Thèses sur le sujet « Grotesque dans la musique »
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Mullen, Elizabeth. « Malaise masculin, grotesque et adaptation filmique dans le cinéma américain des années soixante-dix ». Phd thesis, Université de Bretagne occidentale - Brest, 2013. http://tel.archives-ouvertes.fr/tel-00925781.
Texte intégralMonnier, Jean. « Le grotesque dans l'œuvre de Céline ». Tours, 1996. http://www.theses.fr/1996TOUR2033.
Texte intégralIt attempts to demonstrate that the work of Céline into whole belongs to the esthetics of the grotesque, and tries to define the literary grotesque in an historical context the question of the grotesque is presented through the novelistics themes of Céline which are analysed with the theories of Mikhail Bahktine presented in parallel with that of Wolfgang Kayserthe clash between these two theories of the grotesque permits to better see the grotesque quality of Céline's work which is situated at the synthesis of those two theories. This study reveals the hidden facets of the work of Céline which happens to be the sacred joined to the comical through the emotive style. It advances the hypothesis that the grotesque is an art form expressing the primal origin of arts. In decipheving this new aspect of the literature of Céline this thesis uses a rave problematic which can be of great importance for modern thought, since it touches the relationship that exist between post-modernity and the origine
Marleau, Tania. « Le grotesque dans Les diaboliques de Barbey d'Aurevilly / ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33301.
Texte intégralIndeed, Wolfgang Kayser's theory of the grotesque is based on the idea of a world that has suddenly become "estranged". Barbey's "diabolical" characters are peculiar beings, both passionate and inscrutable, who by their actions and attitudes manage to overwhelm most characters of their universe. By their very mystery, the diaboliques remain deeply present in others' minds, thereby changing their existence forever. In Barbey's stories, there are no mythical beasts, no monstrous grotesque per se. However, when examined from Kayser's perspective, light is shed on the grotesque aspect of their characters.
Fauconnier, David. « L'esprit grotesque dans le cinéma espagnol, 1960-1965 ». Paris 8, 2003. http://www.theses.fr/2003PA082253.
Texte intégralIn Spanish cinema there are movies characterised by a representation of the world and a form of derision which are unusual. They can be found in art history and Spanish literature. Several critical commentaries refer to the grotesque to describe the subject which are represented and to analyse the aesthetic of those art works. This thesis consists in showing that, from Buñuel to Almodovar, significant films of Spanish cinema comes within a grotesque spirit. It was particularly expressed from 1960 to 1965. It was at the beginning of this decade that were directed El cochecito (Marco Ferreri, 1960), Viridiana (Luis Buñuel, 1961), El verdugo (Luis G. Berlanga, 1963) and El extraño viaje (Fernando Fernan-Gomez, 1964). Therefore, the analyse of those works aims at studying the set of production through which the grotesque spirit in cinema is expressed
Lachaud, Maxime. « Le grotesque sudiste dans l'œuvre romanesque de Harry Crews ». Toulouse 2, 2003. http://www.theses.fr/2003TOU20043.
Texte intégralBetween grotesque realism and Gothic strangeness, Harry Crews's novels transform the post-Faulknerian Southern tradition into an aesthetic manifesto. The author goes beyond the Cartesian conflict between mind and body to present characters who find, or try to find, the spiritual through the corporeal. Crews's grotesque can be felt in this "theology of the body" aund in a physicality inspired by his white trash education. In response to the domination of the body in the characters's lives, two attitudes can be found : a feeling of alienation, that brings us back to Kayser's theories, or acceptance (Bakhtin). Thus, Crews's work would be a kind of reconciliation between the medieval and the Romantic grotesque. Through "carnivalesque" rituals, the characters want to impose order and discipline on their lives and translate this Bakhtinian concept into a personal conflict, an alienation. The fictions of Crews enlighten in a challenging way the grostesque tradition through a metaphysics of abjection in a South "haunted" by Faith
Lee, Jae-Geol. « Le Grotesque contemporain : une catégorie de l’émotion dans l’art ». Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040212.
