Academic literature on the topic 'Prescription musicale'
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Journal articles on the topic "Prescription musicale"
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Saupic, T., C. Beitz, E. Meunier, and C. Duclos. "Le soin Berceuses : dynamiques d’un dispositif de soin psychocorporel mère-bébé." European Psychiatry 30, S2 (November 2015): S71. http://dx.doi.org/10.1016/j.eurpsy.2015.09.336.
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Le soin Berceuses fait partie des soins psychocorporels proposés à l’unité Parents-Bébé de l’hôpital de Montfavet (qui associe une offre des soins ambulatoires et une capacité d’hospitalisation conjointe de jour), où sont présentes des parents en difficulté dans leur rencontre avec leur bébé, présentant des troubles psychiques. L’ambition du soin Berceuses est de contribuer à favoriser l’établissement des premiers liens. Les dyades/triades participent au soin Berceuses selon la prescription médicale (six séances renouvelables) ; les indications et les évaluations sont discutées en réunion clinique avant l’entretien médical. Deux groupes de soin Berceuses hebdomadaire, avec un maximum de cinq dyades sont proposés, d’une durée d’une heure. Ce soin qui partage à l’amélioration de l’ajustage et de l’accordage dans la relation précoce, est assuré par 2 soignantes et une intervenante musicale, et se déroule en six phases (accueil, éveil corporel, chant de berceuses, verbalisation, départ, reprise). Les soins psychocorporels sont accompagnés d’entretiens par les psychologues de l’unité. Le soin Berceuses est en permanente évolution en lien avec un travail de réflexion d’équipe selon la méthode d’observation d’Esther Bick. Cela afin de permettre la transformation du vécu émotionnel.
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Garrido, Sandra, Emery Schubert, and Daniel Bangert. "Musical prescriptions for mood improvement: An experimental study." Arts in Psychotherapy 51 (November 2016): 46–53. http://dx.doi.org/10.1016/j.aip.2016.09.002.
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Doerksen, Paul F. "Aural-Diagnostic and Prescriptive Skills of Preservice and Expert Instrumental Music Teachers." Journal of Research in Music Education 47, no. 1 (April 1999): 78–88. http://dx.doi.org/10.2307/3345830.
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This study is an investigation of the aural-diagnostic and prescriptive skills of preservice and expert instrumental music teachers. Specifically, the researcher sought to determine how the two groups compared with respect to evaluations for band performances of different music-difficulty and performance-quality levels. Subjects listened to an audiotape recording that comprised four types of performances: Difficult Music and Excellent Performance, Difficult Music and Average Performance, Moderate Music and Excellent Performance, and Moderate Music and Average Performance. For each performance type, subjects responded to four evaluative areas in the investigator-designed Aural-Diagnostic and Prescriptive Skills Test: performance-quality ratings of nine select music elements, rankings of the nine elements, diagnoses of performance problems associated with the weakest-ranked elements, and prescriptions of rehearsal solutions for the diagnosed performance problems. Results indicate that (a) regardless of performance types, preservice teachers rated Intonation lower than did expert teachers; (b) interactions exist among the four performance types for subjects' ratings of Tone Quality, Intonation, Articulation, and Dynamics; and (c) compared to preservice teachers, a higher proportion of expert teachers ranked Blend/Balance and Musical Interpretation as the weakest- performed music elements.
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Aguirre Dergal, Alfonso. "Enfoque prescriptivo de la educación musical instrumental." Epistemus. Revista de Estudios en Música, Cognición y Cultura 10, no. 2 (December 14, 2022): 045. http://dx.doi.org/10.24215/18530494e045.
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Si bien en el papel los modelos de enseñanza instrumental han ido migrando paulatinamente hacia una perspectiva de corte constructivista y ecológica, la pedagogía tradicional de enfoque prescriptivo permanece vigente en las aulas de música. En esta, conceptos, teorías y procedimientos tienden a tratarse como normas universales o verdades absolutas. Teniendo como referente las ideas de Michael Polanyi sobre conocimiento tácito, en este artículo se analizan y discuten críticamente implicaciones del enfoque prescriptivo característico del modelo tradicional de enseñanza musical.
