Thèses sur le sujet « Facture (instruments de musique) »
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Liavas, Lambros. « La Lira piriforme en Crète et dans le Dodécanèse facture, histoire et implications sociales ». Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb375991909.
Texte intégralKoppe, Dominique. « La trompette dans la seconde moitié du vingtième siècle : facture, technique et interprétation ». Paris 4, 1996. http://www.theses.fr/1996PA040198.
Texte intégralDuring the eighteenth century, composers used to consider the trumpet as a fringe instrument cut off from the strings, the latters being dealt with as the foundation of the orchestra. In the nineteenth century, on the contrary, the making of this neglected instrument as well as the concern of musicians themselves, worked towards giving a less subdued lighting on trumpets and opened new developments for them. Several aesthetics trends of the early 1900s strengthened the position of the trumpet as a key instrument among soloists but equally in the circle of chamber music. Nowadays the trumpet still retains favour with an inseparable threesome composed of the maker, the performer, and the composer. The writer of this thesis sets out to study the link between the making, the technique and the rendering of the trumpet during the second half of this century thanks to the observation of the Berliner Philharmonische Orchester, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Orchestre de l'Opéra de Paris and the Wiener Philharmonische Orchester
Fritsch, Philippe. « Les ateliers alsaciens et saxon de la dynastie des Silbermann : étude des "Claviers" ». Tours, 1996. http://www.theses.fr/1996TOUR2017.
Texte intégralThe study of measuring-units used during the 18th century in the Silbermann-workshops, both in Alsace and Saxony, has led to the identification of several unsigned harpsichords and clavichords. Links could then be established between both countries, leading to a new concept, that of a specific instrument-making tradition: the Saxon-Alsatian school, or Silbermann-school. The comparative analysis has been extended to the different aspects of craftmanship concerning all stringed keyboard-instruments including fortepianos and spinets. Some antique techniques have been discovered, especially in terms of design. Follows a new approach of pitch and instrumental function
Lefeuvre, Gilbert. « Les instruments de musique dans la vie quotidienne de la picardie au xvieme siecle ». Paris 4, 1986. http://www.theses.fr/1986PA040268.
Texte intégralThe first part of this musical instruments in picardie daily life during the xvi c. Study presents the organisation shart in the theoratical works of xvi c. And begining of xvii c. Compares these whole elements to the instrumental patrimony shown in paris an brussels instrumental art galleries public collections. The second part, 9 chapters made up, describes the picardie instrumental practising during this period according to its society part or exactly studies the place that returus to the musical instruments in human activity different sides : instruments linked to public function, the brotherhood used instruments founded in the royal halls entrances, the army music and hunting sound instruments, the church music musical instruments, the popular music instruments, the middle class interior instruments, the repertoire reconstitution. In the 3d part, 2 chapters made up : "from the organisation chart to the instrumental making", we did think it essential to change four analysis to a suitable resouding reality for this study. The 2 instruments achievement, one 4 chorus renaissance guitar and one henry the 2nd, kinf of france, hurdy gurdy has been possible from originals kept in art galleries. The coherence between the work research an the making can be the promising hope for many old music ensembles an allows their musicians to play on faithfully reproduced copy instruments
Eveno, Pauline. « L' impédance d'entrée pour l'aide à la facture des instruments de musique à vent : mesures, modèles et lien avec les fréquences de jeu ». Paris 6, 2012. http://www.theses.fr/2012PA066502.
Texte intégralThis work deals with the evaluation and the choice of relevant objective descriptors of the wind instruments quality. It is part of a collaborative project which aims at developping a platform helping instruments making. The work is essentially based on the notion of input impedance. A comparative study of different calculation methods for the input impedance of horns are compared with the measurement. Results show that the transmission line method used with curvilinear abscissa and a suitable model of radiation, allows predicting resonance frequencies with an accuracy of 8 cents. Above the cutoff frequency, numerical methods are closer to the measurement but high frequencies have a minor influence on playing frequencies. Furthermore, a study on the pad “resonators” of a saxophone shows that they have to be considered as “stiffeners”. The presence or absence of “resonators” can cause visible differences on the input impedance of the instrument, which can also be perceived by the musician in playing conditions. Finally, an analysis comparing the resonance frequencies and the playing frequencies of a trumpet with a parametrized leadpipe was led with various musicians. After a statistical analysis of the results, the playing frequency appears to be controlled by the resonance frequency, with a 8 cents precision, which is the order of magnitude of the musician repeatability. For the trumpets, the resonance frequencies seem to be suitable descriptors of the instrument intonation
Mohamad, Barzan. « Les instruments de musique du Kurdistan et leur rôle dans la tradition ». Paris 4, 2008. http://www.theses.fr/2008PA040085.