Texte intégralThe word grotesque has never been accurately defined. As a noun and an adjective, it covers disparate concepts. Therefore how could it be used to designate a coherent representational system? What is the common point between all the forms of the grotesque?Firstly we’ll present a comprehensive overview of the references necessary to the description of grotesque patterns. In this process, two analysis have been particularly stimulating : those of w k and m b. These analysis are less than fifty years and are respectively based on Kafka and Rabelais’ body of literature.We’ll then talk about the ins and outs of the grotesque depending on both the possibilities and the constraints of contemporary artistic mediums. We’ll also explain how literary critical tools can help understand the art forms of the grotesque. Secondly we’ll see how the human body - as well as its social, cultural and psychological acceptions - have become predominant in the artistic production of the 20th century. How have these acceptions sooner or later edified a conceptual body around the notion of grotesque ?Thirdly we’ll try and produce a typology of the manifestations of the grotesque as well as a typology of the reactions it has generated. To what extent have these emotions played a part in the understanding of the human being and its lifestyle? Finally we’ll see how the grotesque tends to loose its meaning when we attempt to define it. It is especially the case when those attempts try to provide aesthetic benchmarks. However, could it be possible to consolidate those analysis and turn them into several distinctive theories?The forms of the grotesque are diverse, disparate and in constant evolution. However a theory of these forms is a tool not only indispensable to the comprehension of contemporary art but also necessary to the understanding of its patterns
Gorodski, Fabio. « L'articulation dans la musique contemporaine ». Paris 8, 2006. http://www.theses.fr/2006PA083280.
Texte intégralThis work seeks to present a discussion about the dispersion of the composing practices visible since the second half of the 20th century. Aiming to elucidate general questions pertaining to the writing and the appreciation of the musical fact, this dissertation explores several analytical instruments mainly underlying the idea of ‘articulation’. Understood in its broadest sense, this concept of articulation comprehends several steps of the creative process, which goes from the apprehension of basic elements by the composer (whether it is a series, a chord, an objet sonore, an abstract concept, etc. ), until the way she/he constructs a given musical discourse from those very same elements: the choice of the material itself will make possible the construction of specific formal relations according to the internal characteristics of that very same material and will therefore define a certain way of listening, motivate the creation of a ‘sense’ and frame that music in its own space
Grué, Mélanie. « Grotesque "queer" et savoirs abjects dans l'oeuvre de Dorothy Allison ». Phd thesis, Université Paris-Est, 2013. http://tel.archives-ouvertes.fr/tel-00958245.
Texte intégralGrué, Mélanie. « Grotesque «queer» et savoirs abjects dans l’oeuvre de Dorothy Allison ». Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0013.
Texte intégralBorn in a white trash milieu, a victim of incest, lesbian and queer, Dorothy Allison belongs to the new generation of writers who, since the 1980s, have troubled the American literary and political landscape. Overflowing with grotesque characters, whose physical deformity mirrors the social, sexual and gender norms underlying the dominant discourses that silence the deviant individual, the author’s work is nevertheless a space where inferior subjects (the poor, women, the abused child, homosexuals), defined by society as being abject, can speak. This research focuses on the connections between literature and theory, and on the political significance of Dorothy Allison’s testimony, here considered as a theorizing narrative. Using subject theory, class and race studies, autobiography criticism and queer theory, we shall explain how the literary text passes on the inferior individual’s claims, enacts the subject’s self-assertion, and transmits the “abject knowledge” which disrupts the norms. This research aims at re-reading and rethink various theories through the literary work which appropriates the grotesque mode of representation and grants the material body and the senses a central place. The fictionalized testimony makes bodily language paramount, interrogates established hierarchies and glorifies the intense humanity of discredited individuals
Sillamy, Jean-Claude. « La Musique dans l'ancien Orient ». Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376099183.
Texte intégralMamalis, Nicolas. « La musique et l'espace, l'espace de la musique ». Paris 1, 1993. http://www.theses.fr/1993PA010748.
