Dissertations / Theses on the topic 'De musique électronique'
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Khattou, Fouzia. "Insertion du cuivre dans un phosphate lamellaire ponté. Etude par résonance paramagntique lectronique." Montpellier 2, 1998. http://www.theses.fr/1998MON20173.
Full textNivollet, Pierre-Yves. "Un habitat capable de reconna??tre les activit??s planifi??es dans un calendrier ??lectronique." Mémoire, Universit?? de Sherbrooke, 2013. http://savoirs.usherbrooke.ca/handle/11143/46.
Full textViau, ??milie. "Braille ou vocal? Analyse du processus de d??codage de journaux en texte ??lectronique par des lecteurs aveugles." Mémoire, Universit?? de Sherbrooke, 2014. http://savoirs.usherbrooke.ca/handle/11143/89.
Full textMamalis, Nicolas. "La musique et l'espace, l'espace de la musique." Paris 1, 1993. http://www.theses.fr/1993PA010748.
Full textThe aim of this thesis is to explore the relation between space and music and to study how the space has been introduced like a component of the musical composition, how it is considered and perceived by the composers and also how this notion has been differated during the last years. It is divited in four chapters. The first chapter analyses the notion of the musical material. The last three chapters trie topresent various models of space utilisation in musical works as following : 1. Works which accept space like a place of interpretation independent of the music composition. 2. Works which accept space like a component of the composition which remains independent and establishes arbitrary relations with the others musical components. 3. Wors which developpe space in relation with the other components based in algotithmics transformations
Odeimi, Béchir. "L'influence de la musique occidentale sur la musique au liban." Paris 4, 1986. http://www.theses.fr/1986PA040158.
Full textOdeimi, Béchir. "L'Influence de la musique occidentale sur la musique au Liban." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37600086x.
Full textGEUS, JEAN MICHEL. "La musique pythagoricienne." Lille 3, 1993. http://www.theses.fr/1993LIL30014.
Full textWhile setting out and studying the various accounts antiquity passed on us, regarding pythagorean musical theory, it is easy to see that a theory longing on several centuries and which was elaborated by various thinkers admits some internal inconsistencies. This, as a consequence, calls into question some criterious which were formal before. It is then possible to conceive that theory as a relatively autonomous and consistent whole and to soften, in a way, the usual distinction between acousmatic musical theory and mathematcs musical theory
Dufourt, Hugues. "Musique, pouvoir, écriture." Paris 1, 1991. http://www.theses.fr/1991PA010539.
Full textThis dissertation is a reflexion on post worldwar ii european and american music. It deals with the history of the categories of musical thought new musical aesthetics and with the relations between this new music and contemporary society. In order to explain this century's music, do we have to follow Adorno's apocalyptic pessimism whose idea of formalism is only a self-destructive reaction to the dictates of mass society? Do we have, on the other hand, to confine ourselves to the sole internal necessities of musical modernity or to purist avant-gardes which, out of their fundamental utopia, only put forward a mutilated elitist art cut off from history? In "music, power, writing", the author refused to remin locked within this dilemma and attempted to show that 20th century musical creation, in close relation to social, intellectual, scientific and technical advances of the modern world, reveals endlessly the balance and contradicitons which define the unity and purposes of a civilisation. Refusing metaphysics, the author chose a wholly rational conception of the history of music; following Max Weber's problematics, Hugues Dufourt proposes an interpretation of the future of western music as an emancipation of th self and a conquest of reason while giving one of the first systematic assessments of musical research's recent advances in acoustics, psychoacoustics, computer science and cognitive sciences. This work deals with the question of the essence of musical language which turns out to be a peculiar mixture halfway
Descartes, René Buzon Frédéric de. "Abrégé de musique /." Paris : Presses universitaires de France, 1987. http://catalogue.bnf.fr/ark:/12148/cb34910799h.
Full textPisani, Michael Vincent. "Exotic sounds in the native land : portrayals of North American Indians in Western music /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063830k.
Full textListe chronologique des oeuvres musicales inspirées des indiens d'Amérique du nord (1768-1946) p. 526-557. Sources et bibliogr. p. 576-604.
Chen, Leyun. "La musique taoïste au Zhejiang : en relation avec la musique bouddhique." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL124.
