Literatura académica sobre el tema "Musiques scéniques"
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Artículos de revistas sobre el tema "Musiques scéniques":
Saraczynska, Maja. "Théâtre otobiographique*. Entendre le récit de soi sur les scènes au XXe siècle". Mnemosyne, n.º 3 (11 de octubre de 2018): 10. http://dx.doi.org/10.14428/mnemosyne.v0i3.12093.
Donin, Nicolas y François Ribac. "Agir en chercheur et en musicien dans l’Anthropocène : entretien avec François Ribac". Circuit 32, n.º 2 (31 de agosto de 2022): 78–89. http://dx.doi.org/10.7202/1091906ar.
Lebas, Frédéric. "Essai sur le son : dispositif scénique et espace kinesthésique dans la musique électronique". Sociétés 90, n.º 4 (2005): 99. http://dx.doi.org/10.3917/soc.090.0099.
Guido, Laurent. "De l’« opéra de l’oeil » aux « films à sensation » : musique et théâtralité aux sources de l’horreur cinématographique". Cinémas 20, n.º 2-3 (7 de enero de 2011): 13–40. http://dx.doi.org/10.7202/045143ar.
Djebbari, Elina. "La relation musique-danse dans le genre du ballet au Mali : organisation, évolution et émancipation". Les Cahiers de la Société québécoise de recherche en musique 13, n.º 1-2 (21 de septiembre de 2012): 21–26. http://dx.doi.org/10.7202/1012346ar.
Gamalova, Natalia. "Le jeu d’acteur et le je lyrique". Chroniques slaves 5, n.º 1 (2009): 73–84. http://dx.doi.org/10.3406/chros.2009.940.
Chareyron, Romain. "Christine and the Queens: “Faire corps” avec les mots". Contemporary French Civilization 48, n.º 4 (16 de diciembre de 2023): 313–34. http://dx.doi.org/10.3828/cfc.2023.19.
Deutsch, Émile. "Immersions rituelles et esthétique de la transe". Radar, n.º 3 (1 de enero de 2018). http://dx.doi.org/10.57086/radar.331.
Edy, Delphine. "At the Comédie-Française, Enter King Lear — With a Flourish". King Lear : une œuvre inter- et pluri-médiale, n.º 27 (18 de diciembre de 2023). http://dx.doi.org/10.35562/rma.123.
Tesis sobre el tema "Musiques scéniques":
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
Py, Maéna. "Littérature scène et musique dans les œuvres scéniques de Benjamin Britten". Thesis, Tours, 2009. http://www.theses.fr/2009TOUR2020.
Benjamin Britten’s operas are witness to their author's commitment to a renewal of the stage and dramaturgy in the 20th century. Through working with the theatrical avant-garde (stage music, radio dramas, music for documentary films), Britten knew how to take advantage of the outstanding innovations of the beginning of the century, becoming a wonderful conduit of the theories and dramatic aesthetics of that period. While he put this apprenticeship into practice in his lyric works, these works also suggest and experiment with new scenic dramatic arts. Britten's dramaturgy did not leave the public indifferent; keenly appreciated by the great European theatre directors, it jostled the French out of their habits and their prejudices against English music
Ribeiro, Paula G. "Lectures scéniques actuelles : esthétiques différentielles du drame lyrique au début du XXe siècle". Paris 8, 2000. http://www.theses.fr/2000PA081742.
Lécroart, Pascal. "Paul Claudel et la musique scénique : du Christophe Colomb au Livre de Christophe Colomb (1927-1952)". Paris 4, 1998. http://www.theses.fr/1998PA040172.
Paul Claudel has always shown a great interest in music ; as a youth, he was deeply impressed by Wagner and influenced by the mallarmean circle who was dreaming of the total-art work. In 1912, as for the first time one of his plays was performed, he met Darius Milhaud, then just aged twenty; that was the beginning of a profitable collaboration marked by the outstanding work on the Orestie by Aeschylus (1913-1924) translated by Claudel, the incidental music for Protee (1913-1919) and the ballet L’homme et son désir (1917). However, it isn't before 1927 that the playwright really started to experiment on the numerous ways of mixing drama and music, which we choose to call "theatrical music". It was then a question of composing music for written dramas such as L'annonce faite à Marie, L'otage, Le père humilié, Le soulier de Satin, Sous le rempart d'Athènes, or experiment on new and more complex formulas, drawing nearer opera (le livre de Christophe Colomb) or dramatic oratorio (Jeanne d'arc au bûcher, la sagesse) or pure oratorio (la danse des morts). Thus Claudel collaborated with musicians who were as different as Darius Milhaud, Arthur Honegger, Germaine Tailleferre, Paul Collaer and Maria Scibor. Whether they were recognized musicians or amateurs, Claudel always insisted on playing a leading part when he worked in collaboration, imaging beforehand the music he wished and expecting the composer to realize his own creation, and by doing so, he opened a unique and astonishing way. Our work, after examining the sources and influences, makes a review of the collaborations before studying the question of the connection between words and music, and face the essential problem of the bond between drama and music : the construction, the spectators' reception as well as the musical symbolics
Mijit, Mukaddas. "La mise en scène du patrimoine musical ouïghour : construction d’une identité scénique". Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100163.
