Academic literature on the topic 'Jazz à la télévision'
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Journal articles on the topic "Jazz à la télévision"
Mouëllic, Gilles. "Le jazz à la télévision française dans les années 1950 : du didactisme des premières représentations aux expérimentations de Jean-Christophe Averty." Cinémas 26, no. 2-3 (April 5, 2017): 51–71. http://dx.doi.org/10.7202/1039366ar.
Full textBrady, Tim. "Les confessions d'un autodidacte un peu trop scolarisé." Circuit 10, no. 1 (October 2, 2002): 53–62. http://dx.doi.org/10.7202/004655ar.
Full textMouëllic, Gilles. "Improvisation et son direct. Entre théories du son et mutations technologiques." Cinémas 24, no. 1 (February 26, 2014): 83–102. http://dx.doi.org/10.7202/1023111ar.
Full textPerron-Brault, Alexis. "De l’ONF à Télé-Québec : le parcours de Pierre F. Brault, compositeur de musique de film et de télévision." Les Cahiers de la Société québécoise de recherche en musique 15, no. 2 (April 13, 2016): 9–21. http://dx.doi.org/10.7202/1036116ar.
Full textFogarty, Robert S. "Editorial: Jazz, Jazz, Jazz." Antioch Review 57, no. 3 (1999): 260. http://dx.doi.org/10.2307/4613876.
Full textPortugal, Anne. "télévision." Vacarme 14, no. 1 (2000): 90. http://dx.doi.org/10.3917/vaca.014.0090.
Full textPortugal, Anne. "télévision." Vacarme 15, no. 2 (2001): 90a. http://dx.doi.org/10.3917/vaca.015.0090a.
Full textBelot, Jean. "Télévision." Études Tome 408, no. 1 (January 1, 2008): 101–4. http://dx.doi.org/10.3917/etu.081.0101.
Full textBelot, Jean. "Télévision." Études Tome 405, no. 11 (November 1, 2006): 540–43. http://dx.doi.org/10.3917/etu.055.0540.
Full textGiuliani, Emmanuelle. "Télévision." Études Tome 399, no. 7 (July 1, 2003): 112–14. http://dx.doi.org/10.3917/etu.991.0112.
Full textDissertations / Theses on the topic "Jazz à la télévision"
François, Philippe. "L'idée de télévision protestante : principe protestant et télévision d'auteur." Université Marc Bloch (Strasbourg) (1971-2008), 1996. http://www.theses.fr/1996STR20061.
Full textDefined theoretically and heuristically as programmes or films produced for television in accordance with tillich understanding of the protestant principle, protestant television benefits from the nouvelle vague cinema and discussions on the notion of author ("la politique des auteurs"). Literary and film works of three protestant authors namely alexandre astruc, roger leenhardt and jean-luc godard, have created a framework for audiovisual space considered from a protestant point of view. Thesis : protestant television is a television created by authors who film authors - the author being he who transforms a critical intention into creation
Martin, Valérie. "La télévision, média de masse ou média individuel ? De la télévision traditionnelle à la e-télévision." Thesis, Paris 9, 2015. http://www.theses.fr/2015PA090071.
Full textTraditional TV, "Voice of France" is a mass medium. With a home ownership rate of over 98%, a viewing rate of l more than 3.50 hours, advertising revenue of over 4 billion euros , and “contenus Rendez-vous” bringing in record audiences, television rules over the living room, bringing the family together up into the 1980s. It is, however, controlled by the ruling political powers.Under the presidency of François Mitterrand, television was liberalized with the appearance of new private and commercial channels, financed by audiences and advertising, while the public sector continued to be funded by a license fee. In the 90s, the arrival of cable and satellite, followed by TNT in 2005, allowed the amazing increase of a number of new channels and TV services (« subscriptions to cable, satellite and finally Canal + in 1984 )But this evolution continues with the arrival of digital TV, revolutionizing the industry. It increases the number of channels exponentially, expands the production of content generated by consumers, and promotes interactivity through social networks. Technological advances are changing consumer habits with regard to the small screen, especially for young people. The computer, tablet, smartphone and the connected TV let you watch "television as I want, where I want, when I want”. Traditional TV, once considered as a mass media, is now a media that is individualized and that adapts to the tastes and desires of each viewer.The current financial system in France is literally exploding to deal with the internationalization of audiovisual content and players, with most of the content produced in North America.. Obsolete regulations can no longer keep pace with consumer demand in Europe and France. Faced with global supply and new viewing habits (delinearised viewing: replayand video on demand), television still continues to unite the public around major news events (sporting events, political events, the evening news …). The important, rapid changes now occurring in TV content and distribution lead to considerable uncertainty with regard to the future of traditional television, and unless it can adapt, it could more or less disappear in the long term
Miyouna, Ludovic-Robert. "La télévision congolaise." Bordeaux 3, 1991. http://www.theses.fr/1991BOR30015.