Full textThis study delves into the music daoist of the Zhengyi in Zhejiang, with a special emphasis on its relationship with buddhist music. The research aims to analyze and compare daoist and buddhist musical pieces in order to identify the distinctive characteristics of each, shedding light on the relations and interconnections that have established between them at a specific time and place - a perspective that has been largely overlooked in previous studies. Adding a new dimension to this research, the study also examines the developpement in the professional status of daoist musicians since the 1980s, a period characterized by a resurgence of daois music, spurred by governmental initiatives, particularly under the new Intangible Cultural Heritage (ICH) project. A methodology has been adopted that combines musical analysis using the Mei Dunhuang software and an ethnographic approach. This latter aspect considers the current practices in the recording and performance of Taoist concerts
Chiriacescu-Lüling, Sanda. "Herrschaft und Revolte in Figaros Hochzeit : Untersuchung zu szenischen Realisationsmöglichkeiten des sozialkritischen Aspekts in W.A. Mozarts "die Hochzeit des Figaro"... /." Erlangen : Verlagsbuchhandlung H. Lüling, 1991. http://catalogue.bnf.fr/ark:/12148/cb35533365p.
Full textGarcia, Thomas George Caracas. "The Brazilian choro : music, politics and performance /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40034571z.
Full textFilippi, Daniele V. ""Selva armonica" : la musica spirituale a Roma tra Cinque e Seicento /." Turnhout : Brepols, 2008. http://catalogue.bnf.fr/ark:/12148/cb41448047q.
Full textBaboni, Schilingi Jacopo. "La musique hyper-systémique." Paris 8, 2010. http://www.theses.fr/2010PA084172.
Full textThe research we are presenting is about systemic in music, its applications through the more recent generative systems, and the definition of a new theory, able to include the more recent studies in the field of human/machine interaction, touching the writing of music. Specifically, it studies the relation between formalization of rules and free choice inside of a given system, and it is based on the development of some softwares allowing an application and a concrete demonstration of the theoretical conclusions we were able to reach. The thesis itself is articulated into four different typologies of documents : I – A text of fundamental theories, in which we expose a sociological, anthropological and systemic study of today's written music, together with a new theory for musical composition. II – Four articles published within different specialized reviews, which explains in detail some problematics inherent to computer music. III – Three software tools necessary for the algorithmic and practical demonstration of our hypotheses. IV – Four musical compositions, as examples of our concrete work in the field of artistic creation
Durand, Béatrice. "Diderot et la musique." Paris 4, 1987. http://www.theses.fr/1986PA040175.
Full textMusic is present in all the works of diderot. His writings about music are a testimony about the musical life of the 18th century. They are a document about the hows and wheres of musical life, and about musical pedagogy. These writings are also an echo of all the theoretical and esthetical discussions, which have been agitating the musical life of the century. At first, diderot was diderot an adept of rameau's theory, and also of a physico-mathematical approach to the musical phenomen. He contributed to the popularization of rameau's theory, but later he diverges from it. His most important contribution was freeing the musical esthetics from the schemas inheritated from the classical times and based on the a linguistic conception of music. Music is a language, it "speaks", it signifies. Getting rid of thes theoretical assumptions, diderot proposes an esthetics which describes music from the point of view of its sensitive perception, without imparting the model of linguistic description
Lindgren, Tonny, and Felix Almberg. "Undersökning av Musique Concrète." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20060.
Full textThis bachelor thesis examines Pierre Schaeffer’s (2012 [1952]) term musique concrète as well as it’s methods and techniques. Musique concrète can be described as a collection of compositional methods that uses recorded sounds from the surrounding world as a startingpoint, without the use of musical instruments, music theory, or electronically produced sounds. We used Schaeffer’s term reduced listening (which Michel Chion (1994) later expanded upon). Jøran Rudi (2011) writes about R. Murray Schafer’s term Hi-Fi and Lo-Fi,and these terms were later used by us to categorise and record sounds from the environment. Investigation and experimentation with the various methods and techniques ensued in the design process in order to explore and document the work process of the prototypes. This process resulted in a collection of musique concrète compositions stemming from the Lo-Fi och Hi-Fi processes through which we gained more knowledge and understanding of themethods and techniques involved.
Saada-Mecheri, Nadia. "La Musique de l'Ahaggar." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37607997r.
Full textSaada-Mécheri, Nadia. "La musique de l'Ahaggar." Paris 10, 1987. http://www.theses.fr/1987PA100055.
