Relevant bibliographies by topics / Musicalisme

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Musicalisme'

Author: Grafiati
Published: 23 September 2022
Last updated: 28 January 2023

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Journal articles on the topic "Musicalisme"

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Lindley, Mark, and Andreas Werckmeister. "Musicalische Temperatur." Galpin Society Journal 38 (April 1985): 160. http://dx.doi.org/10.2307/841303.

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Aplincourt, Jean-Christophe. "« Homo Musicalis »." Volume !, no. 17 : 2 (November 30, 2020): 255–71. http://dx.doi.org/10.4000/volume.8891.

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Kokole, Metoda. "Instrumentalna zbirka Musicalische Ehrenfreudt (1618) skladatelja Isaaca Poscha." Musicological Annual 32, no. 1 (December 1, 1996): 5–50. http://dx.doi.org/10.4312/mz.32.1.5-50.

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Althaus, Reinhild. "Musicalische Neu-Erbauete Schäfferey." Daphnis 25, no. 2-3 (February 27, 1996): 369–85. http://dx.doi.org/10.1163/18796583-0250203004.

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Althaus, Reinhild. "Musicalische Neu-erbauete Schäfferey." Daphnis 22, no. 2-3 (January 3, 1996): 369–85. http://dx.doi.org/10.1163/18796583-0220203005.

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Kokole, Metoda. "Isaac Posch in njegova inštrumentalna dela s posebnim ozirom na variacijske suite za instrumentalni sestav zbirke Musicalische Ehrenfreudt (1618)." Musicological Annual 32, no. 1 (December 1, 1996): 147–48. http://dx.doi.org/10.4312/mz.32.1.147-148.

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Kokole, Metoda. "Isaac Posch in njegova inštrumentalna dela; s posebnim ozirom na variacijske suite za inštrumentalni sestav zbirke Musicalische Ehrenfreudt (1618)." Musicological Annual 34, no. 1 (December 1, 1998): 139–42. http://dx.doi.org/10.4312/mz.34.1.139-142.

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Bebak, Marek. "Andrea Mariani, Inventoria Rerum Musicalium Domum Societatis Iesu in Polonia et Lituania Tempore Suppressionis, Warszawa 2020." Muzyka 66, no. 3 (October 20, 2021): 213–17. http://dx.doi.org/10.36744/m.990.

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Mandel, Susan E. "Music Therapy in the Hospice: ‘Musicalive’." Palliative Medicine 5, no. 2 (April 1991): 155–60. http://dx.doi.org/10.1177/026921639100500211.

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In-hospice music therapy is defined as the planned, systematic application of music and the relationship between the therapist, patient and family to promote the comfort of the entire person — body, mind, and spirit. It is suggested that the music therapist serves an important role in the hospice team. The author explores multiple dimensions of her role as a hospice music therapist including the development of the music therapy resource centre, programme design and implementation, the education and training of team members, and meeting patients' and families' total needs at home and in the hospice inpatient unit. Music therapy referral criteria, objectives and interventions are discussed and the music therapist's role in facilitating volunteer, staff, and bereavement support groups is explained.
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Costantini, Stéphane. "De la scène musicale aux réseaux musicalisés." Réseaux 192, no. 4 (2015): 143. http://dx.doi.org/10.3917/res.192.0143.

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Dissertations / Theses on the topic "Musicalisme"

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Euzet, Claire. "Le musicalisme : une tendance de l'abstraction." Paris 4, 1996. http://www.theses.fr/1996PA040135.

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La musicalisation de l'art est une idée qui s'impose au début du XXe siècle. Henry Valensi révèle pour la première fois au public "la loi des prédominances", le 3 novembre 1913, au cours d'une conférence intitulée "La couleur et les formes ou la musicalisation de tous les arts". D'autres peintres œuvrent selon des théories de correspondance entre les ondes sonores et les ondes lumineuses : "bleuisme" de Gustave Bourgogne, "rapports des sons et des couleurs" de Charles Blanc-Gatti, "émotivisme" de Vito Stracquadaini. Henry Valensi prend l'initiative de former, avec ces peintres, un groupe : "l'association des artistes musicalistes" (4 mars 1932). Cette association organise de nombreuses expositions, tant en France qu'à l'étranger. Au fil des années, de nombreuses peintres rejoignent le groupe. Les peintres musicalistes recherchent une méthode de composition apparentée à la composition musicale et aboutissent à une peinture abstraite autant que l'est la musique
The concept of musicalisation of art was introduced at the beginning of the XXth century. The 3rd November 1913, Henry Valensi revealed for the first time to the public, "La loi des prédominances", during a conference on "Colour and forms, or the musicalisation of all the arts". Other painters were working on theories of correspondence between sound and light waves: "bleuisme" by Gustave Bourgogne, "rapports des sons et des couleurs" by Charles Blanc-Gatti, "émotivisme" by Vito Stracquadaini. Henry Valensi eventually founded a group with these painters: "the circle of musicalist artists" (4th march 1932). This circle has organised numerous exhibitions in France as well as abroad and over the years, many painters have joined the group. Their aim has been a method inspired by musical composition resulting in a style as abstract as that in music
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Sergent, Marion. "Les artistes musicalistes : théories et pratiques d'une union des arts (1932-1960)." Thesis, Sorbonne université, 2021. http://www.theses.fr/2021SORUL154.