Full textDid the congolese television mould the new man toward the socialist society ? its experience of these last ten years in the field of production and programs proves us conclusively that the project failed, for three reasons : 1 - the dominant social stratums are yet attracted by west-european personal qualities; 2 - the local political context, the inadequate human and financial ressources, don't permit enough programs' creation; 3 - the non-existence of a specific model for that television, specially about information and creativity, sure, the present democratic process in congo can intensify the function of television for the national development. The progress of the technology will have good implications in the society, and can change the relationship between people and mass communication means
Martino, Luiz Claudio. "Télévision et conscience." Paris 5, 1997. http://www.theses.fr/1997PA05H047.
Full textFigueiredo, Luís Alberto Cordeiro de. "Jazz, identidade musical e o piano Jazz em Portugal." Doctoral thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/16212.
Full textAo longo de todo o séc. XX, o jazz construiu um espaço alternativo às dicotomias heurísticas tradicionais, como por ex. tradição/inovação, erudito/popular, composição/improvisação, entre outras. Por entre discursos polarizados, o jazz afirmou-se como domínio musical conciliador de diferenças culturais e sociais, configurando um espaço novo de mediação, um “jazz art world” como definido pelo sociólogo Paul Lopes. Nesse espaço, a individualidade sempre assumiu enorme centralidade, em virtude do papel particularmente criativo do performer e também da sua relação elástica com os «modelos» referenciais para a performance. Assim, o jazz afigura-se um domínio privilegiado para a expressão da individualidade e, por conseguinte, para a construção e identificação de uma «identidade musical», tal como a expressão é proposta nesta tese. Para a discussão destes problemas conceptuais, esta tese recorre, como estudos de caso, a um conjunto de pianistas portugueses: António Pinho Vargas (1951-), Mário Laginha (1960-), João Paulo Esteves da Silva (1961-) e Bernardo Sassetti (1970-2012). É traçada a sua trajectória pessoal e formativa, e é apresentada uma análise da sua produção musical, com recurso à «teoria das tópicas» enquanto modelo particularmente orientado para a análise da música popular. No sentido de compreender os processos de construção das identidades musicais destes pianistas, são ainda abordadas outras temáticas, como a própria definição de «jazz», o jazz enquanto música dialógica, ou os fluxos diaspóricos do jazz (incluindo as respectivas implicações e variantes terminológicas, como “jazz diaspora”, “musical cosmopolitanism” e “glocalization”). Recorrendo a pesquisa bibliográfica, trabalho de campo (mormente a entrevista) e técnicas de análise musical, esta tese realiza uma exploração aprofundada destes tópicos e do trabalho dos músicos em particular. Desta forma, pretende oferecer um contributo para uma reflexão conceptual sobre o jazz em geral no âmbito dos jazz studies, e também para um mapeamento estilístico e identitário do jazz em Portugal.
Throughout the twentieth-century, jazz has built a space that operates as an alternative to traditional heuristic dichotomies, such as tradition/innovation, art/popular, composition/improvisation, amongst others. In the midst of polarized discourses, jazz as a musical domain has functioned as a conciliating force between cultural and social distinctions creating a new space for mediation, a “jazz art world” as defined by sociologist Paul Lopes. In that space, individuality has always been a central element, deriving from the particularly creative role played by the performer and also from jazz’s elastic connections with the “models” for performance. Hence, jazz is a privileged domain for expressing individuality and therefore for the construction of a «musical identity» as it is proposed in this dissertation. In order to discuss these conceptual problems, this dissertation refers to a set of Portuguese pianists as case studies: António Pinho Vargas (1951-), Mário Laginha (1960-), João Paulo Esteves da Silva (1961-) and Bernardo Sassetti (1970-2012). Their personal and professional trajectories are herein outlined, and an analysis of their musical output is presented using the theory of “musical topics” as a model specifically designed for analyzing popular music. In order to understand the processes of constructing these musicians’ musical identity, this dissertation addresses other topics, such as the very definition of «jazz», jazz as dialogic music, or jazz’s diasporic flows (including its implications and terminological variants, such as “jazz diaspora”, “musical cosmopolitanism” and “glocalization”). Making use of bibliographical research, fieldwork (namely interview) and musical analysis techniques, this dissertation carries out a profound exploration of these topics and of the musicians’ work. In doing so, it aims at offering a contribution towards a conceptual reflection on jazz in general within jazz studies, and also towards a stylistic and identitary mapping of jazz in Portugal.