Texte intégralThe aim of this thesis is to explore the relation between space and music and to study how the space has been introduced like a component of the musical composition, how it is considered and perceived by the composers and also how this notion has been differated during the last years. It is divited in four chapters. The first chapter analyses the notion of the musical material. The last three chapters trie topresent various models of space utilisation in musical works as following : 1. Works which accept space like a place of interpretation independent of the music composition. 2. Works which accept space like a component of the composition which remains independent and establishes arbitrary relations with the others musical components. 3. Wors which developpe space in relation with the other components based in algotithmics transformations
Wellnitz, Philippe. « La satire et le grotesque dans l'oeuvre theatrale de friedrich durrenmatt ». Toulouse 2, 1992. http://www.theses.fr/1992TOU20077.
Texte intégralThis thesis is the first comprehensive study of the whole dramatic work (23plays) of the swiss playwright friedrich durrenmatt (1921-1990). The frist chapter recalls the main theories on satire an the grotesque, establishing a distinction between 'style' and 'genre' for each concept. Satire is defined as a comic form meant to disclose and denounce social faillings to various degrees by means of an underlying norm. The grotesque is viewed here as an oscillation between two opposing poles (e. G. The tragic and the comic poles), expressing a fundamental lack of certitudes. The second chapter deals with satire and the grotesque as they appear in durrenmatt's 5 major subject-matters : justice-religion -power-science-culture. The third chapter analyzes the dramatic language (s), taking patterns of 'carnaval' and 'lent' as exemplifying the two poles of the grotesque, thus illustrating the growing agony of durrenmatt's new dramatic language. The last chapter is a study of durrenmatt's hero, the 'courageous man', who is the satiric spokesman (persona) in his satires, i. E. His earlier plays. By and by this hero becomes a 'courageless man' (fool, clown, atlas), uncapable of any action or even of uttering any alternative. .
Embeoglou, Michaïl. « La notion de texture dans la musique post-sérielle / ». Lille : ANRT, 1997. http://catalogue.bnf.fr/ark:/12148/cb39275655j.
Texte intégralGervasoni, Arturo. « Directionnalités dans la musique d'Ivan Fedele ». Phd thesis, Université Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00196059.
Texte intégralMontoya, Pablo. « La musique dans l'oeuvre d'Alejo Carpentier ». Paris 3, 2001. http://www.theses.fr/2001PA030093.
Texte intégralIn Alejo Carpentier's work, music feeds the long baroque phrase, structures the narrative form, generates the literary creation of characters, endlessly stimulates the imaginary of writer and critic. Music is the voice to name myth, time, modernity. It establishes significative bounds with poetry and history, and holds a preponderant place in the proposal the Cuban writer makes of the conformation of a Latin American identity. Till now, studies about different relations between music and literature, especially present in Carpentier, are generally made in a fragmented way. Our research faces them through through three essential divisions : the first two are dedicated to study the impact of Afro Cuban and European music in the poetical, narrative and journalistic work ; the last one is dedicated to a careful analysis of musical sphere in Los pasos perdidos. We intend a synthetic and explanatory study of the scattered music criticism done on Alejo Carpentier's work
Gervasoni, Arturo Lacombe Hervé. « Directionnalités dans la musique d'Ivan Fedele ». Rennes : Université Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00196059/fr.
Texte intégralSillamy, Jean-Claude. « La musique dans l'ancien orient ou la théorie musicale suméro-babylonienne / ». [Ajaccio] (15 rue Fesch) : [J.-C. Sillamy], 1986. http://catalogue.bnf.fr/ark:/12148/cb41026144c.
Texte intégralAnakesa, Kululuka Apollinaire Bayer Francis. « L'Afrique noire dans la musique savante occidentale au XXe siècle / ». [Paris] : [A. Anakesa Kululuka], 2000. http://catalogue.bnf.fr/ark:/12148/cb40025134p.
Texte intégralGiura, Longo Alessandra. « Communication et interaction dans la musique de chambre : l'exemple de l'oeuvre ouverte dans la musique contemporaine anglo-saxonne ». Thesis, Evry-Val d'Essonne, 2015. http://www.theses.fr/2015EVRY0023.