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Bresler, Liora. "Research education shaped by musical sensibilities." British Journal of Music Education 26, no. 1 (March 2009): 7–25. http://dx.doi.org/10.1017/s0265051708008243.
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Based on my own research education courses for doctoral students, I examine the ways in which music provides powerful and rich models for perception, conceptualisation and engagement for both listeners and performers, to cultivate the processes and products of qualitative research in the social science in general, and in music education in particular. I discuss temporality and fluidity, listening and improvisation, originally terms associated with music, and their ramifications for qualitative inquiry. I then present some concrete examples from my research course, not as prescriptions to follow but as invitations for readers to generate their own activities and experiences.
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Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)." British Journal of Music Education 37, no. 1 (November 16, 2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.
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AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on canonic knowledge rather than skills-based learning. In musical terms, this has reinforced the value of ‘prescribed works’ in A-level music specifications.Thus far, little attention has been paid to the extent to which a kind of scholastic canon is maintained in the Western European Art Music section of the listening and appraising units in current A-level music specifications. Though directed in part by guidance from Ofqual (Office of Qualifications and Examinations Regulation, the regulatory body for qualifications in England), there is evidence of a broader cultural trend at work. The present article seeks to compare the historical evidence presented in Robert Legg's 2012 article with current A-level specifications. Such a comparison establishes points of change and similarity in the canon of composers selected for close study in current A-levels, raising questions about the purpose and function of such qualifications.
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Vives, Jean-Michel. "Protéger contre quoi ? Prescriptions musicales et jouissance lyrique au sein de l’église catholique." Topique 145, no. 1 (2019): 39. http://dx.doi.org/10.3917/top.145.0039.
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Magnusson, Thor. "Scoring with Code: Composing with algorithmic notation." Organised Sound 19, no. 3 (November 13, 2014): 268–75. http://dx.doi.org/10.1017/s1355771814000259.
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Computer code is a form of notational language. It prescribes actions to be carried out by the computer, often by systems called interpreters. When code is used to write music, we are therefore operating with programming language as a relatively new form of musical notation. Music is a time-based art form and the traditional musical score is a linear chronograph with instructions for an interpreter. Here code and traditional notation are somewhat at odds, since code is written as text, without any representational timeline. This can pose problems, for example for a composer who is working on a section in the middle of a long piece, but has to repeatedly run the code from the beginning or make temporary arrangements to solve this difficulty in the compositional process. In short: code does not come with a timeline but is rather the material used for building timelines. This article explores the context of creating linear ‘code scores’ in the area of musical notation. It presents theThrenoscopeas an example of a system that implements both representational notation and a prescriptive code score.
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Fox, Christopher. "OPENING OFFER OR CONTRACTUAL OBLIGATION? ON THE PRESCRIPTIVE FUNCTION OF NOTATION IN MUSIC TODAY." Tempo 68, no. 269 (June 16, 2014): 6–19. http://dx.doi.org/10.1017/s0040298214000023.
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AbstractThis article explores some of the diverse forms that musical notation has assumed in the early twenty-first century and discusses its use along a broad spectrum of creative intention, which includes visual representation of sounds, verbal lists of instructions or provocations, and much else. Drawing upon his own experience as a composer, and on studies of the work of composers both older and younger (Stockhausen, Lucier, Wolff; Molitor, Lely), the author examines the changing meanings of notes, staves and clefs, and the possibilities of graphic scores, text scores, and hybrid forms of notation.
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Reyner, Igor R. "Listening Through Language: Jean-Luc Nancy and Pierre Schaeffer." Paragraph 44, no. 2 (July 2021): 176–91. http://dx.doi.org/10.3366/para.2021.0364.
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This article addresses the role of auditory-related verbs in the work of Jean-Luc Nancy and Pierre Schaeffer in order to shed light on a broader tendency in French thought. Through a comparative reading of the ways in which Nancy, in Listening, and Schaeffer, in Treatise on Musical Objects, mobilize verbs such as écouter and entendre, I connect the issue of language to debates about descriptive and prescriptive approaches towards listening. Drawing on the Dictionary of Untranslatables, I argue that Nancy's and Schaeffer's engagements with listening can be mapped onto historical modes of framing politics and ethics, which are also characterized by descriptive and prescriptive approaches. By showing how theories of listening connect to political and ethical debates, this study discusses the ideological instrumentalization of listening as opposed to more descriptive and exploratory forms of engagement in the auditory and the faculty of the ear.