Full textThis study of music of Ahaggar proceeds from a general and historical viewpoint towards the analysis of two genres: âléwen wedding songs and tindé songs. This study includes an ethno-historical and sociological part defining more precisely the musical practice in the context of village celebration and presents the existing genres and musical instruments. A second part treats the study of âléwen and tindé texts (wich are transcribed and translated in french in appendices I and II) in their semantical and formal dimensions (specially metric). The musical analysis of these two genres constitutes the third part of the study. It is supported by a collection of about twenty musical pieces (transcribed in appendices III and IV) taken from a wider one of about five hundred taped pieces. In particular, scales of these songs, their melodic structure, the drum rythms and their relations with the melodic rythm are described
Betzwieser, Thomas. "Exotismus und Türkenoper in der französischen Musik des Ancien Régime : Studien zu einem ästhetischen Phänomen /." Laaber : Laaber-Verlag, 1993. http://catalogue.bnf.fr/ark:/12148/cb35600034d.
Full textChen, Tzu-Kuang. "Chinesische Kultur in der westlichen Musik des 20. Jahrhunderts : Modelle zur interkulturellen Musikpädagogik /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2006. http://catalogue.bnf.fr/ark:/12148/cb40937382b.
Full textHouben, Eva-Maria. "Die Aufhebung der Zeit : zur Utopie unbegrenzter Gegenwart in der Musik des 20. Jahrhunderts /." Stuttgart : F. Steiner, 1992. http://catalogue.bnf.fr/ark:/12148/cb36955894c.
Full textUrchueguía, Cristina. "Die mehrstimmige Messe im "Goldenen Jahrhundert" : Überliefering und Repertoirebildung in Quellen aus Spanien und Portugal (ca. 1490-1630) /." Tutzing : H. Schneider, 2003. http://catalogue.bnf.fr/ark:/12148/cb39034611h.
Full textRitzuto, Laetitia F. "Enfant - musique - système : mise en oeuvre et fonctionnement d'un processus éducatif en développement /." Lille : ANRT, 2001. http://catalogue.bnf.fr/ark:/12148/cb392761186.
Full textMartinez, Rosalía. "Musique du désordre, musique de l'ordre : le calendrier musical chez les Jalq'a (Bolivie)." Paris 10, 1994. http://www.theses.fr/1994PA100054.
Full textThe matter of this study is the musical year cycle of a Jalq'a community, a Quechua speaking people of highland Bolivia. The ethno musicological analysis shows that this year cycle makes up a wide and meaningful musical form. The basis of this form is the opposition between repertories whose elements are structured and fixed, and on the other part repertories which turn out to be unstructured and unfixed. Performing these different repertories creates distinct time sequences which are embedded with specific meanings and sound experiences. Together, these musical and time units make up a wider meaning: the alternation between the two opposite parts of the universe. As a musical construction, the calendar produces a wide range of meanings. It connects the cosmic categories and gives one of its forms to a central myth. This musical calendar is a structuring agent for time and space, it links specific places of the Jalq'a environment, lastly, it links periods of the year and mythical categories of space and mythical categories of space and time
Hsu, Jui-Kun. "La musique taoi͏̈ste à Tai͏̈wan : la troisième secte révélée par la musique liturgique." Paris 8, 1998. http://www.theses.fr/1998PA081522.
Full textTaoism is the most widely spread religions belive in taiwan. Until now many researches have been done on the subject as well as in chinese language as in occidental and japonese languages, but very few focuses on one of the most fondamental aspects of the ritual: liturgical music. In this paper, the author first swiftly introduces taoist religion, than focuts out researches on litugical music of a sect that has been ignores until present time. Thanks to his work on the field, he introduses musical transcriptions followed by deep analysis, than he leads acomparison with musical taanscriptions of various taoist sects on the island. He demonstrates there is a third taoist sect in taiwan
Hondré, Emmanuel. "L'établissement des succursales du Conservatoire de musique de Paris de la Restauration à la Monarchie de juillet : un exemple de décentralisation artistique /." Tours : [E. Hondré], 2001. http://catalogue.bnf.fr/ark:/12148/cb37225304h.
Full textMoysan, Bruno. "La réécriture et ses enjeux dans les fantaisies de Liszt sur des thèmes d'opéra (1830-1848) : musique, sémantique, société." Tours, 1997. http://www.theses.fr/1997TOUR2020.