Texte intégralThis research explores the mechanisms for sharing the interpretation of music from the point of view of the performers. It is based on an experiment on the ground realised with a professional contemporary music ensemble. The work was observed and analised according to the principles of the Action Research and the Constant Comparative Method of Strauss and Corbin, with the purpose of describing and classifying the behavior of musicians and understanding and clarifying the modality of communication and interaction between them. The experiment was about two works of Anglo-Saxon composers (Ensemble by Tim Parkinson and Treatise by Cornelius Cardew) issued from ‘open works’ repertoire, because its demand to the interpreters to define the final form of music lead to a collective process on the interpretation that multiplies communication and interaction between musicians.Data analysis led us to think that the musicians share the expressive core of music–for his nature unspeakable–through a kind of embodied knowledge and intuition, that can exist only if every participant is open to the others. The quality of relationships between musicians is a prerequisite for sharing the interpretation.Its fundamentals are not conveyed by words but flows between the musicians through the identification with the others and through the musical material itself, the sound.Verbal communication is limited, in most cases, to the technical speech, that, often hiddens expressive thoughts behind the words. Our hypothesis is that the activation of the mirror neurons system allows partners to understand gestures such as emotions, but verification must await further research in the field of neurosciences
Justel, Elsa. « Les structures formelles dans la musique de production électronique / ». Lille : Septentrion/Thèse à la carte, 2003. http://catalogue.bnf.fr/ark:/12148/cb390390201.
Texte intégralLotey, Andrée. « La musique dans l'oeuvre de Jean Giono ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21485.pdf.
Texte intégralNiu, Dandan. « La consommation de musique dans un écosystème ». Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEM008/document.
Texte intégralFor decades, France has imposed quotas for Francophone music. Radio stations need to reserve a minimum percentage of total song plays for French-language songs since 1996. The development of streaming services, which faces no quotas, has changed how we listen to music and poses a new challenge to regulators. The applicability of quotas is increasingly difficult in the radio broadcasting industry and raises the question of competitive disadvantage. In this thesis, I try to answer three main issues on the topic of music consumption in this changing ecosystem. First, I empirically examine the strategic responses of French radio stations to quotas for Francophone music. Do stations comply with the quotas? Is the realized audience for Francophone music lower than it would be in the absence of these strategic responses? To answer these questions, I use detailed data on the playlists of major radio stations in France to show that stations have some scope for adjusting their playlists subject to the quota constraints. Second, I build a dataset to provide some descriptive evidence on radio and streaming services. These are entirely different economic models, and are not comparable without adjusting the dataset to reflect the differences. In order to compare the audience number of music titles on radio stations with the number of streams on streaming services, I develop a methodology to combine radio data with streaming data in France in 2016. Third, using this novel dataset, I look at music consumption pattern and music variety on streaming services compares to that of radio. I also provide empirical evidence on the consumption externalities of both markets
Guillien, Mathieu. « Du minimalisme dans la musique électronique populaire ». Paris 8, 2011. http://www.theses.fr/2011PA084112.
Texte intégralThe purpose of this study is to call into question the concept of minimalism in popular electronic music. The first part of the dissertation focuses on the concept of minimalism itself by mentioning the genesis of this aesthetic, which appeared in plastic arts in the 1950 in the United States, then its translation in the music field under the aegis of composers such as La Monte Young, Terry Riley and Steve Reich. To justify the use of the concept of minimalism while referring to different musical genres, a clarification is made in several steps: the relation of the musicians to History, their economic positioning, the technical means at their disposal as well as their reflection on their work, their social context, their relation to interpretation and live performance, and their views on problematics like repetition and dance. The second part focuses on techno itself. After tracing the history of the emergence of this musical genre at the beginning of the 1980’s in Detroit, as well as an outline of the electronic instruments which played a part in this emergence and their structural effects on the music, we can study the emersion of the « minimal » branch of techno. Lastly, studying the music of German composer Robert Henke allows us to broaden our subject by including an example of minimalism in popular electronic non-dance music
Tainturier, Xavier. « La musique dans l'oeuvre de Franz Werfel ». Dijon, 2001. http://www.theses.fr/2001DIJOL019.