Dissertations / Theses on the topic "Prescription musicale"
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Choquet, Anastasia. "Le métier de programmateur musical à Radio France : analyse d’un groupe professionnel d’intermédiaires culturels de service public à l’ère du numérique." Electronic Thesis or Diss., Université Paris-Panthéon-Assas, 2023. http://www.theses.fr/2023ASSA0075.
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Dans un contexte de crise de la prescription culturelle, cette thèse propose l'analyse d'un groupe professionnel d'intermédiaires culturels de service public, les programmateurs musicaux de Radio France. Face à la perte d'audience des radios musicales, à la concurrence des plateformes de streaming et à l'introduction de technologies numériques dans les pratiques professionnelles de programmation musicale à Radio France, comment évoluent les frontières d'un groupe professionnel de service public ? Soumis à des missions de service public qui leur donne un rôle a priori singulier dans l'espace radiophonique – et plus largement dans l'espace culturel – l'étude des pratiques professionnelles des programmateurs musicaux de Radio France constitue un terrain de recherche fertile pour comprendre les mutations de la prescription musicale ainsi que les enjeux contemporains du service public radiophonique. Dans une perspective interactionniste et avec une approche méthodologique inductive et compréhensive, ce travail est fondé sur une ana-lyse des « récits de pratiques » des programmateurs musicaux livrés en entretien, mais également sur des entretiens réalisés avec d'autres groupes professionnels impliqués dans la programmation musicale de Radio France. Réalisés entre 2016 et le début de l'année 2020, ces entretiens sont complétés par l'analyse d'un corpus de documents officiels contemporainsAgainst a backdrop of crisis in cultural prescription, this thesis analyzes a professional group of public service cultural intermediaries, the music programmers at Radio France. Faced with the loss of audience for music radio stations, competition from streaming platforms and the introduction of digital technologies into the professional practices of music programming at Radio France, how are the boundaries of a public service professional group evolving ? Subjected to public service missions that give them an a priori singular role in the radio space - and more broadly in the cultural space - the study of the professional practices of Radio France's music programmers constitutes a fertile field of research for understanding the mutations of music prescription as well as the contemporary stakes of public service radio. From an interactionist perspective and with an inductive and comprehensive methodological approach, this work is based on an analysis of the "narratives of practice" of music programmers delivered in interviews, but also on interviews conducted with other professional groups involved in music programming at Radio France. Conducted between 2016 and the beginning of 2020, these interviews are complemented by the analysis of a corpus of contemporary official documents
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McAfee, Kay Roberts. "Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.
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This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for categorization of figures derive from the twentieth-century writers Timothy Albrecht, George Buelow, Lena Jacobson, and Peter Williams. Chapter I provides justification for the rhetorical approach through a brief description of the rise of the process as applied to composition during the Baroque period by relating Bach's own familiarity with the terminology and processes of rhetorical prescription, and by describing the implications for performance in observing the sonatas from the rhetorical viewpoint. Chapter II deals with the process of composition by rhetorical prescription in (1) the invention of the subject and its figural decoration and (2) the elaboration of the subject through the sixpart discourse of an entire movement. Specific figures of decoration are defined through examples of their use within the context of the sonatas. Chapter III constitutes the analysis of the six sonata movements. Chapter IV reinforces the justification of this type of analysis. The figures, as aids for inflection and punctuation, affect decisions concerning articulation of events and assist in effecting convincing performance.
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"Exercises for Excerpts: A Prescriptive Approach for the Developing Orchestral Tubist." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57322.
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abstract: This document details the conception and creative process of fundamental exercises intended for the refinement of orchestral repertoire for the tuba. Performance practices and study materials that relate to the orchestral tubist have evolved significantly over the instrument’s history. Although much of its current methodology is derived from the pedagogical insights of the brass family, resources intended to specifically address the unique musical and technical challenges of the tuba have become more prevalent in the past decade. This study aims to detail the conception of exercises that target the skills necessary for the realization of eight excerpts. It also begs the question: what might a new resource encompass that would differentiate its quality and intent from existing materials?