Full textThe main purpose of this thesis is to consider the implications of a personalised use of a certain number of commonplace themes from a musical, semantic and social point of view. Rewriting extracts of operas in the form of fantasias for piano gave birth to an indeterminate and innovative language. In his fantasias Liszt expressed himself in a language which combined the heritage of the aristocratic salons well-known for their witty conversations, the use of the ornatus and the preeminence of the opera seria as a major genre, with many romantic innovations characterized by a prophetic virtuosity in solo concerts and the instrumental rewriting of the pieces of music borrowed on a fantastic mode which expanded the boundaries of the language and questioned the prevailing critera. Through this rewriting, the fantasia emerged as a new genre amid the romantic revolution of the vision of the world in 1830. This new image of the composer of genius brought into play a subversive language and a demagogic form of art born after Rossini’s reform together with a means of socializing through the solo concert. As soon as he strikes the first notes of his fantasia, a microcosm of the romantic imagination, the musician ceases to be the mere humble actor taking part in the civilising mission of the gentry and he becomes the symbol of a social revolution based on merit: the artist. From this network of contradictions converted into a musical language, a new and utterly modern aesthetics is born which remains quite topical
Dorner, Doris. "Musik als Repräsentationsgeschehen : ein musikphilosophischer Rekurs auf Thr. Georgiades /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb369961292.
Full textChabrier, Jean-Claude C. "Analyses de musiques traditionnelles : identification de systèmes acoustiques, scalaires, modaux & instrumentaux : représentation morpho-mélodique, structuro-modale & du langage instrumental." Paris (213 Av. de Versailles, 75016) : Arabesques, 1996. http://catalogue.bnf.fr/ark:/12148/cb371718879.
Full textSillamy, Jean-Claude. "La musique dans l'ancien orient ou la théorie musicale suméro-babylonienne /." [Ajaccio] (15 rue Fesch) : [J.-C. Sillamy], 1986. http://catalogue.bnf.fr/ark:/12148/cb41026144c.
Full textWolf, Uwe. "Notation und Aufführungspraxis : Studien zum Wandel von Notenschrift und Notenbild in Italienischen Musikdrucken der Jahre 1571-1630 /." Berlin : Merseburger, 1992. http://catalogue.bnf.fr/ark:/12148/cb35570963r.
Full textSchleiser, Bernhard. "Musik und Dasein : eine existenzialanalytische Interpretation der Musik /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb36996132z.
Full textDoukhan, Lilianne. "The music of the Middle Ages in selected French music histories at the turn of the 20th century (1895-1915) : a comparative and critical study /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371109664.
Full textMarx, Wolfgang. "Klassifikation und Gattungsbegriff in der Musikwissenschaft /." Hildesheim ; Zürich ; New York : G. Olms, 2004. http://catalogue.bnf.fr/ark:/12148/cb39252620r.
Full textFeisst, Sabine. "Der Begriff Improvisation in der neuen Musik /." Sinzig : Stduio, 1997. http://catalogue.bnf.fr/ark:/12148/cb39996111d.
Full textHanau, Eva. "Musikinstitutionen in Frankfurt am Main, 1933 bis 1939 /." Sinzig : Studio, 1994. http://catalogue.bnf.fr/ark:/12148/cb39996466h.
Full textBallstaedt, Andreas Widmaier Tobias. "Salonmusik : zur Geschichte und Funktion einer bürgerlichen Musikpraxis /." Wiesbaden ; Stuttgart : F. Steiner, 1989. http://catalogue.bnf.fr/ark:/12148/cb350398916.
Full textDubowy, Norbert. "Arie und Konzert : zur Entwicklung der Ritornellanlage im 17. und frühen 18. Jahrhundert /." München : W. Fink, 1991. http://catalogue.bnf.fr/ark:/12148/cb35595345s.
Full textMussat, Marie-Claire Mongrédien Jean. "Musique et société à Rennes aux XVIIIe et XIXe siècle /." Genève : Minkoff, 1988. http://catalogue.bnf.fr/ark:/12148/cb36638396g.
Full textGreve, Martin. "Die Europäisierung orientalischer Kunstmusik in der Türkei /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1995. http://catalogue.bnf.fr/ark:/12148/cb36958409x.