Texte intégralThis body of research is devoted to the study of the musical instruments of the four parts of Kurdistan region, which is divided between Iran, Iraq, Turkey and Syria. The instruments encompass several centuries of Middle Eastern history and attest their bonds with Mesopotamia, with the beliefs of old Iran and the culture of Islam. This study more particularly examines the historical aspect and symbolic system of the music, the construction and materials of the instruments and their organology. This work proposes a classification of the instruments according to their use in the profane and sacred world, (some being exclusively played by Sufi brotherhoods during their ceremonies)
Wilmotte, Marie-Hélène. « La flûte traversière et le système Böhm : 200 ans d'histoire, d'enjeux et d'enseignement : du début de XIXe siècle au début du XXIe siècle ». Rouen, 2009. http://www.theses.fr/2009ROUEL001.
Texte intégralDuring 1960s, the instrument still develops : creation of instruments which can reach(affect) surprising tessituras, development of flutes intended for the youngest pupils. . . The comment of this work is to determine the place occupied by the new flutes in the musical creation of the XIXth century in our days, by studying the organologiques innovations, the stakes and the intrinsically connected musical and educational enrichments, as testimony of a tremendous vitality of the traverse flute. The multipolar meetings of metalworkers, specialists of surface treatments, factors of flutes, composers, teachers and interpreters allow us to approach the study of the invoice of the traverse flute in the XXth century in a very complete way, succeeding on propositions of innovations and future experiments. The crossed involvements of the evolution of the system Böhm on the musical creation, the education and the evolution of the invoice of the traverse flute, and al's link flute Böhm in the concept of art-science are demonstrated
Tiffou, Augustin. « Le basson en France au XIXème : facture, théorie et répertoire ». Paris 4, 2008. http://www.theses.fr/2008PA040260.
Texte intégralThis research tries to bring light on the environment in which the bassoon took place in France during the 19th century. The instrument, in a primitive form at the beginning of the 19th century, endures multiple modifications and finds at the end of the same century a manufacturing stability, a more homogeneous sound, a greater volume sound, giving the instrument a steady place in the orchestra. But, two bassoons systems were developed side by side at this time: the German system and the French system. Even though there are researches on the bassoon, many of them concern the German one. For these reasons, this research tries to give a better idea of the situation of the French bassoon. The three parts of this research (the manufacturing, the theory and the repertoire) should give a more precise idea of the condition of the bassoon in France during the 19th century. Finally, the preference given these days to the German system is obvious and if the French system has to disappear one day, this research will keep it in mind
Grévrend, Isabelle. « Les orgues néoclassiques en Normandie : études de la facture instrumentale et de l'écriture musicale : études historiques et analyses techniques de quelques instruments normands ». Rouen, 2006. http://www.theses.fr/2006ROUEL533.
Texte intégralThis studying deals with characteristic elements of the instrumental technique and musical composition as regards neoclassical organ, as well as the historical origin of this style. With these explanations add a glossary and two indexes. The concerned period opens out between the nineteen-thirties years and the nineteen-seventies years. In comparison with these generalities, historical and technical analyses, with documentary and iconographical appendices from Basse- and Haute-Normandie, are providing precisions concerning the instrumental technique. Some musical extracted shed light on explanations about composition process
Marconi, Emanuele. « Le Musée des instruments à vent de La Couture-Boussey : genèse et développement d'un musée ouvrier ». Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL039.
Texte intégralThe La Couture-Boussey Wind Instrument Museum (Eure Department, Normandy) was founded in 1888 by members of the “Chambre Syndicale des Ouvriers en Instruments de Musique (Finisseurs)”. The only example of its time as a French museum dedicated to music instrument making, it was founded both in connection with the growing interest in public collections of musical instruments which took shape at the beginning of this century, and in the context of the workers' strikes of the 1880s. Its purpose is to promote and perpetuate the know-how of the makers of the La Couture basin, a group of about ten villages around La Couture-Boussey, epicentre of the manufacture of woodwinds since the beginning of the 17th century. Its history, characterized by alternating periods of activity and abandonment, reflecting the socio-economic dynamics of the village, can be read through the main events of the 20th century: the two World Wars, the crisis of the 1930s, the economic boom of the 1950s and 1960s and, finally, the globalization of the market and the closure of businesses.Developed from numerous archival sources collected and for the most part unknown to date, this thesis successively addresses, with an approach and new results, the history of the making of woodwinds in La Couture- Boussey, the deconstruction of the myths of its origins, the strikes at the origin of the creation of the Union, the history of the Museum, and that of its collections of instruments and tools, of its library, while highlighting its leading role at the European level, at the end of the 19th century, in the creation of copies of old musical instruments (facsimiles) which constitute a founding part of his collection
Vauthrin, Camille. « Acoustique et respiration dans le jeu musical des instruments à vent : application aux flûtes ». Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066388/document.