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L'association des artistes musicalistes est fondée à Paris en 1932 par Blanc-Gatti, Bourgogne, Stracquadaini et Valensi. S'affirmant par le biais de manifestes, conférences, articles de presse, le groupe s'entoure de figures d'avant-garde et de l'élite culturelle, politique et médiatique pour assurer le succès de ses expositions en France et en Europe et de ses envois aux Salons. Il parvient à se reconstituer à la fin de la seconde guerre mondiale, bien que se faisant plus discret sur la scène parisienne, jusqu'au décès en 1960 de son chef de file Valensi. Retraçant dans la première partie la vie de l'association, ce travail dessine dans un deuxième temps le portrait d'un collectif d'artistes marqué par une grande diversité qui le situe en dehors d'une histoire des styles artistiques. Son programme esthétique ne repose pas tant sur des similarités formelles que sur un procédé de création commun : la musique est une source d'inspiration et de composition pour les artistes, qu'ils soient peintres, sculpteurs, architectes, poètes, décorateurs ou cinéastes. Si la filiation avec l'esthétique scientifique et les recherches abstraites des décennies précédentes s'ébauche aisément, la richesse des écrits théoriques et des pratiques picturales ou lumineuses des musicalistes permet de détailler dans une troisième partie les différentes façons d'envisager le lien avec la musique : entre modèle, sujet et collaboratrice pour les arts visuels. La quatrième partie montre comment derrière l'analogie musicale se dévoile l'utopie d'un langage universel et d'une fusion totale des arts, des sens et de l'humanité avec la nature, entremêlant psychologie, physiologie, occultisme et métaphysique
The association of « les artistes musicalistes » was founded in Paris in 1932 by Blanc-Gatti, Bourgogne, Stracquadainiand Valensi. The group published manifestoes and articles, gave lectures and surrounded itself by avant-garde artists aswell as the cultural, political and media elite in order to ensure the success of its exhibitions in France and in Europe andof the artworks sent to the Salons. The group reunited after the Second World War, and was active on the Parisian artscene albeit in a more discreet fashion, until the death of its leader Valensi in 1960. After the first part dedicated toretracing the life of the association, the second part of this work draws the portrait of a greatly diverse collective ofartists, situated outside the history of artistic styles. Its aesthetic program is not so much based on formal similarities, butrather on a common creative process : music is a source of inspiration and composition for artists, whether painters,sculptors, architects, poets, decorators or filmmakers. If the connection with the scientific aesthetic and the abstract artresearch of previous decades is easily sketched out, the richness of the theoretical writings and the pictorial or luminouspractices of the musicalistes makes it possible to detail in the third part the different ways of considering the links withmusic : a model, a subject or a collaborator for the visual arts. The fourth part shows how the musical analogy revealedthe utopia of a universal language and of a total fusion of the arts, of the senses and of humanity with nature, withreferences to psychology, physiology, occultism and metaphysics
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Poitevin, Ninon. "La musicalité de la peinture : de la métaphore au concept, penser une forme silencieuse de musicalité." Thesis, Lille, 2018. http://www.theses.fr/2018LIL3H023.