This thesis focuses on the staging of Uyghur traditional art in its musical, chorographical and theatrical forms. For decades, large multidisciplinary performances depicted the Uyghur cultural heritages. Distended to share with their own, these performances are created by the artists of the community. Rearrangement, canonization, dramatizing (in Western style) are used to transform traditional art, to be more attractive on stage. This created an outstanding “bricolage” of all aspect of one culture, to be put in one space and in a limited time. These findings lead to questioning the ways of listening to music and watching dance in contemporary Uighur society. Equally, this phenomenon questions the role of art and culture in their everyday life. Furthermore, the impact of all these transformation on the sense of national identity is at the heart of our reflections. This thesis is interested in the origin of artistic professionalization established by the reform movements in the 1920s-30s, which played a role of educating and at the same time entertaining the population/poeple, and became a symbole of resistence in the region. Today, the stage represents an important aspect of uyghur society. After many years of fieldwork, analysing the discourse and different kinds of professional performances this thesis identifies the self- representation mechanisms of Uyghurs, as one nation, one ethnic group, to the outside world. It relies on historical sources, years of fieldwork in different regions of Xinjiang, includes different kinds of professional or amateur performances, and interviews of the actors and experts's discourse
Fernandes, de Oliveira-Weiss Ledice. "Jeu instrumental et théâtre musical : le cas de la guitare dans quelques compositions scéniques de la fin du XXème siècle". Thesis, Dijon, 2013. http://www.theses.fr/2013DIJOL025/document.
This thesis examines the role of the musician - taking as an example the guitarist - in the contemporary musical theater. The study focuses on the aesthetic discussion of the role of the instrumentalist in the construction of a new instrumentality in relation to a new theatricality. It studies the works La tragique histoire du nécromancien Hieronimo et de son miroir by Georges Aperghis, Lorenzaccio and Nuovo scenario da Lorenzaccio by Sylvano Bussotti, We come to the river by Hans Werner Henze, Sonant and Serenade by Mauricio Kagel, …Zwei Gefühle… and Das Mädchen mit den Schwefelhölzern by Helmut Lachenmann. Within this renewed theatricality, the idea of theatrical representation is almost always abolished : instead, the story is carried by all performers, including the guitarist. Therefore, the inner theatricality of instrumental playing valorizes the instrumental gesture. Thus, the exploration of instrumental possibilities of the guitar becomes something playful ( as to approach the instrument as an object, with humour, and to extract new sounds from it). This notion of "playfulness" is determinant on the approach to the interpreter. Each studied score in its own way attribute the interpreter itself the main source of their theatricality. These musical theatres make a large number of references to various musical universes associated with the guitar ( rock'n roll , Spanish music ... ) Finally, the potential of guitar’s colour palette is also explored. These references relative to the instrument reveal a process of existential metalanguage
Han, You Mee. "Le Pansori, patrimoine coréen sous sa triple dimension littéraire, musicale et scénique : histoire, analyse et perspectives". Paris 7, 2012. http://www.theses.fr/2012PA070090.
Pansori is an old traditional performing art in which a performer sings a long orally transmitted text. It bas been recently recognized as Guttural Heritage (Korea 1964, Unesco 2003). The first part is a reflection on hovv pansori is nowadays conceived as a cultural object, especially through the way its history is being reinvented ail along the ages, The second part analyzes the three following literature, music, and performance. It underlines the way they are connected and organized around the stage performance, the full accomplishment of pansori. The third part shows how the genre oral transmission nowadays by avoiding folklorization trend to the benefit of a duality between classicisation (fixed repertory) and modernity (creation of new works), and manages to broaden the audience by studying the history of pansori in France
Délécraz, Cyril. "La paramétrisation du geste dans les formes musicales scéniques : L'exemple du théâtre musical contemporain : état de l'art, historiographie, analyse". Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2015/document.
