Literatura académica sobre el tema "Musique gestuelle"
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Artículos de revistas sobre el tema "Musique gestuelle":
Maj, Émilie. "Musique et gestuelle dans les rituels de “possession” ou de chamanisme". L'Homme, n.º 197 (25 de febrero de 2011): 93–110. http://dx.doi.org/10.4000/lhomme.22637.
Decout, Maxime. "Au piano et dans les starting blocks". L'Esprit Créateur 63, n.º 2 (junio de 2023): 6–19. http://dx.doi.org/10.1353/esp.2023.a901816.
Leroux, Philippe. "… phraser le monde : continuité, geste et énergie dans l’oeuvre musicale". Circuit 21, n.º 2 (21 de julio de 2011): 29–48. http://dx.doi.org/10.7202/1005271ar.
Hamayon, Roberte N. "Des usages de « jeu » dans le vocabulaire rituel du monde altaïque". Études mongoles et sibériennes 30, n.º 1 (1999): 11–45. http://dx.doi.org/10.3406/emong.1999.1207.
Guido, Laurent. "« Quel théâtre groupera jamais tant d’étoiles ? ». Musique, danse et intégration narrative dans les attractions gestuelles du Film d’Art". 1895, n.º 56 (1 de diciembre de 2008): 148–72. http://dx.doi.org/10.4000/1895.4068.
Papavassiliou, Anthony. "L’analyse des ensembles microrythmiques dans l’Intelligent Dance Music". Revue musicale OICRM 2, n.º 2 (6 de junio de 2019): 115–32. http://dx.doi.org/10.7202/1060133ar.
Foley, Amy A. "The Tension of Intention". Chiasmi International 21 (2019): 207–23. http://dx.doi.org/10.5840/chiasmi20192120.
Bachratá, Petra. "Modèles musicaux interactifs basés sur le geste pour l’analyse et la composition de musique mixte". Revue Francophone Informatique et Musique 1, n.º 1 (2022). http://dx.doi.org/10.56698/rfim.123.
Tesis sobre el tema "Musique gestuelle":
Demoz, Héloïse. "Les musiques visibles de Dieter Schnebel". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080024.
Dieter Schnebel’s visible music stands between music, dance, and theater. It perfectly embodies an artistic research from the beginning of the 20th century: the progressive development of gesture and space notions. Created in the sixties, during the staging experimentations of the avant-garde, his composition process continues to evolve until his death in 2018, but always still focus on the performer as a human being. The body becomes the first material for the composition, its origin, and its purpose: the visible music is composed for and with gesture. The aim of this study is to determine the influence of Schnebel’s works, on the European composed theater between 1960 and 1990, analyzing three scores: visible visible music, Maulwerke et Körper-Sprache
Perrotin, Olivier. "Chanter avec les mains : interfaces chironomiques pour les instruments de musique numériques". Thesis, Paris 11, 2015. http://www.theses.fr/2015PA112207/document.
This thesis deals with the real-time control of singing voice synthesis by a graphic tablet, based on the digital musical instrument Cantor Digitalis.The relevance of the graphic tablet for the intonation control is first considered, showing that the tablet provides a more precise pitch control than real voice in experimental conditions.To extend the accuracy of control to any situation, a dynamic pitch warping method for intonation correction is developed. It enables to play under the pitch perception limens preserving at the same time the musician's expressivity. Objective and perceptive evaluations validate the method efficiency.The use of new interfaces for musical expression raises the question of the modalities implied in the playing of the instrument. A third study reveals a preponderance of the visual modality over the auditive perception for the intonation control, due to the introduction of visual clues on the tablet surface. Nevertheless, this is compensated by the expressivity allowed by the interface.The writing or drawing ability acquired since early childhood enables a quick acquisition of an expert control of the instrument. An ensemble of gestures dedicated to the control of different vocal effects is suggested.Finally, an intensive practice of the instrument is made through the Chorus Digitalis ensemble, to test and promote our work. An artistic research has been conducted for the choice of the Cantor Digitalis' musical repertoire. Moreover, a visual feedback dedicated to the audience has been developed, extending the perception of the players' pitch and articulation
Kessous, Loïc. "Contrôles gestuels bi-manuels de processus sonores". Paris 8, 2004. http://www.theses.fr/2004PA082585.
Couturier, Jean-Michel. "Utilisation avancée d'interfaces graphiques dans le contrôle gestuel de processus sonores". Aix-Marseille 2, 2004. http://www.theses.fr/2004AIX22074.
Trubert, Jean-François. "La mise en oeuvre du "caractère gestuel de la musique" chez Kurt Weill dans les années 1927-1929 et ses incidences sur la forme de l'opéra "Aufstieg und Fall der Stadt Mahagonny"". Nice, 2005. http://www.theses.fr/2005NICE2012.
The Kurt Weill and Bertolt Brecht's partnership has established itself to the most significant of the Weimar Republic. Composed between 1927 and 1929, the opera Aufstieg und Fall der Stadt Mahagonny is both emblematic and purpose-made for such ideas like "epic opera" or "Song", that are resultant of the author's reflections about relationship between music and theatre. In a 1929 paper, Kurt Weill has lead to the "gestic character of music", which is relevant to local drama events as well as the global construction of the form. The aim of this study is to understand this particular musical feature in the period of the collaboration between Weill and Brecht during the creation phase of Mahagonny. The approach wants to focus on musical analysis, to understand how musical idiom can both lead the dramaturgy and shape its form
Feugère, Lionel. "Synthèse par règles de la voix chantée contrôlée par le geste et applications musicales". Phd thesis, Université Pierre et Marie Curie - Paris VI, 2013. http://tel.archives-ouvertes.fr/tel-00926980.
van, Haaften Peter. "Gesture, sound, and the algorithm : performative approaches to the revealing of chance process in material modulation = Geste, son et algorithme : approches performatives exposant les processus aléatoires dans la modulation de matériaux physiques". Thesis, 2019. http://hdl.handle.net/1866/24567.