Texte intégralTrajanoska, Ivana. « La Musique dans Pilgrimage de Dorothy Richardson ». Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30066/document.
Texte intégralMusic plays an important role in Pilgrimage by Dorothy Richardson. On the one hand, music is a crucial element in the protagonist's search for identity. Reading Pilgrimage as a story of a quest and the formation of an artist shows that the quest of the protagonist Miriam Henderson is also that of a religious, national and feminine identity accompanied by music. Music provides the protagonist with the opportunity to (re)assess her relationship with various organized religions, redefine her Englishness, and build an authentic female identity. Music also reveals the “independent joy,” at “the center of being,” where a pre-existing identity can be found upon which the authentic identity that Miriam seeks rests. On the other hand, Richardson relies on music to break with the nineteenth-century writing conventions and express her distrust in the capacity of language to render “reality.” Her effort to integrate musical principles in the construction of the narrative emphasizes her desire to use music as a model for the semiotic functioning of the text, to influence how the text makes sense and communicates it refracting “reality” on an axis, both vertical and horizontal, thus presenting her concept of time which is outside the division into past, present and future. Furthermore, Richardson uses music to represent consciousness, the thinking process, and the inner world of the protagonist. Finally, the musical accompaniment generates the cooperation of the reader's creative consciousness securing his collaboration in the construction of the “reality” that the novel is trying to represent
Bao, Cheng. « La Musique dans l'œuvre de Boris Vian ». Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA034/document.
Texte intégralAs a novelist, jazz critic, trumpet player, singer and artistic director, Boris Vian is a versatile man recognized diversely. Omnipresent in his life, the music has given him a keen sense that is certainly part of his originality as a writer. This research aims to investigate the importance of music in his literary universe, as well as the efforts he has devoted to bringing the two arts closer together. By taking a broad view of music as Vian, we have discovered a world where the writer inscribes the art of Euterpe in many ways : by the spaces, the instruments, the musicians and the pieces interpreted or quoted. The elements borrowed from jazz have a decisive influence on Vian's novel writing. Boris Vian himself recognizes the importance of music in his "jazz-writing", which is always rhythmic and improvisatory, free and inventive. In the work of fiction, music exerts its influence from the stylistic detail to the macroscopic structure. The first part of our study concerns the explicit presentations of music in his fiction while the following part continues the exploration in a more implicit dimension
Accaoui, Christian. « Musique et temps : rythme, variation, symbolique dans la musique instrumentale de Haydn à Beethoven ». Paris 8, 1994. http://www.theses.fr/1995PA080921.
Texte intégralDoes instrumental music give way to its own movements or is its movement predetermined by a (or several) conception(s) of time ? does sense of instrumental music lie on its movement's configuration regarding to the three modalitees of time : succession, duraztion, simultaneousness ? this research attempts to answer to these the questions studing classical works from haydn, mozart, beethoven. The middle position of this corpus in instrumental music's history, its durable influence over the last two centuries' productions allow to extend, varing them slightly, most of this work's conclusions to a very large periode, since baroque up to now. The first two parts (rhythm, variation), very analytical, study from many musical examples the temporal involvings of rhythmical structures and classical technics of variation. The last two parts (time, symbolism) indicate convergences of such a conception of time : the contemporaneous one which is the german idealism, the earliest one which is the theological and philosophical tradition since plotin, saint augustin, boece
Reynaud, Cécile. « La notion de virtuosité dans les écrits critiques de Franz Liszt / ». Paris [C. Reynaud], 2001. http://catalogue.bnf.fr/ark:/12148/cb376614270.
Texte intégralMichel, Philippe Bayer Francis. « Problèmes de perception formelle dans la musique occidentale du XXe siècle / ». [Paris] : [P. Michel], 1997. http://catalogue.bnf.fr/ark:/12148/cb40025282t.
