Literatura académica sobre el tema "Musique électronique et violoncelle"
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Artículos de revistas sobre el tema "Musique électronique et violoncelle"
Shegolev, Aleksey. "Le langage musical d’Auguste Descarries (1896-1958) : le point de vue d’un compositeur chargé de l’achèvement de son Quatuor pour violon, alto, violoncelle et piano1". Les Cahiers de la Société québécoise de recherche en musique 16, n.º 1-2 (25 de abril de 2017): 147–61. http://dx.doi.org/10.7202/1039620ar.
Texto completoTesis sobre el tema "Musique électronique et violoncelle"
Roblin, Catherine Penesco Anne. "La littérature pour violoncelle seul au XXème siècle entre tradition et modernité /". [S. l.] : Université Louis Lumière - Lyon 2, 2000. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2000/roblin_c.
Texto completoRoblin, Catherine. "La littérature pour violoncelle seul au XXème siècle : entre tradition et modernité". Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/roblin_c.
Texto completoToulouse, Catherine. "Apprentissage instrumental et formation musicale en France : l'exemple du violoncelle en 1990". Paris 4, 1991. http://www.theses.fr/1991PA040101.
Texto completoCello teaching experience in French music schools, the inventory of existing cello tutors, the sociological analysis of the needs, and the description of the structures designed to fulfill them, lead one to notice the malfunction of the music schools, right through the first years of instrumental apprenticeship: the multiplication of compartmentalized disciplines often leads to incoherence. This work, benefiting from research in the psycho-pedagogy of music thus purposes, after the initial stage of musical awakening, a teaching method provided by a single teacher, through his or her instrument - in this case, the cello - before enriching the musical education with specialized and complimentary disciplines
Bonnefoy, Carine. "Le jazz symphonique. Harmonie et spatialité". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040216.
Texto completoThis research relates to my pursuits as a pianist, composer and conductor, and concerns the development of the art of symphonic jazz. Symphonic jazz has represented a musical hybrid and a field of research around the soundscape of the orchestra. In many ways, it has been a forerunner in exploring the possibilities for creating music in which jazz and scholarly approaches and inquiries had entered into a productive dialectic. Hence the favoured approach to writing now integrates a variety of instruments as a fundamental revealer of musical structures. The composer creates a musical process that allows the material to express itself and spread its expressive and perceptive potential through comprehension of the orchestral space. Identifying and understanding the composer’s listening strategies for the listener, as well as the way he increases the meaning of the elements constituting the work is one of the main subjects of research
Giguère, Patrick. "La gestion du timbre comme genèse à la création de trois oeuvres musicales originales". Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30136/30136.pdf.
Texto completoSauda, Eric. "François Gervais musicien au Front de 1914 à 1919 : affirmation identitaire, sociale et artistique". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040025.
Texto completoFrançois Gervais was born in Blois in 1885. High school graduated in literature and philosophy he early started musical studies and obtained in 1905 the second prize of cello at the Conservatoire of Paris. In 1913 he joined the ochestra of the Concerts Lamoureux directed by Paul Paray. He was on tour in Netherlands when he heard the declaration of war. F. Gervais was first mobilized at the 313th infantry regiment then at the 329th till the end of the war. Above the fact that he went to the front without instrument, he’s distinguished as musician till the end of the year 1914. But in the spring of 1915, F. Gervais who’s suffering of the absence of music pratical, demand to his superiors the permission to build a cello. The instrument carried out with few collected material, reveals it’s surprising acoustic quality. Nevertheless, it’s been designed to obviate all damages caused by soldier’s living, quite sedentary and exposed to bad weather. During rest time behind the lines, F. Gervais entertains the troups (concerts, revues and shows) and rise in his friends and superiors’s estimation. The pleasure of pratical music regained nearly dayly, F. Gervais alone or in group with others musicians buddies, will play all during the war for the soldier’s relax between two moves to first line. Demobilized, he goes back home with his memories and his cello. Survivor of this war, he returns to the orchestra of Concerts Lamoureux and will become soloist cello in 1920. Later on, he will teach as independant professor (P. Tortelier will be his student) and in his last years, he will be professor at the conservatoire of Tours. After his death in 1956, his elder daughter Françoise Gervais will piousely keep at her domicile, the documents and the cello before to do a donation in 1999 to the french great war museum : l’Historial de la Grande Guerre de Péronne (80)
Tarazona, Francia Federico Octavio. "Le hatun charango et la culture andine dans trois de mes compositions récentes". Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30115/30115.pdf.
Texto completoRozé, Jocelyn. "L'influence des mouvements posturaux des violoncellistes sur leur expressivité musicale". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0416.
Texto completoA particularly fascinating aspect of musical expressivity concerns the relationships between the musician’s body and acoustical signal features of the sounds produced by the instrument. Numerous studies have demonstrated this connection, referring to embodied musical cognition, not only through well-studied instrumental gestures directly responsible for the sound production, but also through the use of more indirect and ingrained ancillary movements. Our actual project aims to better understand the influence of these postural adjustments on the expressive musical interpretation for the cello instrument. To this aim, we conducted an experiment involving several professional cellists subjected to various kinds of postural constraints, and analysed the influence of these constraints on sound signal features by comparing constrained and natural playing situations. The results reveal that the cellists’ body movements play an important role during performance. In fact, the torso and especially the head movements appear to insure the metric coherence with the bowing gesture as well as an expressive musical phrasing and rich timbre variations. Finally, we explored more in depth the harsh notes frequently occurring in the most constrained condition, and drew correlations between this timbral degradation and bowing and postural features, with the aim of proposing new pedagogical tools for beginners
Libros sobre el tema "Musique électronique et violoncelle"
Delprato, Jean-Marc. De veloppez des applications originales pour iPhone et iPod Touch: Revendez vos cre ations sur iTunes App Store. Paris: Pearson Education, 2010.
Buscar texto completoShowcase, Canadian Music. Syllabus for piano, flute, recorder, cello and voice: Festival held in Ottawa during Canada Music Week (last week of November) = Syllabus pour piano, flûte, flûte à bec, violoncelle et voix : festival tenu à Ottawa pendant la semaine de la musique canadienne (dernière semaine de novembre). Ottawa: Canadian Music Showcase/Carrefour de la musique canadienne, 2000.
Buscar texto completoCarnet de Musique - VIOLONCELLE: Papier à Musique Vierge - 10 Portées - Carnet Standard Pour Musiciens et Composition. Independently Published, 2020.
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