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L’expression « musicalité de la peinture », et tous ses usages dérivés se sont multipliés dans les discours depuis la fin du XIXe siècle. La vivacité de cette métaphore conflictuelle s’est peu à peu diluée en raison du phénomène d’auto-alimentation verbale et opérale dont elle est l’objet. La validation de l’usage d’une telle métaphore suppose donc sa revivification et sa relève par le concept. Elle peut en effet être pensée, par opposition à la musicité, comme part nécessaire (et non présence élargie) de la musique. Elle est alors comprise comme principe d’animation silencieuse et siège du sens et de l’expressivité musicale. Ainsi, en tant que liant et Forme structurante, elle est apte à s’incarner dans d’autres matériaux et notamment le matériau pictural. Elle est reconnaissable dans ce matériau insonore, du point de vue de la production, par l’esthétique de l’Achevé-inachevé qu’elle met en place, et du point de vue de la réception, par l’expérience esthétique spécifique qu’elle provoque, allant vers une compréhension émotive toujours réajustée et infinie de l’œuvre picturale « musicale »
The expression “musicality of the painting” and all its derivative uses have multiplied in the speeches since the end of the 19th century. The liveliness of this conflicting metaphor is gradually weakened because of the verbal and operative self-supplying phenomena to which it is the subject. The validation of the use of such a metaphor assumes its own revivification and its relief by the concept. It can indeed be considered, as opposed to the musicity, as a necessity (and not an extended presence) to music. It is thus understood as a silent moving principle and as a base for the meaning and the musical expressivity. Therefore, as binder and structuring Form, it is able to be embodied in other materials and in particular the pictorial material. The musicality is recognizable in this quiet material, in terms of production, thanks to the aesthetic of the Complete-incomplete that it sets up, and in terms of the reception, thanks to the specific aesthetic experience it triggers, reaching to an always readjusted, and infinite emotional comprehension of the “musical” pictorial work
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Kellner, Herbert Anton. "Barocke Akustik und Numerologie in den vier Duetten: Bachs ”Musicalische Temperatur”." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37249.

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Frendo, Mario. "Musicality and the act of theatre : developing musicalised dramaturgies for theatre performance." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/47177/.

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This research project is aimed at investigating musicality and theatre, and seeks to develop “musicalised dramaturgies” as dramaturgies for performances that venture beyond representation. The musical dimension is approached as an ontological aspect of theatre manifested in the work of the performer and in the process of dramaturgy as developed kinaesthetically with respect to the audience. The somatic dimension of the theatre act is investigated in terms of rhythmic and melodic associations which are proposed as sources of action in musicalised dramaturgies. The study looks at the conditions of musicality as dramaturgy by exploring the possibilities of developing performance processes generated by rhythms, tempos, and melodies as elements of the musical condition. The study acknowledges important developments that took place in the wake of theatre reforms at the turn of the twentieth century that gave more space to the presence of the actor in the creation of performance. These led to a ‘turn-to-performance' in theatre which, since the 1960s, characterised practical research where practitioners challenged traditions and pushed boundaries in order to develop non-representational practices. Gradually the theatre event shifted from serving as a basic means of communication of messages to a process where experiences are shared by performers and audiences. Contemporary scholarship acknowledges these developments in terms of a postdramatic critical framework where hierarchies and subordinations in the organisation of the work give way to equality and simultaneity of means. The postdramatic context serves as a theoretical foundation around which this study is set. Investigations were conducted via practical and theoretical analysis. Practical research was done in collaboration with Italian professional theatre ensemble Laboratorio Permanente di Ricerca sull'Arte dell'Attore (Permanent Research Laboratory on the Art of the Actor), and followed two complementary strands, viz. preexpressive and performance work. The pre-expressive strand had two levels: i. daily work with the actors where the research issues were put into practice and developed with professional actors, and ii. workshops and stages for University students, amateur actors, and laypersons interested in the work. The performance strand developed as a theatre work entitled Welcoming the End of the World. The piece was premièred in Malta in July 2011, and served as context where musicalised dramaturgies were put into practice and used creatively as foundations for performance. Theoretical considerations are discussed in a written document accompanying video documentation of Welcoming the End of the World. The written part examines the work of Konstantin Stanislavsky on rhythm and tempo-rhythm, and contributions made by Jerzy Grotowski with respect to what I argue are ideas of “embodied musicality” in his theatre making. The work of Grotowski is discussed in light of the claim for an Apollonian-Dionysian bond proposed by Nietzsche in his The Birth of Tragedy Out of the Spirit of Music, published in 1872. The research also refers to recent developments in theatre practice including the work of Eugenio Barba, and critical discourses expounded by Henry Lefebvre, Gilles Deleuze, and Jean-Luc Nancy. In various ways their ideas inform the investigations and provide this research project with a critical foundation with respect to which musicality is proposed as dramaturgy for theatre performance.
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BOLPAGNI, PAOLO. "L'IPOTESI DI UN'ARTE WAGNERISTA IN ITALIA 1880-1920: FORTUNA ICONOGRAFICA, UTOPIA DEL GESAMTKUNSTWERK E SUGGESTIONE MUSICALISTA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/746.