Full textKoopman, Constantijn. "Keynotes in music education : a philosophical analysis... : proefschrift... /." Nijmegen : Universiteit, 1997. http://catalogue.bnf.fr/ark:/12148/cb36967755w.
Full textBernnat, Andreas. "Grundlagen der Formbildung bei Claude Debussy : ein analystisches Modell für die Klavierwerke von "Pour le piano" bis zu den "Etudes /." Tutzing : H. Schneider, 2003. http://catalogue.bnf.fr/ark:/12148/cb390915948.
Full textFijalkow, Claire. "Deux siècles de musique à l'école : chroniques de l'exception parisienne, 1819-2002 /." Paris ; Budapest ; Torino : l'Harmattan, 2003. http://catalogue.bnf.fr/ark:/12148/cb39006372r.
Full textEmbeoglou, Michaïl. "La notion de texture dans la musique post-sérielle /." Lille : ANRT, 1997. http://catalogue.bnf.fr/ark:/12148/cb39275655j.
Full textKalyoncu, Nesrin. "Musikunterricht in der deutschen und türkischen Grundschule : eine vergleichende didaktische Analyse /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb38972555m.
Full textBaierlein, Ute. "Theologische Zugänge zu neuer Musik : Ankommen im Unbekannten /." Hamburg : Dr. Kovač, 2005. http://catalogue.bnf.fr/ark:/12148/cb41342548t.
Full textCont, Arshia. "Modélisation de l'anticipation musicale : du temps de la musique vers la musique du temps." Phd thesis, Université Pierre et Marie Curie - Paris VI, 2008. http://tel.archives-ouvertes.fr/tel-00417565.
Full textDans le traitement de la première question, nous introduisons un cadre mathématique nommé géométrie d'informations musicales combinant la théorie de l'information, la géométrie différentielle, et l'apprentissage statistique pour représenter les contenus pertinents de l'informations musicales. La deuxième question est abordée comme un problème d'apprentissage automatique des stratégies décisionnelles dans un environnement, en employant les méthodes d'apprentissage interactif. Nous proposons pour la troisième question, une nouvelle conception du problème de synchronisation temps réel entre une partition symbolique et un musicien. Ceci nous ramène à Antescofo, un outils préliminaire d'écriture du temps et de l'interaction dans l'informatique musicale. Malgré la variété des sujets abordés dans cette thèse, la conception anticipative est la facture commune entre toutes les propositions avec les prémices de réduire la complexité structurelle et computationnelle de modélisation, et d'aider à aborder des problèmes complexes dans l'informatique musicale.
Accaoui, Christian. "Musique et temps : rythme, variation, symbolique dans la musique instrumentale de Haydn à Beethoven." Paris 8, 1994. http://www.theses.fr/1995PA080921.
Full textDoes instrumental music give way to its own movements or is its movement predetermined by a (or several) conception(s) of time ? does sense of instrumental music lie on its movement's configuration regarding to the three modalitees of time : succession, duraztion, simultaneousness ? this research attempts to answer to these the questions studing classical works from haydn, mozart, beethoven. The middle position of this corpus in instrumental music's history, its durable influence over the last two centuries' productions allow to extend, varing them slightly, most of this work's conclusions to a very large periode, since baroque up to now. The first two parts (rhythm, variation), very analytical, study from many musical examples the temporal involvings of rhythmical structures and classical technics of variation. The last two parts (time, symbolism) indicate convergences of such a conception of time : the contemporaneous one which is the german idealism, the earliest one which is the theological and philosophical tradition since plotin, saint augustin, boece
Gorodski, Fabio. "L'articulation dans la musique contemporaine." Paris 8, 2006. http://www.theses.fr/2006PA083280.
Full textThis work seeks to present a discussion about the dispersion of the composing practices visible since the second half of the 20th century. Aiming to elucidate general questions pertaining to the writing and the appreciation of the musical fact, this dissertation explores several analytical instruments mainly underlying the idea of ‘articulation’. Understood in its broadest sense, this concept of articulation comprehends several steps of the creative process, which goes from the apprehension of basic elements by the composer (whether it is a series, a chord, an objet sonore, an abstract concept, etc. ), until the way she/he constructs a given musical discourse from those very same elements: the choice of the material itself will make possible the construction of specific formal relations according to the internal characteristics of that very same material and will therefore define a certain way of listening, motivate the creation of a ‘sense’ and frame that music in its own space