nicolas, Hrsg. Dictionnaire des facteurs d'instruments de musique en Wallonie et à Bruxelles du 9e siècle à nos jours. Liège: Pierre Mardaga, éditeur, 1986.
Den vollen Inhalt der Quelle findenHoheisel, Ina. Unisonus: Musikinstrumente erforschen, bewahren, sammeln. Wien: Praesens Verlag, 2014.
Den vollen Inhalt der Quelle findenLandesmuseum, Schweizerisches, Kornhaus (Burgdorf Switzerland) und Musée gruérien (Bulle Switzerland), Hrsg. Musikinstrumente der Schweiz 1685-1985: Volksmusik, Militärmusik, Bürgerliche Musik, Kirchenmusik und Musikdosen : mit einer Liste schweizerischer Musikinstrumentenmacher der Arbeitsgemeinschaft Organographia = Instruments de musique de Suisse 1685-1985 : Musique populaire, militaire, bourgeoise et de léglise, boîtes à musique : avec une liste des facteurs d'instruments de musique par le Centre d'Organographia. --. Zürich: Schweizerische Musikforschende Gesellschaft, 1985.
Den vollen Inhalt der Quelle findenInstruments de musique. Tervuren: Musée royal de l'Afrique centrale, 2008.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Facture (instruments de musique)"
Couvreur, Aurélie. „Entre sceptres divins et instruments de musique cérémoniels: le symbolisme des bâtons de sonnailles aztèques“. In La quête du serpent à plumes, 235–50. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.behe-eb.4.00265.
Der volle Inhalt der Quelle„• Les instruments“. In Musique arabe, 347–60. CEDEJ - Égypte/Soudan, 1992. http://dx.doi.org/10.4000/books.cedej.2157.
Der volle Inhalt der Quelle„Les instruments et les hommes“. In Musique arabe, 387–424. CEDEJ - Égypte/Soudan, 1992. http://dx.doi.org/10.4000/books.cedej.2167.
Der volle Inhalt der QuelleFathallah, Linda. „Instruments à cordes et à clavier dans les recommandations du Congrès du Caire“. In Musique arabe, 99–103. CEDEJ - Égypte/Soudan, 1992. http://dx.doi.org/10.4000/books.cedej.2037.
Der volle Inhalt der QuelleHelffer, Mireille. „Terminologie tibétaine relative à la musique et aux instruments de musique“. In Mchod-rol, 317. Éditions de la Maison des sciences de l’homme, 1994. http://dx.doi.org/10.4000/books.editionsmsh.7357.
Der volle Inhalt der QuelleLasida, Elena. „Postface. Deux instruments et une seule musique“. In Projet coopératif et christianisme social, 271–72. Presses de l'Université Saint-Louis, 2018. http://dx.doi.org/10.4000/books.pusl.4391.
Der volle Inhalt der QuelleHelffer, Mireille. „Fonds Jacques Bacot (1877-1965) : instruments de musique tibétains“. In Mchod-rol, 318. Éditions de la Maison des sciences de l’homme, 1994. http://dx.doi.org/10.4000/books.editionsmsh.7358.
Der volle Inhalt der QuelleSantana, Imyra. „Chapitre 6. Les femmes et la pratique des instruments à vent au xviiie siècle“. In La musique a-t-elle un genre ?, 115–30. Éditions de la Sorbonne, 2019. http://dx.doi.org/10.4000/books.psorbonne.83875.
Der volle Inhalt der QuelleHelffer, Mireille. „Sources tibétaines relatives aux instruments de musique et à leur emploi“. In Mchod-rol, 319–26. Éditions de la Maison des sciences de l’homme, 1994. http://dx.doi.org/10.4000/books.editionsmsh.7359.
Der volle Inhalt der QuelleTyler, James, und Paul Sparks. „Instruments Related to the Neapolitan Mandoline in the Eighteenth Century“. In The Early Mandolin, 138–42. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198163022.003.0010.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Facture (instruments de musique)"
Willeart, Saskia. „Digitizing collections of musical instruments in Africa“. In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.05.
Der volle Inhalt der QuelleMarty, Laurent. „Cinéma muet et musique, Héroïsation et érotisation du geste musical“. In Figure(s) du musicien. Corps, gestes, instruments en texte. Fabula, 2016. http://dx.doi.org/10.58282/colloques.4047.
Der volle Inhalt der QuelleZorica, Maja Vukušić. „La musique est une « bonne métaphore » :le Chopin de Gide, anti-Wagner et anti-wagnérien“. In Figure(s) du musicien. Corps, gestes, instruments en texte. Fabula, 2016. http://dx.doi.org/10.58282/colloques.4055.
Der volle Inhalt der QuelleCoste, Marion. „Entre écriture-fugue, voix-musique et texte-contrepoint : l’œuvre radiophonique de Michel Butor, Réseau aérien“. In Figure(s) du musicien. Corps, gestes, instruments en texte. Fabula, 2016. http://dx.doi.org/10.58282/colloques.4061.
Der volle Inhalt der QuelleAngot, Sophie. „L’instrument de musique dans l’œuvre de Pascal Quignard : un substitut du corps, intermédiaire entre la vie et la mort“. In Figure(s) du musicien. Corps, gestes, instruments en texte. Fabula, 2016. http://dx.doi.org/10.58282/colloques.4073.
Der volle Inhalt der QuelleLinsenmeyer, Christina. „CIMCIM Proceedings Series“. In CIMCIM Proceedings. CIMCIM, 2023. http://dx.doi.org/10.46477/vhyi6410.
Der volle Inhalt der QuelleFavard, Margot, und Fanny Gribenski. „Perspectives croisées pour une esthétique de la disparition des corps : Divagations (1897) de Mallarmé en regard des auditions de musique ancienne de la Semaine Sainte de Saint-Gervais (1892)“. In Figure(s) du musicien. Corps, gestes, instruments en texte. Fabula, 2016. http://dx.doi.org/10.58282/colloques.4038.
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