Texte intégralCamier, Bernard. « Musique coloniale et société à Saint-Domingue dans la seconde moitié du XVIIIème siècle / ». [Pointre-à-Pitre] : [B. Camier], 2004. http://catalogue.bnf.fr/ark:/12148/cb402204292.
Texte intégralRoy, Samanta. « Le grotesque dans les fabliaux érotiques : figure féminine et poétique du rire populaire ». Thèse, Université du Québec à Trois-Rivières, 2011. http://depot-e.uqtr.ca/2304/1/030277658.pdf.
Texte intégralLemay, Robert. « Forme et mouvement dans Solitude oubliée et Sarajevo ». Acfas-Sudbury, 2006. https://zone.biblio.laurentian.ca/dspace/handle/10219/71.
Texte intégralSainteOnge, Sopha Françoise. « Le grotesque dans l'oeuvre narrative de Herbert Rosendorfer : ses rapports avec l'utopie, la téléologie, l'eschatologie / ». Berne ; Francfort-s. Main ; Paris [etc.] : P. Lang, 1989. http://catalogue.bnf.fr/ark:/12148/cb37402956m.
Texte intégralDeutsch, Catherine Billiet Frédéric Pompilio Angelo. « Ariosità et artificiosità dans les madrigaux de Giovanni de Macque (1581-1597) ». Paris : Paris Sorbonne - Paris IV, 2009. http://www.theses.paris4.sorbonne.fr//these.deutsch.pdf.
Texte intégralTitre provenant de l'écran-titre. Bibliogr. p. 636-663.
Salm, Eléonore Caroline. « La Leçon de musique : les relations entre rhétorique et musique dans l'oeuvre de Denys d'Halicarnasse ». Strasbourg, 2009. http://www.theses.fr/2009STRA1069.
Texte intégralThe relationships between rhetoric and music are of major importance in Dionysius of Halicarnassus’ work. The aim of this dissertation is to examine the author’s account on music and its place in the theories exposed in the Opuscula and in the Roman Antiquities. The comparison between rhetoric and music is at the heart of the nature of rhetoric, analysed according to musical criteria. Music and rhetoric are of determining importance in the definition of culture proper to the Greco-Roman Empire in construction
Vandiedonck, David. « Musique vivante, musique enregistrée : logiques de rationalisation des programmes et innovation dans le secteur classique ». Lille 3, 1997. http://www.theses.fr/1997LIL30013.
Texte intégralJedrzejewski, Florent. « Le son dans le son : les percussions dans la musique spectrale ». Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC012/document.
Texte intégralAlthough the musical style called « spectral » is the source of much research, it appears that the percussion family holds in it a special place that has been too little studied. Developments in disciplines such as organology, anthropology or ethnomusicology contributed to the inclusion of many new percussion instruments in the vocabulary of composers. If one notice that the spectra provided by the percussion often serve to dial tone, it is the interest towards perception that pushes composers to consider the overall sound of pieces through memory and threshold phenomena. This brings a new way to craft sounds from some unusually highlighted characteristics such as density, frequency range, roughness, or granulation. Percussion appear as immediate expression vectors to composers and performers, and the spectral movement seems to benefit from this exploration of sound, made possible by the diversity inherent to percussion alloys spectra
Cauvet, Elodie. « Traitement des structures syntaxiques dans le langage et dans la musique ». Paris 6, 2012. http://www.theses.fr/2012PA066161.
Texte intégralThis dissertation deals with syntactic structures. In the first part of this work, we examine how function words and prosody are exploited to recognize syntactic categories (nouns and verbs). With a behavioral experiment testing 18-months-olds, we showed that toddlers already know that determiners precede nouns and that pronouns occur before verbs in the case of known words. Furthermore, our behavioral experiments on adults proved that adult speakers use prosodic cues and function words to compute online syntactic categories for pseudowords. Those data lead us to propose a model which rely on prosody and function words to constrain lexical access. This model would also explain the acquisition of new words. In the second part of our work, we explored cerebral networks processing syntactic structure. We questioned if those networks involved in syntactic processing in lnaguage were shared with other domains such as music. Two fMRI experiments using spoken language showed that infero-frontal regions (BA45 and BA47), temporal regions (temporal pole, aSTS, pSTS) and the temporo-parietal junction are recruted to process syntactic structure in language. In a second study, we showed that a part of these networks is involved in syntactic structure processing in music
Moysan, Bruno. « La réécriture et ses enjeux dans les fantaisies de Liszt sur des thèmes d'opéra (1830-1848) : musique, sémantique, société ». Tours, 1997. http://www.theses.fr/1997TOUR2020.