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La ricerca condensata in questa tesi di dottorato trae spunto dall’assenza di studi specifici riguardo all’influenza di Wagner e del wagnerismo sulle arti visive in Italia tra il 1880 e il 1920. Partendo dall’analisi della concezione wagneriana del Gesamtkunstwerk e del ruolo attribuito da Wagner alle arti visive, se ne prende in esame il triplice influsso esercitato sulla riflessione critica ed estetica e sulla produzione artistica (pittura, scultura, illustrazione, cartellonistica, caricatura, scenografia): da una parte l’iconografia, che comprende sia i ritratti di Wagner, sia le opere ispirate ai personaggi e alle situazioni dei suoi drammi; vi è poi la tendenza “musicalista”, tipica del Simbolismo, che mira a comunicare emozioni, sensazioni e contenuti propri della musica con i mezzi delle arti visive; e infine l’orientamento sinestetico in direzione dell’“opera d’arte totale”.
The research whose results are recollected into this essay took its origin from the absence of specific studies about Wagner’s and Wagnerism’s influence on visual arts in Italy between 1880 and 1920. Starting from the analysis of Wagner’s conceptions of Gesamtkunstwerk and from the role assigned by Wagner to visual arts, I examined the triple influence of these ideas on the critical and aesthetical reflection and artistic production (painting, sculpture, illustration, caricature, scenography): on one side the iconography, including both Wagner’s portraits and works inspired to his dramas’ characters and situations; moreover, there’s the ‘musicalist’ tendence, typical of Symbolism, which aims to communicate feelings and emotions which are proper of music by the means of visual arts; eventually, the synaesthetical tendence towards the “Universal Artwork”.
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Mennicke, David L., and David L. Mennicke. "A hidden agenda: universality in the Musikalische Exequien of Heinrich Schütz." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624877.

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This document is really a tale of two Heinrichs. The first is the famous seventeenth-century German musician, Heinrich Schütz (1585- 1672), composer of the Musikalische Exequien (S WV 279 -281). The second is Prince Heinrich Posthumus von Reuss (1572- 1635), for whose funeral the Exequien was written. Portraits of both men appear on the opposite page.
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Fernández, Arce Francisca. "Musicalised language and the evolving landscape: towards an aural articulation of the poetical Irish soundscape in W.B. Yeats' poetry." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/147893.

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Ollende-Etsendji, Tracy. "Littérature et musique : Essai poétique d'une prose narrative musicalisée dans Ritournelle de la Faim de Jean-Marie Gustave le Clézio, Tous les matins du monde de Pascal Quignard, Les ruines de Paris de Jacques Réda et Jazz de Toni Morrison." Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2021/document.

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Les concepts de littérature et de musique ont toujours été liés depuis l'antiquité grecque. En effet, cette relation est le fruit de plusieurs affinités d'ordre esthétique qui les coordonnent dans la mesure où l’un structure et l’autre matérialise les données à exposer. Autrement dit, la littérature a toujours servi de structure ou de support au XX ème pour dire les phénomènes de langage qui incluent la mathématique, l’informatique et bien d’autres domaines. Aussi, l’esthétique musicale comportant essentiellement les codes rythmiques notamment les figures de silence, les codes acoustiques (notes de musique, instruments de musique), la fréquence des notes, leur hauteur et surtout leur amplitude; sous la forme musicale de la structure narrative, c’est-à-dire une articulation sémantique et discursive des mots et expressions qui cachent en réalité les codes de l’esthétique musicale se révèle une sorte de débordement de la diégèse....C'(est donc ce travail de correspondanc entre la discontinuité sémantique et discursive du texte du XXème siècle (contaminé par les codes de musique) et la constitution d'une partition musicale qui nous aidera à mieux cerner le lien entre littérature et musique... Notre étude prendra à cet effet appui sur quatre oeuvres : Tous les matins du monde de Pascal Quignard, Ritournelle de la faim de J.M G le Clézio, Les ruines de Paris de Jacques Réda et Jazz de Toni Morrison
Since ancient Greece, the music and literature concepts have always been linked. In fact, this relationship had started from the consequence of several aesthetic affinities that coordinate as much as one structure and one materializes the data to expose. In other words, literature has always served as a structure or support the twentieth century to say the language phenomena including mathematics, data processing and many other fields. Also, the musical aesthetics essentially containing the rhythmic codes including “figures de silence”, acoustic codes (music notes, musical instruments), the frequency of notes, especially their height and amplitude; under the musical form of the narrative structure that’s mean, semantic and discursive articulation of words and phrases that actually conceal codes music, reveals a kind of overflow of the literary text.....So, this work of correspondence between the semantic and discursive discontinuity text of the twentieh century (contaminated by the codes of music) and the creation of a musical game that will help us better understand the link between literature and music.... Our study supports on four works (books) : All the Mornings of the World Easter Quignar Ritournelle Hunger the JMG Le Clezio, The ruins of Paris Jacques Reda and Jazz bu Toni Morrison
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D'Ambrosio, Simone. "Villusions : construction spatiale de paysages sonores musicalisés." Thèse, 2012. http://hdl.handle.net/1866/10467.