To create a resource that is reflective of current trends and standards in tuba performance, a dialogue was established with several professional tubists through the creation of an online survey. Respondents’ interpretations of each included excerpt were assessed by generalized, specific, and quantifiable feedback. This data was then utilized to directly inform the creative process of supplementary exercises for the included repertoire. The project fulfills its intent to serve as an educational resource, and has strong potential to expand its coverage to additional excerpts with further professional insights.Dissertation/Thesis
PDF of composed project materials.
Doctoral Dissertation Music 2020
Books on the topic "Prescription musicale"
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Moore, Rojay. Prescriptions for Musical Development. PublishAmerica, 2004.
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Wolterstorff, Nicholas. What is liturgy? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805380.003.0002.
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The nature of liturgy is explained in this chapter by first analyzing the nature of an enactment of some liturgy. The main argument is that liturgical enactments are a species of scripted activity, resembling, in that respect, games, musical performances, dramatic performances, and the like. Associated with every liturgy is a set of prescriptions for the correct enactment of that liturgy; Call that the script for that liturgy. The liturgy itself is then that sequence of act-types that is enacted when the prescriptions associated with that liturgy are faithfully followed. A liturgy is thus a universal: it can be enacted at many times and in many places. More specifically: liturgies are for being directly engaged with God in acts that can be loosely characterized as acts of worship.
Book chapters on the topic "Prescription musicale"
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Garrido, Sandra. "Musical Prescriptions: Do They Work?" In Why Are We Attracted to Sad Music?, 149–69. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-39666-8_9.
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Bisaro, Xavier. "D’un concile à l’autre: aux sources des prescriptions musicales du Concile de Trente." In The Council of Trent: Reform and Controversy in Europe and Beyond (1545-1700), 145–58. Göttingen: Vandenhoeck & Ruprecht, 2018. http://dx.doi.org/10.13109/9783666551093.145.
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Kivy, Peter. "Making the Codes and Breaking the Codes: Two Revolutions in Twentieth-Century Music." In New Essays on Musical Understanding, 44–67. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198250838.003.0004.
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Abstract The title of this chapter taps into two senses of the word ‘code’: the sense in which a code is a kind of language, as where one devises a code for conveying secret messages, and the sense in which a code is a prescription for behavior, as where a restaurant imposes a dress code on its patrons. Of course my subject is music, not cryptography or etiquette, so I will begin by stating briefly what it is in the musical experience that I think best exemplifies the linguistic sense of a code, and what the prescriptive sense. When I have done this I can then be more specific about the direction this chapter is going to take.
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Cook, Nicholas. "Introduction: Steps towards Analysis." In Analysing Musical Multimedia, 133–46. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198165897.003.0005.
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Abstract One conclusion seems to be insistent.’ writes Roger Parker towards the end of his article ‘Verdi through the Looking-Glass’. ‘It is that ... we can espouse no “ideal” way in which words and music will make drama together, and that we should be careful not to approach the issue with unconscious a priori assumptions.’ 1 As I tried to show in Chapter 3-and the point applies to multimedia in general, not just to opera-the traditional language for analysing the interaction of different media is thoroughly entangled with prescription, implicit valuejudgement, and unsupported generalization. One of the points of having a relatively standardized vocabulary for the description of cross-media relationships is that it makes it possible to reverse this process, so prising description apart from prescription.
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Emmons, Shirlee, and Constance Chase. "Leadership Theory for Reference." In Prescriptions for Choral Excellence, 233–51. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195182422.003.0008.
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Abstract The matter of leading a group, a choral group in particular, is a multifaceted issue. It is incumbent upon directors to refine their awareness, and to develop and practice leadership skills that enable healthy group function. Those choirs that proceed through the rehearsal-to-performance cycle in a healthy, interdependent manner are the choirs that are most likely to perform consistently. The leadership skills required of directors to produce such effort are over and above their musical/vocal/technical skills. When strong leadership skills combine with high musical/vocal/technical skills, then these directors’ choirs are most likely to perform consistently at a high level.
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Campbell, Patricia Shehan. "For Children: Prospects for Their Musical Education." In Songs in Their Heads, 167–224. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195111002.003.0004.