Texte intégralThis thesis presents an acoustical study of flute-like instruments, which is developed by the analysis of flautist’s breathing. The flautist acquires during his musical background an expert control of his instrument. The control developed by the musician directly depends on the freedoms and constraints provided by the musician musical expertise, his respiratory physiology, the musical tasks and the acoustic behavior of the flute. Studying the playing techniques requires us to consider the flautist and the instrument as a whole.First, this work focuses on the study of the acoustic response of the flute through two studies: one on the contribution of the linear acoustics in the design of a new instrument with a flute-maker, the other on the influence of the position of the flautist’s lips. This work allows us to highlight irregularities in the acoustic behavior of the flute according to the fingerings, and leads us to study how the flautist compensates them. Secondly, we study the respiratory strategies developed by the musician while playing, in order to obtain detailed analysis and understanding of relationships between respiratory and aeroacoustic control parameters in a musical context. We answer two questions: how does a flute player adapt his breathing and playing to musical tasks, and when does the musical playing begin. Finally, we were interested in the respiratory efforts developed by the musician, in terms of work and power. A new question is asked: how does the flautist use his respiratory system in order to achieve and/or to highlight a musical intention
Karami, Elham. « Effet de traitements thermiques modérés et de revêtement sur les propriétés vibratoires des bois d’Epicéa et de Mûrier ». Thesis, Montpellier, 2016. http://www.theses.fr/2016MONTT340/document.
Texte intégralWood is commonly used for making musical instruments. During the process it is often subjected to treatments, that either modify its volume or its surface properties. Two species used for for string instruments were studied, representative of different cultures: Spruce (Picea abies Karst.) used in Europe and White Mulberry (Morus alba L.) used in Iran. For each of them the effect of thermal treatment at moderate temperature (<150°C) and of coating on various physical and mechanical properties was studied. The main results are as follows. In contrast to Spruce, Morus has a very low degree of mechanical anisotropy. For both species, thermal treatment induces a strong decrease in damping, especially in R direction for Spruce, and equilibrium moisture content, without marked degradation as indicated by the very small weight loss. However, after reconditioning at high humidity, a significant part of the changes is recovered. The application of a solvent-based varnish on Morus induces a continuous stiffening, while a very strong increase in damping after application is followed, after about 2 months, by a return to values close to those of untreated wood. For Spruce, siccative oil based varnish was applied and several parameters of the process were tested. In this case, the kinetics of property stabilisation are very slow and significant changes were still observable after 5 months
Eveno, Pauline. « L'impédance d'entrée pour l'aide à la facture des instruments de musique à vent : mesures, modèles et lien avec les fréquences de jeu ». Phd thesis, Université Pierre et Marie Curie - Paris VI, 2012. http://tel.archives-ouvertes.fr/tel-00787322.
Texte intégralPin, Bernard. « Recherches sur les instruments de musique mécaniques et les automates ». Paris, EPHE, 2013. http://www.theses.fr/2013EPHE4002.