Beale, Charles W. "From jazz to jazz in education : an investigation of tensions between player and educator definitions of jazz." Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/10006655/.
Full textFarley, Jeff. "Making America's music : jazz history and the Jazz Preservation Act." Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/519/.
Full textDotzek, Karl. "Så ni spelar jazz : Lärares perspektiv om jazz i gitarrundervisningen." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76418.
Full textThe purpose of this study was to make an overview of how contemporary guitar teachers instruct jazz at the aesthetics program with music orientation. This is a qualitative study where three guitar teachers from southern Sweden were interviewed to receive the empirical material to discuss how jazz is introduced for students. The result shows that the teachers have different viewings on the genre jazz in a teaching environment, however that the teachers are somewhat like-minded in their way of educating their students in the jazz genre. The results also shows that during the planning stages of the lessons the student in question have a great deal to do with how the education is brought out. The teachers also shed lights on what sort of students that get a growing interest for playing jazz and how they work with students that are not used to listening to jazz music.
Macé, Éric. "Sociologie de la télévision, sociologie de l'expérience : individus et télévision de masse." Paris, EHESS, 1994. http://www.theses.fr/1994EHES0022.
Full textThe purpose of this study is to understand the nature of the relation between individuals and mass television. We show that television's success with widespread audience is based on the "connivance" between television programs that integrate the uncertainties and tensions of the social experience felt by its wide audeince, and socially dominated individuals who find in this programs a cultural field of subjectivity. The first part of the study presents an analysis that goes beyond the gap, recurrent in media sociology, between theories of alienation througt cultural industries and theories of audience gratification. The second part is devoted to an empirical observation of the making of successful programs, and to a reception analysis with seven socially differentiated groups. We show that individuals never dissociated their relation to television from the larger framework of their social experience. The third part aims at determining the political dimension of individual relation to television. We show, through a case study
Hellberg, Stina. "Jazz på harpa." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-947.
Full textBooks on the topic "Jazz à la télévision"
1942-, Carrier Gilles, and Université de Montréal. Centre audio-visuel., eds. Télévision interactive, télévision éducative. Montréal, Qué: Centre audiovisuel, Université de Montréal, 1985.
Find full textBreton, Stéphane. Télévision: [essai]. Paris: Grasset, 2005.
Find full textVerdeaux, Laurent. Jazz-jazz. Paris: M. Milo, 2003.
Find full textPasquier, Dominique. La télévision américaine. Toulouse: Milan-Midia, 1990.
Find full textMahé, Patrick. La télévision autrefois. Paris: Hoëbeke, 2006.
Find full textArnaud, Mercier, and France La documentation française, eds. Télévision et politique. Paris: Documentation Française, 2004.
Find full textJost, François. Comprendre la télévision. Paris: A. Colin, 2005.
Find full textBohec, Jacques Le. Elections et télévision. Grenoble: Presses Universitaires de Grenoble, 2007.
Find full textMichel, Yves-Bonnet. Jazz 'n' jazz: Une histoire du jazz. Paris: L'Instant, 1987.
Find full textFarhadov, Raouf. Jazz: Anthologie du jazz Azerbaïdjanais. Bakou: Fondartion Heydar Aliyev, 2014.
Find full textBook chapters on the topic "Jazz à la télévision"
Buscatto, Marie. "Vocal Jazz, Commercial Jazz, Gendered Jazz." In Women in Jazz, 23–32. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003177555-4.
Full text"Télévision." In Voyages en nostalgie, 85–96. University of Ottawa Press, 2021. http://dx.doi.org/10.1515/9782760333819-007.