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Abstract This third section reflects on the dialogues and descriptions of children’s musical repertoire, practices, and thoughts and looks ahead to possible interventions: school music practices, training through lessons, and parent-guided musical enrichment for children. It considers who the children musically are au naturel—in their natural state—and suggests possibilities for all that they can musically become. Thus, this is prescriptive as well as descriptive, in that it acknowledges the voices of children and recommends channels for their development in and through music. It is important for me to reiterate that my thoughts here emanate not only from experiences of the children whose tales have been recounted here but also from a conglomerate of my experiences as a longtime teacher of children, and to emphasize my belief in the great benefits to be had from making moments to talk with children, to watch them at musical play, and to listen to their songs.
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Juslin, Patrik N. "Setting the Stage." In Musical Emotions Explained, 3–10. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198753421.003.0001.
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This chapter sets the stage by introducing the field of music and emotion. It addresses the following questions: Why do musical emotions matter? Why did Freud not enjoy music? Studies show that in both ‘primitive’ cultures and modern society, a considerable amount of time is spent on singing, music, and dance. And it is not just time: According to musicologist David Huron (2001), people in North America spend more money on music than on prescription drugs. There are a number of theories about the possible origin and function of music, for instance that music originally served a purpose in parent-infant bonding, language acquisition, work coordination, transmission of cultural knowledge, sexual courtship, or social coherence. There are also theories which claim that music served no purpose at all.
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Emmons, Shirlee, and Constance Chase. "Introduction." In Prescriptions for Choral Excellence, 3–12. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195182422.003.0001.
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Abstract From the viewpoint of an untutored bystander, the choral director’s art constitutes a director in place before a group of singers, baton in hand (or not), leading the coordinated singing effort of the chorus. End of story? Clearly not. The director’s art is far more complex. It requires skills in the intellectual, physical, and social arenas. It entails expertise in matters musical, historical, linguistic, and vocal. Further knowledge in the areas of leadership, performance psychology, and the mental processes that enhance rehearsal and performance add immeasurably to the director’s success.
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Emmons, Shirlee, and Constance Chase. "Tone and Intonation." In Prescriptions for Choral Excellence, 101–57. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195182422.003.0004.
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Abstract The vocabulary available to describe a singing tone, beautiful or not, is weak and nonspecific at best. Furthermore, the definition of a beautiful tone, which may include many factors, will differ from director to director. Yet a clear understanding of what he or she finds beautiful on a particular piece of music is helpful to a director and well worth the effort to clarify a personal aesthetic point of view. Decide how important beauty of tone is to you in your work. Perhaps this differs from composition to composition. Perhaps beauty’s appropriateness to the meaning or to the achievement of a powerful effect seem more important qualities to you at times. Perhaps musical accuracy is the prime goal. Come to a personal definition of vocal beauty. Familiarize yourself with the various basic attributes of vocal beauty, carrying power, impressive size of tone, and so on. See the following Discussion. Tonal beauty is indeed in the ear of the beholder. Every person will have an ideal tone, as does each culture. The Western hemisphere’s epitome of tonal beauty is sharply at odds with the ideal of singing beauty generally held by the countries of the East.
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Emmons, Shirlee, and Constance Chase. "Practice and Imagery." In Prescriptions for Choral Excellence, 253–67. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195182422.003.0009.
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Abstract Choral directors, indeed all musicians, have invested long hours of their lives practicing something, whether it be piano, voice, conducting, violin, trumpet, or all of the above. All musicians were trained in technique and repertoire. Yet how many of us were trained to practice effectively? There is no academic course in how to practice. Many of us were probably left to our own devices about how to accomplish individual mastery. It is practice of the right kind that leads to the highest levels of skilled performance. Practicing the wrong things, the wrong techniques, or the wrong strategies actually impedes genuine progress. Choristers’ ability to learn from experience and from rehearsal is of utmost importance for the director. Correct practice produces positive changes in vocal and musical performance and ensures that such gains are relatively permanent. The same psychological principles that guide effective practice apply directly to rehearsing a choir. How does the choral director know what techniques, what strategies are the right ones, except by experience? Learning only by experience takes time. Adopting selected techniques from the new research on practice, which follows, will be immensely useful when one does not have years of experience.