Texte intégralThe subject of this thesis, entitled “Research on the mechanical music instruments and automats”, has for his main topic a completely new biographical work on Pierre Honoré Davrainville (1784-1866), as well as on his successors Jean Kelsen (1795-1844) and his son Pierre Ernest (1826-1910). These three mechanical organ-builders constituted, as successors of Jacques Honoré Davrainville (1753-?), his founder, a line of experts who, from the time of Louis XVI to the 3rd Republic, represented the French excellence of this discipline. We established each of their biographies starting from a corpus of information drawn from archival documents, and which we commented on in the form of notes. In order to put in prospect these historical reference marks, we accompanied them by various studies dedicated, for example, to geographic origins and family of these instruments makers, to their social environment; to the place they occupied among their fellow-members, French and foreign; to the techniques they employed, or, to the importance of their means of production. As regards the achievements of Pierre Honoré Davrainville, we established a catalogue largely illustrated, carried out by starting from about fifty instruments of which we found mention or which we were able to examine. This work allowed us, inter alia, to trace a graphics of the progression of its manufacturing, as well as the adaptation of those to the evolution of demand. In complement, we drew up a list of the airs that this factor noted on its cylinders, in the hope that this one will be useful for the musicologists. The second part of this thesis includes three of our works of research. The first is our exhaustive report on the automat the Nave, known as “of Charles Quint”, gone back around 1585 and considered as the work of the goldsmith and mechanician Hans Schlottheim from Augsburg. The second gives an account of our study on the “Flûteur automate” that Jacques Vaucanson presented in 1738, and finally, the third, summarizes the various stages of our creation of a new cylinder intended for a mechanical organ builds around 1795 by Jacques Honoré Davrainville
You, Li-Yu. « Facture et jeu de la cithare chinoise qin sous la dynastie des Tang ». Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040220.
Texte intégralAt the intersection of sinology, philology, history, musicology, organology and instrument playing, this research aims at broadening our knowledge of how the qin Chinese zither was made and played throughout the Tang dynasty (618-907). The research draws on often overlooked or untapped sources of information from this period such as the Tang Chen Zhuo zhifa 唐陳拙指法 treatise (Qin Playing techniques by Chen Zhuo) and 1468 poems in which the instrument is referred to.Study of the body of poems and ancient texts sheds light on the origin of the materials used to make the instrument and how accessories were used, drawing a distinction between amateur and professional instrument makers and explaining how a repertoire is built and how sheet music was read and evolved over time.The translation and critical edition of Tang Chen Zhuo zhifa serve as a basis for an inventory and typological analysis of the techniques described in the treatise, which illustrates the wide range and different styles of playing. Some of the fingerings were filmed and recorded on a DVD included here in appendix. Analyses of the musical acoustics of a selection of techniques provide valuable insights into both the groundings and the subtlety of qin playing during the Tang period
Razafindrakoto, Jobonina. « La valiha de Madagascar : tradition et modernité en Imerina de 1820 à 1995 (études organologique, acoustique et socio-historique) ». Paris 4, 1997. http://www.theses.fr/1997PA040049.
Texte intégralEthnomusicology, as a scientific project, was, from the beginning, interested in similarities between spoken and musical languages. As a matter of fact, we may consider the musical instrument as a part of the musical production. So, we established a possible approach of the Malagasy culture based upon the acoustic object itself (organology allowed us to study its structure). Widespread in Madagascar, under different names, valiha is a secular instrument which came to us through many organologic and sociologic transformations. Made in Imerina, central highlands of the island, today very occidentalised, this study reveals a surprising paradox between tradition and modernity. That way, our monography on valiha tries to enlighten evolution of musical practices reported in Imerina from 1820 to 1995. On the one hand, we emphasized the historical point of view to point out how Merina people adapt themselves to change. On the other hand, we choosed specialities related to ethnomusicology like musical acoustics (which explains how the instrument and their sonorities are built) and semiology (which explains how the instrument can be symbolized). This wide set of descriptive and analytic tools had to be used to achieve this synthetic work on valiha. This synthesis gave us a thorough knowledge of Malagasy culture authenticity
Viala, Romain. « Towards a model-based decision support tool for stringed musical instruments making ». Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCD002.
Texte intégralThis work proposes a methodology for the transfer of industrial and research domain methods toward arts and crafts domain. The virtual prototyping and mechanical characterization of materials are used for the stringed musical instruments making domain. The works is adressed to the guitar and violin making. This domain is historically driven by empricism and it is studied here using objective criteria. The main topic is the mechanical vibratory behaviour of musical instruments. Firstly, the mechanical behaviour of the material used (tonewood) is studied. A non-destructive methodology is proposed and applied on spruce and maple species. The reliability of the numerical models is studied by method usually used in industry and research, the verification and validation process. The models developed are used as a support for the study of complex phenomena in musical acoustics. Finally, the utilization of numerical method for a practical application in instrument making (decision support under uncertainties, geometric and material optimization) is proposed. The methodology for a transfer to art and crafts domain is discussed
Weller, Enrico. « Der Blasinstrumentenbau im Vogtland von den Anfängen bis zum Beginn des 20. Jahrhunderts : Untersuchungen und Dokumentationen zur Geschichte eines Gewerbezweiges der Musikinstrumentenindustrie / ». Horb am Neckar : Geiger-Verlag, 2004. http://catalogue.bnf.fr/ark:/12148/cb39989338h.