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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).
L’hypothèse d’une influence réciproque entre l’environnement et notre perception sonore représente la base de ma recherche musicale. Villusions est un projet acousmatique qui puise sa source dans l’analyse introspective de cette complexe relation, plus précisément entre les sons du quotidien et l’oreille curieuse d’un voyageur éternel. Les parties les plus intimement liées à mes expériences personnelles de la ville de Montréal et ses banlieues représentent donc le théâtre de cette exploration assidue; les illusions correspondent à trois pièces acousmatiques inspirées par ce contexte de réciprocité. Dans l’ensemble des œuvres présentées, les moments musicaux s’alternent, s’intègrent et se confondent aux éléments sonores naturels qui en constituent souvent la racine génératrice. Ces matériaux ont été développés suivant trois axes principaux : d’abord l’axe des mouvements, associés aux moyens de transport et aux centres névralgiques à travers lesquels se répandent les impulsions de la ville; ensuite l’axe des voix qui témoigne de sa multiethnicité, de sa lymphe vitale; finalement, l’axe de l’alternance des saisons comme prétexte sonore lié au contexte temporel. Des sources sonores instrumentales, dérivées des tablâ et de la harpe, trouvent également leur place dans le projet, en lui donnant une empreinte à la fois rythmique et harmonique. La composante spatiale doit être considérée comme un élément incontournable du discours musical de Villusions. Sa construction octophonique porte sur l’équilibre, délicat et illusoirement immersif, généré par des trajectoires dessinées sur la même ligne temporelle que celle des évènements musicaux, suivant des stratégies intégrées directement dans le processus compositionnel.
This musical research is based on the theory of interaction between the environment and our sound perception. Villusions is an acousmatic project that emerged from the introspective analysis of this complex relationship, in particular between daily sounds and the curious ear of an eternal traveller. Thus, the parts most closely related to my personal experiences in the city (“ville”) of Montréal and its suburbs are where this diligent exploration took place; the illusions are three acousmatic pieces inspired by this context of reciprocity. In the works presented, musical moments alternate, integrate with each other, and merge with the natural sound elements that often constitute the originating roots. This material was developed with three main focuses: firstly, movement, associated with modes of transportation and the nerve centres through which beats the city’s pulse; secondly, the voices that express its multi ethnicity, its vital lymph; and, lastly, the changing of the seasons as an acoustic proxy related to the temporal context. Instrumental sound sources, derived from the tablâ and the harp, are also used in the project, lending both a rhythmic and a harmonic feel. The spatial component should be seen as an essential element of the musical discourse of Villusions. Its octophonic construction features the delicate and deceptively immersive balance created by trajectories drawn on the same timeline as those of the musical events, using techniques directly integrated into the compositional process.
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Books on the topic "Musicalisme"

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Musicalische Temperatur. Oschersleben: Ziethen, 1997.

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Kellner, Herbert Anton. Musicalische Temperatur der Bachsöhne. Darmstadt: H.A. Kellner, 2001.

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vaticana, Biblioteca apostolica. Bibliothecae apostolicae vaticanae corpus manuscriptorum musicalium. Citta del Vaticano: Biblioteca apostolica vaticana, 1994.

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vaticana, Vatican City Biblioteca. Bibliothecae apostolicae vaticanae corpus manuscriptorum musicalium. Città del Vaticano: Biblioteca apostolica vaticana, 1994.

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Kox, Wil. Is God muzikaal?: Tractatus theologico-musicalis. Budel: Damon, 2003.

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Kellner, Herbert Anton. Musicalische Temperatur bei Johann Sebastian Bach und seinen Söhnen. Paris: H.A. Kellner, 1998.