Cette thèse de maîtrise traite du processus créatif et de la recherche qui y est associée afin de produire deux performances en direct dans le domaine de la musique électroacoustique. À l’aide de ces deux œuvres, mon intention était de concevoir une pratique artistique qui réunit plusieurs modes autour de la gestuelle et du son, influencée par des algorithmes. Une tentative approfondie d’extraire un processus de composition à partir des réactions de la matière en vibration englobe une grande partie de la recherche. Cette recherche découle de ma transition d’une pratique artistique basée sur la représentation (soucieuse des haut-parleurs, manettes et boutons) vers une pratique imprégnée par la performance (soucieuse de la transformation continuelle du son en relation avec les modulations de la matière). Tout au long de cette recherche, j’ai mené un examen approfondi des rythmes au-delà de la pure mesure de leurs expressions musicales, pour considérer les nombreuses notions du rythme qui se dévoilent dans les interactions quotidiennes de l’expérience vécue. Les micro-rythmes perçus par l’oreille comme des textures, les gestes répétitifs perçus par l’œil comme un mouvement linéaire et les rythmes observés lors de circonstances sociales communes, comme la cadence de la conversation sont, parmi les caractéristiques du rythme qui ont suscité mon intérêt. Le tout se situe dans un récit historique éclairé qui étudie l’influence de l’algorithme et de la matière tout au long de la musique et de l’art sonore du XXe siècle. La recherche conceptuelle est enrichie par des expériences exhaustives en composition algorithmique, analyse gestuelle et modélisation gestuelle. Dans chacun de ces domaines, bien que soutenue par des lectures fondamentales en philosophie et en art, une approche primaire de la création s’est faite dans un processus « réfléchir-en-faisant » qui ont généré de nombreuses ex- périences tant avec la matière physique qu’avec la conception d’instruments numériques. Au- delà de la création des performances qui constituent la base des résultats de cette recherche, un vaste ensemble d’outils interopérables d’analyse gestuelle en temps réel, de modélisation, de composition algorithmique et de traitement du son a été développé et publié pour l’environnement Max/MSP.
This master’s thesis concerns the creative process and related research for the production of two live performances in the domain of electroacoustic music. Across the creation of the two works, my intention has been to develop a unified multi-modal gesture, sound, and algorithm influenced performance practise. Encompassing the largest portion of the research is an earnest attempt to derive compositional process from the behavior of vibrating matter. This research is precipitated by my movement from an artistic practice based on representation (concerned with speakers, knobs, and buttons) towards a practice steeped in performance (concerned with the continuous transformation of sound correlated to material modulation). Across this research, an in-depth investigation was conducted into rhythms beyond their purely metric musical manifestations, and into the numerous alternative notions of rhythm which are revealed through daily interactions and lived experience. Rhythmic artifacts of interest have included micro-rhythms perceived by the ear as textures, repetitive gestures perceived by the eye as linear motion, and rhythms observed in ordinary social situations such as the cadence of conversation. This is all situated within an informed historical narrative which considers the influence of the algorithm and material primarily across 20th century music and sound art. The conceptual research is augmented by extensive experiments in algorithmic composition, gesture analysis, and gesture mapping. In each of these areas, though tied to fundamental readings in philosophy and art, a primary approach to creation has been thinking-through-making, which has led to extensive experimentation with both physical materials and digital instrument design. Beyond the performance creations which form the basis of this research output, a large set of interoperable tools for real-time gesture analysis, mapping, algorithmic composition, and sound processing was developed and published for the Max/MSP environment.
Héon-Morissette, Barah. "L’espace du geste-son, vers une nouvelle pratique performative". Thèse, 2016. http://hdl.handle.net/1866/19567.
This research-creation thesis is a reflection on the gesture-sound space. The author’s artistic research, based on six elements: body, sound, gesture, video, physical space, and technological space, was integrated in the conception of a motion capture system based on computer vision, the SICMAP (Système Interactif de Captation du Mouvement en Art Performatif – Interactive Motion Capture System For Performative Arts). This approach proposes a new performative hybrid practice. In the first part, the author situates her artistic practice supported by the three pillars of transdisciplinary research methodology: the levels of Reality and perception (the body and space as matter), the logic of the included middle (gesture-sound space) and the com- plexity (elements of the creative process). These transdisciplinary concepts are juxtaposed through the analysis of works bearing a common element to the author’s artistic practice, the body at the center of a sensorial universe. The author then puts forth elements relative to scenic practice arisen by this innovative artistic practice through the expressive body. The path taken by the performer-creator, leading to the conception of the SICMAP, is then explained through a reflection on the “dream instrument” and the realization of two preparatory gestural interfaces. Implying a new gestural in the context of a non-haptic interface that of the free-body gesture, the topology of the instrumental gesture is revisited in response to a new paradigm of the gesture-sound space. In reply to this research, the details of the SICMAP are then presented from the angle of the technological space and then applied to the gesture-sound space. The compositions realized during the development of SICMAP are then presented. These works are discussed from an artistic and poietic point of view through the founding elements of the author’s creative process. The conclusion summarises the objectives of this research-creation as well as the contributions of this new performative hybrid practice.