Texte intégralListe biographique des facteurs d'instruments à vent et des firmes p. 163-268. Arbres généalogiques des principaux facteurs p. 269-294. Sources et bibliogr. p. 327-336. Index.
Vandervellen, Pascale. « La facture du piano dans les provinces belges des origines à 1851 ». Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210716.
Texte intégralDoctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Normand, Marie-Astrid. « La manufacture d'orgues Krischer ». Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040070.
Texte intégralIn the XIXth century, the French organ building expanded. Small manufactures, like the Krischer manufacture in Rouen, flourished in spite of the influence of larger manufactures. Regarded as the most renowned organ builder, Aristide Cavaillé-Coll built almost all the French large instruments at that time. The organ building belongs to those trades for which knowledge is transmitted from generation to generation, as it was the case for the Isnard or the Cavaillé-Coll builders. It was the same for the Krischer family: since Henry-Jean Krischer up to his great-grandchildren, we can pick out at least seven people who practised this trade. Jean-Hubert Krischer, who was the son of a family native to Nideggen near Aix-la-Chapelle, was an organ builder in Paris and was the father of two organ builders, Marie-Joseph, and Hubert François. The latter had more particularly worked in the Parisian workshops of the Merklin, Cavaillé-Coll and Martin manufactures, before creating his own manufacture in Rouen in 1873, where his descendants (Georges, Henry, Ernest and Paul) would learn the job. In this thesis, several points will be approached to define the aesthetics of the Krischer instruments: after having introduced the whole family of these organ builders, we will be interested in the expansion of this organ manufacture in France, by studying its activities from 1860 to approximately 1934. We will also describe all the instruments, by noting their characteristics of the Krischer instruments. Finally, after the disappearance of the Krischer manufacture, we will continue the study of the history of their organs until now, by showing how they did survive or not in History
Brémaud, Iris. « Diversité des bois utilisés ou utilisables en facture d'instruments de musique : étude expérimentale des propriétés vibratoires en direction axiale de types de bois contrastés en majorité tropicaux : relations à des déterminants de microstructure et de composition chimique secondaire ». Phd thesis, Université Montpellier II - Sciences et Techniques du Languedoc, 2006. http://tel.archives-ouvertes.fr/tel-00548934.
Texte intégralDieterlen, Michel. « L'harmonium ». Reims, 1996. http://www.theses.fr/1996REIML011.
Texte intégralIn this thesis l'harmonium, the author first of all traces the political and economic evolution of France, under the various governments in power between 1810 and 1914, the period covered by this study. Following this, an outline is sketched of the technical and cultural context of that century. Having described the principle of the free reed, research relative to the swell organ is evoked, thus permitting the consecration of a large chapter to the organologie or harmoniologie of most types of harmonium. All patents taken out for the instrument are reviewed. Then, two important chapters bring to life the rise to power of the french harmonium industry starting with craftsman, culminating with great manufacturers and the consequences in terms of commercial, legal and financial problems. The repertoire consecrated to the harmonium is largely discussed, whether it be for private salon or religious purposes along with its audience in France. Extensive annexes and musical examples illustrate the subject. This work has a tendency to prove that the harmonium started off as the jeu expressif of the second empire and became the voix celeste of the nineteenth century
Blanc, François. « Production de son par couplage écoulement / résonateur acoustique : étude des paramètres de facture de flûtes par expérimentations et simulations numériques ». Phd thesis, Paris 6, 2009. http://www.theses.fr/2009PA066616.
Texte intégralBlanc, François. « Production de son par couplage écoulement / résonateur accoustique : étude des paramètres de facture de flûtes par expérimentations et simulations numériques ». Phd thesis, Université Pierre et Marie Curie - Paris VI, 2009. http://tel.archives-ouvertes.fr/tel-00476600.
Texte intégralMathis, Thierry. « Le clavecin en France aux XVIIe et XVIIIe siècles : découvertes organologiques et nouvelles techniques de l’interprétation ». Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC011.