Full textTisseron, Serge. "Télévision." In Cent mots pour les bébés d’aujourd’hui, 317. ERES, 2009. http://dx.doi.org/10.3917/eres.benso.2009.01.0317.
Full text"Télévision." In Voyages en nostalgie, 85–96. Les Presses de l'Université d'Ottawa, 2021. http://dx.doi.org/10.2307/j.ctv1wd02jn.8.
Full textBlandin, Claire. "Télévision." In Le monde à la une, 256–63. Anamosa, 2021. http://dx.doi.org/10.3917/anamo.there.2021.02.0256.
Full text"Front Matter." In Télévision, II—VI. Presses de l'Université du Québec, 2011. http://dx.doi.org/10.2307/j.ctv18ph0xk.1.
Full text"CONCLUSION." In Télévision, 149–63. Presses de l'Université du Québec, 2011. http://dx.doi.org/10.2307/j.ctv18ph0xk.10.
Full text"Back Matter." In Télévision, 164. Presses de l'Université du Québec, 2011. http://dx.doi.org/10.2307/j.ctv18ph0xk.11.
Full text"Table of Contents." In Télévision, VII—X. Presses de l'Université du Québec, 2011. http://dx.doi.org/10.2307/j.ctv18ph0xk.2.
Full textMiège, Bernard. "Préface." In Télévision, XI—XII. Presses de l'Université du Québec, 2011. http://dx.doi.org/10.2307/j.ctv18ph0xk.3.
Full textConference papers on the topic "Jazz à la télévision"
Bederson, Benjamin B., Jon Meyer, and Lance Good. "Jazz." In the 13th annual ACM symposium. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/354401.354754.
Full textCheng, Li-Te, Susanne Hupfer, Steven Ross, John Patterson, Bryan Clark, and Cleidson de Souza. "Jazz." In Companion of the 18th annual ACM SIGPLAN conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/949344.949370.
Full textOberst, Alexandre, Guillaume Laas, and Isabelle Pecci. "WeGliss, clavier pour la télévision interactive." In Conference Internationale Francophone sur I'Interaction Homme-Machine. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1941007.1941047.
Full textHeavner, Tracy. "JAZZ PEDAGOGY: INCORPORATING AUTHENTIC JAZZ ARTICULATIONS INTO SOLO AND JAZZ ENSEMBLE PERFORMANCE / FLUTE PERFORMANCE." In 36th International Academic Conference, London. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/iac.2018.036.016.
Full textKäser, Dominik. "Silhouettes of jazz." In ACM SIGGRAPH 2009 Computer Animation Fesitval. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1596685.1596807.
Full textLocatelli, Aude. "Littérature et jazz." In Littérature et musique. Fabula, 2010. http://dx.doi.org/10.58282/colloques.1285.
Full textRich, Scott. "IBM's jazz integration architecture." In the 19th international conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1772690.1772936.
Full textLapointe, Pierre-Alexandre. "Évaluation heuristique d'un clavier virtuel pour la télévision interactive." In the 18th international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1132736.1132776.
Full textRaynal-Zougari, Mireille. "La télévision dans le film, décentrement de la fiction." In Création, intermédialité, dispositif. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4473.
Full text"Musical style JAZZ, the new way of Leadership (Classical, Jazz, Evergreen Live interpretation)." In Dignified Researchers Publication. Dignified Researchers Publication, 2016. http://dx.doi.org/10.15242/dirpub.dirh1016208.
Full textReports on the topic "Jazz à la télévision"
Weitkamp, Tristan. Understanding Local Jazz Ecology. Portland State University Library, January 2014. http://dx.doi.org/10.15760/honors.106.
Full textCottle, Christopher A., and Frederick S. Cottle. Suits to Robes: A study of Free Jazz Fashion. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-777.
Full textShapiro, Harris. Outline of the Assembly process: JAZZ, the JGI In-House Assembler. Office of Scientific and Technical Information (OSTI), July 2005. http://dx.doi.org/10.2172/843143.
Full textRangiwai, Byron, Marcel Croul, Allanna Goldsmith, Manaaki Fletcher, and Atareta Moses. Using Kaupapa Māori Research to Inform Practice. Unitec ePress, October 2023. http://dx.doi.org/10.34074/ocds.104.
Full textJewell's Crescent City Illustrated: New Orleans: 1874. Inter-American Development Bank, March 2000. http://dx.doi.org/10.18235/0006419.
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