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Dietrich, Bartel, ed. Harmonologia musica, oder, Kurze Anleitung zur musicalischen Composition: Musicalische Paradoxal-Discourse, oder, Ungemeine Vorstellungen. 2nd ed. Laaber: Laaber Verlag, 2007.

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Heinemann, Edward A. L' art métrique de la chanson de geste: Essai sur la musicalitae du récit. Genève: Librairie Droz, 1993.

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Werckmeister, Andreas. Harmonologia musica, oder, Kurze Anleitung zur musicalischen Composition: Musicalische Paradoxal-Discourse, oder, Ungemeine Vorstellungen. 2nd ed. Laaber: Laaber Verlag, 2007.

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Werckmeister, Andreas. Harmonologia musica, oder, Kurze Anleitung zur musicalischen Composition: Musicalische Paradoxal-Discourse, oder, Ungemeine Vorstellungen. 2nd ed. Laaber: Laaber Verlag, 2007.

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Book chapters on the topic "Musicalisme"

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Allain, Aurélie. "Micromégas, ou le rire musicalisé." In L’humour en musique, et autres légèretés sérieuses depuis 1960, 91–97. Presses universitaires de Provence, 2017. http://dx.doi.org/10.4000/books.pup.29873.

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"147. Cäcilia, eine Zeitschrift für die musicalische Welt." In Cäcilia - Dichtung und Wahrheit, 1–3. De Gruyter, 2006. http://dx.doi.org/10.1515/9783110921915.1b.

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"Musicalische Friedens-Freud: the Westphalian Peace and Music in Protestant Nuremberg." In Rethinking Europe, 277–99. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004401921_016.

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GUERAUD-PINET, Guylaine. "Analyser la musique dans les programmes de flux de la télévision française (1949-2016)." In Corpus audiovisuels, 41–54. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.5699.

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Cet article s’intéresse aux manières d’appréhender et d’analyser la musique dans des corpus d’émissions de télévision française. Fondé sur une recherche doctorale (Gueraud-Pinet, 2018) en sciences de l’information et de la communication, il présente les méthodes engagées afin de comprendre la construction de l’agencement « image-musique » dans les programmes de télévision dits de flux de 1949 à 2016. L’analyse des grilles de programmation offre ainsi des données sur la place occupée par les programmes composés de musiques tout en permettant d’échantillonner les corpus audiovisuels. Ces derniers sont analysés statistiquement et thématiquement afin de comprendre la construction du rapport « image-musique », mais aussi afin de comparer ces données dans un temps long. Enfin, pour pallier l’approche objective découlant de l’analyse de contenu, une analyse du parcours circulatoire des images musicalisées est présentée. Celle-ci permet d’envisager notre objet en prenant en considération les carences musicologiques du chercheur en communication. Elle mène surtout à entrevoir le caractère symbolique produit par la relation « image-son » à la télévision.
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5

"Fragmenta Manuscriptorum Musicalium Hungariae Mediaevalis: From Traditional Methodologies Towards a Digital Corpus." In Disiecta Membra Musicae, 301–22. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110717884-012.

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Sousa Correa, Delia da. "George Eliot, Schubert and the Cosmopolitan Music of D ANIEL D ERONDA." In The Edinburgh Companion to Literature and Music, 437–46. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0045.

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George Eliot’s allusions to the music of Franz Schubert in Daniel Deronda (1876) are significant for the novel’s cosmopolitan reach. Schubert, along with Liszt, Mendelssohn and, implicitly, Wagner and Anton Rubinstein, forms a point of comparison to indicate the stature of the cosmopolitan musical maestro Julius Klesmer. In addition, Schubert’s music, associated with Deronda himself and sung by the novel’s Jewish heroine Mirah, helps to valorise their future Zionist mission. Eliot’s allusions to this composer, often described as feminine in the decades following his death, illuminate her subtle negotiations of issues of gender in her writing. Placed in the context of her comments in letters and review essays, they also indicate that she held the originality of his music in the highest regard at a time when Schubert was frequently regarded as predominantly the creator of minor works suitable for domestic performance. Thus allusions to Schubert contribute to the minutely interconnected and highly musicalised world of Eliot’s novel, and Daniel Deronda, in turn, contributes to the reception of Schubert’s music.
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"Johann David Heinichen und der »Musicalische Horribilicribrifax«Überlegungen zur Vorrede von Heinichens Gründlicher Anweisung." In Frühe Neuzeit, edited by Rainer Bayreuther. Berlin, New York: DE GRUYTER, 2010. http://dx.doi.org/10.1515/9783110233452.145.

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