Texte intégralIs French harpsichord music of the 17th and 18th centuries played today as it should be ? What sources can help musicologists and musicians to reproduce the authentic harpsichord sound and playing techniques of that epoch, and understand its repertoire, as faithfully and fully as possible ? The mere fact that this music went unplayed for so long prompts that question. In fact, the harpsichord was forgotten overnight. The favoured instrument of court and fashionable society under the ancien régime, it had aristocratic associations which doomed it when the Revolution came. A century later, in June 1889, the noble, silvery sound of its plucked strings made a first, hesitant comeback, thanks to Louis Diémer. But it was only in the 20th century, between the two world wars, that Wanda Landowska’s tireless enthusiasm gave this baroque keyboard instrument a new lease of life. Interest in building “old-style” harpsichords, using traditional techniques, first developed in the late 1950s, and their popularity has grown steadily ever since. Today’s enthusiasts want to go back to the origins, and revive old ideas and techniques, but they still have a long way to go. At an earlier stage, techniques used in making pianos were extended to harpsichords - and some of these “alien” elements and additions are still present. We felt the time had come to clarify the picture by consulting certain contemporary texts, which had been unduly neglected. We found indeed that these were at odds with twentieth- century improvements, had been mistranslated or misunderstood, or were, quite simply, hard to find.Anyone wishing to form an idea of the original harpsichord sound must start with organology, and the various instruments used by French musicians in the 17th and 18th centuries offer valuable clues. X-ray examination reveals their design and shows how they were regulated (keys, jacks, plectra).Thanks to this approach, we have identified nine essential factors which illuminate the design and construction of these instruments. French manuals of the time had a narrower octave span than those of instruments made in neighbouring countries - or today. Span, of course, determines the distance between thumb and little finger, which itself affects playing. The smaller the gap, the closer the fingers, and the more relaxed the hand. From the beginning, the French sound was also distinguished by its highly flexible harmonies,low-tension strings and low pitch (A3 at 392-406 Hz.). We also found that some harpsichords had three manuals, that some (particularly Alsatian instruments) had 16 foot stops and a lute stop, and that the S-shaped bentside was a French innovation. Musicologists and musicians already know in general terms how manuals evolved from the early 17th to the late 18th century, but no specific research has been done on the process by which they became wider, between 1670, when the first book, Chambonnière’s Pièces de clavecin, was published, and 1741, when Rameau’s Pièces de clavecin en concerts made five octaves the norm.We have also studied strings, their thickness and the materials of which they were made. We have found that string diameter was smaller than it is now, and that bass strings were never made of copper. Only brass with high copper content was thought to give the deeper strings a satisfactory sound. Strings on the upper three-fifths of the manual were made of soft iron, which had little tension. Steel, which is used today, was obviously unknown.Finally, harpsichords, once their temperament is established, are today tuned in pure octaves –which, as a text by Corrette has shown us, was far from being the case in the 18th century
Cayer, Daniel. « Identification des facteurs qui influencent le développement de la lecture à vue aux claviers de percussion chez les élèves du secondaire, selon les auteurs qui ont abordé cette question dans la littérature récente ». Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25156/25156.pdf.
Texte intégralLivshin, Arie. « IDENTIFICATION AUTOMATIQUE DES INSTRUMENTS DE MUSIQUE ». Phd thesis, Université Pierre et Marie Curie - Paris VI, 2007. http://tel.archives-ouvertes.fr/tel-00810688.
Texte intégralDoré, Cécile Hoornaert Alain. « Odontologie et instruments de musique à vent ». [S.l.] : [s.n.], 2007. http://castore.univ-nantes.fr/castore/GetOAIRef?idDoc=16516.
Texte intégralElie, Benjamin. « Caractérisation vibratoire et acoustique des instruments à cordes - Application à l'aide à la facture instrumentale ». Phd thesis, Université du Maine, 2012. http://tel.archives-ouvertes.fr/tel-00833885.
Texte intégralHoppe, Georgia Charlotte. « Die instrumentale Revolution : Entwicklung, Anwendung und Ästhetik neuer Spieltechniken für Rohrblattinstrumente / ». Frankfurt am Main ; Bern ; Paris : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb35539429j.
Texte intégralVergez, Christophe. « Analyse du fonctionnement des instruments de musique à vent ». Habilitation à diriger des recherches, Université de la Méditerranée - Aix-Marseille II, 2010. http://tel.archives-ouvertes.fr/tel-00535716.
Texte intégralMeurisse, Thibaut. « Contrôle actif appliqué aux instruments de musique à vent ». Thesis, Paris 6, 2014. http://www.theses.fr/2014PA066527/document.