Over the course of the 20th century, gesture gradually became a parameter of musical composition in the repertoires of the Western classical tradition. The avant-garde (Dada, futurism, Bauhaus, expressionism, etc.) is at the origin of performance concept while noise music broadens the field of aesthetically audible sounds. Rejecting the romantic opera and all its attributes (lyrical singing technique, supremacy of the dramatic text over music, orchestra pit, the illusion of the reality, orchestral opulence, intermissions, etc.), composers feel the need to express themselves differently, while the capacity for renewal of the tonal system wanes. They define new scenic musical forms in a framework dictated by performance and in accordance with a new awareness of listening resulting from numerous experiments carried out in the musical studios. After World War II, with the advent of concrete music, the voice became not only the vector of speech but also a generator of sound, the scenic space was rid of the performer and, in return, some composers (Mauricio Kagel, Dieter Schnebel, Luciano Berio, John Cage, to name but a few) offered hybrid pieces where music is combined with the diction of a narrator, pantomime or theatrical action, without one component constantly getting the upper hand. According to an empirical approach to the body mediated through video recording (based on a corpus stretching from 1960 to 2016), it is possible to highlight counterpoints of information from several elements of the recorded performances (music, gestures, movements, light, etc.), which ultimately construct a meaningful reality for the listener-spectator. By directly analysing the performative works, it appears that the gesture is indeed a structural element of a spectacular nature that participates in the creation of discursive forms and, consequently constituting an indispensable element of reception. By focusing on the parameterisation of the gesture, this work provides a first element of answer to the following question: how does musical performance, in its living aspect, integrate the gesture and how does it influence the form? In this way, it hopes to pave the way for a musicology of contemporary music theatre
Christoffel, David. "Les mentions verbales sur les partitions pour piano d'Erik Satie". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0126.
Based on the play instructions of the first scores by Satie, we can identify how they replicate the musical atmosphere of the period and some of his aesthetic heritage. To better quatify the content of following the work of Françoise Escal on the concept of "paratext" in the editorial field of music, we consider all verbal notes of piano scores by Satie and find aspects under which they saturate the romantic heritage' of one hand, the editorial practices that are contemporary to the other. By examining how the relationship between composer and player is so reconfigured, we consider the projection of the score in an editorial space expanded. Thus, we seek to be about verbal notes on scores by Satie jointly social positioning of the composer and aesthetic trends of his music. Seeking communities in posture and substance between the letters of Satie and verbal notes, we show that the change of morphology of the score broadens on its exit modalities of Romanticism and its articulation with the poetic innovations of Apollinaire and Cendrars. It is scrutinizing the enunciative subtleties which occur specifically that we can produce a more nuances picture of the composer in his lyrics and refresh the issues of his reputation as ironist. To do this, we draw a bibliography as well philosophical (Platon, Canetti, Jankélévitch, Foucault), as artistic (Chopin, Shumann, Picasso), as semiotic(Barthes, Genette)
Irubetagoyena, Keti. "Peut-on enseigner la présence scénique? Delphine Eliet, une pédagogue à la croisée des théories de l'art du jeu qui ont marqué le XXème siècle théâtral". Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2013. http://tel.archives-ouvertes.fr/tel-00942714.
Libros sobre el tema "Musiques scéniques":
Floirat, Anetta. Karol Szymanowski à la rencontre des arts: La musique, la littérature et les arts du visuel autour des oeuvres scéniques : l'opéra Le Roi Roger et le ballet Harnasie. Sampzon: Éditions Delatour France, 2019.
Ontario. Esquisse de cours 12e année: Musique amu4m cours préuniversitaire. Vanier, Ont: CFORP, 2002.
Ontario. Esquisse de cours 12e année: Sciences de l'activité physique pse4u cours préuniversitaire. Vanier, Ont: CFORP, 2002.
Ontario. Esquisse de cours 12e année: Technologie de l'information en affaires btx4e cours préemploi. Vanier, Ont: CFORP, 2002.
Ontario. Esquisse de cours 12e année: Études informatiques ics4m cours préuniversitaire. Vanier, Ont: CFORP, 2002.
Ontario. Esquisse de cours 12e année: Mathématiques de la technologie au collège mct4c cours précollégial. Vanier, Ont: CFORP, 2002.
Ontario. Esquisse de cours 12e année: Sciences snc4m cours préuniversitaire. Vanier, Ont: CFORP, 2002.
Ontario. Esquisse de cours 12e année: English eae4e cours préemploi. Vanier, Ont: CFORP, 2002.
Ontario. Esquisse de cours 12e année: Le Canada et le monde: une analyse géographique cgw4u cours préuniversitaire. Vanier, Ont: CFORP, 2002.
Ontario. Esquisse de cours 12e année: Environnement et gestion des ressources cgr4e cours préemploi. Vanier, Ont: CFORP, 2002.