Texte intégralThe main focus of innovation in musical instrument making in the early 21st century has been sound synthesis using computers or stand-alone electronic synthesisers. However, while these tools enable the creation of a near-infinite range of new sounds, the interaction between the musician and their instrument is much weaker than with a conventional acoustical instrument. This results in a loss of musical expression and reduces the use of musical gesture. With the aim of innovating while keeping the influence of musical gesture, this thesis proposes to apply active control to musical wind instruments. In particular, active control is applied to a trombone equipped with a specially designed mute and to a bass clarinet. The aim of this work is to modify each instrument's resonance characteristics in order to change its radiated sound (pitch, timbre) and playability. The effects of two control methods on the input impedance, transfer function and radiated sound of the instruments are studied. First, a feedback control involving gains and phase shifting is applied to the trombone mute. It allows significant modification of both the frequency and the damping factor of the mute's resonance. The effects of the mute on the trombone's input impedance and playability are studied. This control is simple, but it is not efficient with more complex systems. Second, a modal control is implemented. Using a model of the system, modal active control allows the modal parameters (frequency, damping) of the system's resonances to be modified in a targeted manner. It is first applied to a modelled clarinet, then experimentally validated with a "simplified bass clarinet". Significant independent modifications of the resonances are obtained, as well as noticeable alterations of the sound and input impedance of the instrument
Grevrend, Isabelle. « Les orgues néoclassiques en Normandie : études de la facture instrumentale et de l'écriture musicale, études historiques et analyses techniques d'instruments / ». Rouen : [I. Grévrend], 2006. http://catalogue.bnf.fr/ark:/12148/cb40960666v.
Texte intégralRestle, Konstantin. « Bartolomeo Cristofori und die Anfänge des Hammerclaviers : Quellen, Dokumente und Instrumente des 15. bis 18. Jahrhunderts / ». München : Editio Maris, 1991. http://catalogue.bnf.fr/ark:/12148/cb35463799j.
Texte intégralEitschberger, Astrid. « Musikinstrumente in höfischen Romanen des deutschen Mittelalters / ». Wiesbaden : Reichert, 1999. http://catalogue.bnf.fr/ark:/12148/cb39049241r.
Texte intégralChabrier, Jean-Claude C. « Analyses de musiques traditionnelles : identification de systèmes acoustiques, scalaires, modaux & ; instrumentaux : représentation morpho-mélodique, structuro-modale & ; du langage instrumental ». Paris (213 Av. de Versailles, 75016) : Arabesques, 1996. http://catalogue.bnf.fr/ark:/12148/cb371718879.
Texte intégralBenacchio, Simon. « Contrôle actif modal appliqué aux instruments de musique à cordes ». Thesis, Paris 6, 2014. http://www.theses.fr/2014PA066537/document.
Texte intégralThis PhD thesis deals with modal active control applied to string musical instruments. Its main goals are to propose an approach and adapted methods to apply this kind of control, to investigate its possibilities and to study its effects on musical instruments. First, a short presentation of the different methods of active control and their applications to musical intruments is done. While the modal parameters of musical instruments are believed to be good descriptors of their perceptual attributs, the modal active control method is chosen for this work. Adapted methods from modal state control are used to answer to specific issues related to musical instruments. To modify the amplitude of the vibration modes, a time-dimensionless model and a derivative and proportionnal modal state method are proposed. Then, these control methods are experimentally applied to a single string instrument, a guitar and a cello. A real time control system based on a free and opensource framework is developped. The possibilities and the limits of modal state control are studied using this experimental setup. Finally, a case of a complex phenomenon contributing to the sound production in string instruments is studied thanks to the developped control system. The coupling between the string and the soundboard is observed, analytically studied and controlled. The results obtained with control and with a synthesis method are studied to compare this two investigation methods
Nief, Guillaume Gilbert Joël. « Comportement vibroacoustique des conduits modélisation, mesure et applications aux instruments de musique à vent / ». [S.l.] : [s.n.], 2008. http://cyberdoc.univ-lemans.fr/theses/2008/2008LEMA1020.pdf.
Texte intégralRatte, Franz Josef. « Die Temperatur der Clavierinstrumente : Quellenstudien zu den theoretischen Grundlagen und praktischen Anwendlungen von der Antike bis ins 17. Jahrhundert / ». Kassel ; Basel ; London : Bärenreiter, 1991. http://catalogue.bnf.fr/ark:/12148/cb36955567n.
Texte intégralGätjen, Bram. « Der Klang des Cembalos : historische, akustische und instrumentenkundliche Untersuchungen / ». Kassel : G. Bosse, 1995. http://catalogue.bnf.fr/ark:/12148/cb36959512b.
Texte intégralGuigue, Didier. « Une étude "pour les sonorités opposées" : pour une analyse orientée objets de l'oeuvre pour piano de Debussy et de la musique du XXe siècle / ». Villeneuve d'Ascq : Presses universitaires Septentrion, 2000. http://catalogue.bnf.fr/ark:/12148/cb37115294n.
Texte intégralLambert, André. « Le son Rochon : l'évolution de la facture harmonique de Gaston Rochon et son importance dans son processus compositionnel ». Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23886/23886.pdf.
Texte intégralSomma, Antonio. « Acoustique de la pratique musicale sur instruments historiques : étude transdisciplinaire de l’interprétation historiquement informée au piano ». Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUS069.
Texte intégralThis thesis is driven by the desire to reposition instrumental craftsmanship within the history of pianistic technique. At the intersection of musical acoustics and musicology, a unified approach is proposed, leveraging the trend of both disciplines to directly engage their research methodologies with musical practice. In musical acoustics, the mechanical and vibro-acoustic properties of historical pianos, conventionally referred to as fortepianos or pianofortes to distinguish them from their modern counterparts, are of growing interest. However, the physical description of sound production must highlight the indispensable role of musicians. From a musicological perspective, performance studies examine interpretation styles and playing techniques from a historical viewpoint. Complementing their insights, these studies can address the genuinely artistic approach through which Historically Informed Performance (HIP) has revisited musical execution on historical instruments. Among the sources employed by pianistic HIP, fortepianos have historically held a central position, being seen as guiding the reformulation of their playing. However, this thesis centers on the pianists, focusing on the piano but considering it primarily through the lens of its interaction with them. Pianists' discourses are collected and analyzed, revealing that the medium of this interaction is the musical gesture. This cognitive construct encompasses, on one hand, the actions of musicians during performance, embodying their musical intentions, and on the other, their perception, which is informed by these actions. Ancillary actions of pianists during performance are captured and analyzed, highlighting the prevalence of idiosyncratic behaviors over those dependent on the instrument played, particularly concerning the angle formed by the wrist. These observations open a new avenue in the study of musical interpretation, based on the kinematic signature of each instrumentalist as a reflection of their unique interpretative conception. Finally, a mechano-acoustic analysis of pianos is conducted, emphasizing the benefits of explicitly integrating instrumental control parameters into the study, particularly the mass involved in pressing the keys. This approach allows for an association between the instrumentalist's conception of the relationship between the work's interpretative style and the instrument's playing technique
Essid, Slim. « Classification automatique des signaux audio-fréquences : reconnaissance des instruments de musique ». Phd thesis, Université Pierre et Marie Curie - Paris VI, 2005. http://pastel.archives-ouvertes.fr/pastel-00002738.
Texte intégralArozarena, Pierre. « Moos'Yuumba, une société africaine : ses "Yuumba" et leurs instruments de musique ». Paris 7, 1986. http://www.theses.fr/1986PA070028.
Texte intégralFourcade, Patrick. « Etude et simulation des phénomènes percussifs dans les instruments de musique ». Aix-Marseille 2, 2001. http://www.theses.fr/2001AIX22031.
Texte intégralArozarena, Pierre. « Moos'yuumba une société africaine, ses "Yuumba" et leurs instruments de musique ». Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb375955479.
Texte intégralTeepe, Dagmar. « Die Entwicklung der Fantasie für Tasteninstrumente im 16. und 17. Jahrhundert : eine gattungsgeschichtliche Studie / ». Kassel ; Basel ; London : Bärenreiter, 1990. http://catalogue.bnf.fr/ark:/12148/cb35497488n.
Texte intégralBalser, Dietrich. « Untersuchung funktionaler Ablaufbedingungen komplexer sensumotorischer Fertigkeiten am Beispiel des Streichinstrumentenspiels / ». Frankfurt am Main ; Bern ; Paris : P. Lang, 1990. http://catalogue.bnf.fr/ark:/12148/cb35108155q.
Texte intégralPico, Vila Ruben Gilbert Joël. « Vibroacoustique des conduits cylindriques faiblement distordus étude de l'influence des vibrations de paroi sur les oscillations des instruments de musique à vent / ». [S.l.] : [s.n.], 2004. http://cyberdoc.univ-lemans.fr/theses/2004/2004LEMA1011.pdf.
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