Texte intégralThe main purpose of this thesis is to consider the implications of a personalised use of a certain number of commonplace themes from a musical, semantic and social point of view. Rewriting extracts of operas in the form of fantasias for piano gave birth to an indeterminate and innovative language. In his fantasias Liszt expressed himself in a language which combined the heritage of the aristocratic salons well-known for their witty conversations, the use of the ornatus and the preeminence of the opera seria as a major genre, with many romantic innovations characterized by a prophetic virtuosity in solo concerts and the instrumental rewriting of the pieces of music borrowed on a fantastic mode which expanded the boundaries of the language and questioned the prevailing critera. Through this rewriting, the fantasia emerged as a new genre amid the romantic revolution of the vision of the world in 1830. This new image of the composer of genius brought into play a subversive language and a demagogic form of art born after Rossini’s reform together with a means of socializing through the solo concert. As soon as he strikes the first notes of his fantasia, a microcosm of the romantic imagination, the musician ceases to be the mere humble actor taking part in the civilising mission of the gentry and he becomes the symbol of a social revolution based on merit: the artist. From this network of contradictions converted into a musical language, a new and utterly modern aesthetics is born which remains quite topical
Girodet, Catherine. « Monstrosity in the music of PJ Harvey et Nick : the poetics of the grotesque in rock ». Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30064.
Texte intégral- investigating the use of the monstrous trope on the musical, thematic,structural and aesthetic levels, as a centrepiece for a grotesque aesthetic of transgression and excess - by studying the modalities of the monstrous in the works of the two artists , in terms of music (dissonance and musical hybridisation), lyrics, and embodied self (personae, self-representations, character gallery), this research aims to bring to light the disruptive strategies and the aesthetics of the abject deployed, as well as the underlying grotesque poetics - benefit of a joint study: contrastive approach to the two bodies of work, open fresh investigative field on the interplay between the two musicscapes, and between Gothic and rock musi
Ducharme, Jean. « L'un et l'autre dans la musique d'André Boucourechliev ». Paris, EHESS, 1996. http://www.theses.fr/1996EHES0306.
Texte intégralPianist, composer and musicographer andre boucourechliev is one of today's most renowned french musicians. The first part of the thesis consists of a biography mostly devoted to his youth in bulgarie and his years of apprenticeship. The second part deals with a capital aspect of his music : indeterminacy and mobile form. The third part is the core of the thesis : a detailed analysis of fourteen compositions - from archipel 1 (1967) to trois fragments de michel-ange (1995). These analysis identify the works' different components and their innumerable relationships. Finally, the author displays boucourechliev's main preoccupations, which can also be found in his numerous writings
Villela, Damien. « Affirmations culturelles dans la musique traditionnelle de Transylvanie ». Paris 4, 2008. https://www-vlebooks-com.ressources.univ-poitiers.fr/Vleweb/Search/Keyword?keyword=9782296483101.
Texte intégralIn Romania, the Transylvanian area is particulary interesting for the ethnomusicologist. Actually, in this country, romanian, hungarian and gypsy communities live together. So the question is to know the influences between these differents cultures. Two kind of classifications are a priori made : the first is the delimitation of the field by folklorists ; the second is, the differents cultures of the various populations that we observe in the field. Many interpretations of the musical corpus have been obtenied by an experimentation in the field. Comparaison between differents versions demonstrate that music itself has only few issues of identity. Gypsies musicians are those who show to us this fact better : they hold and perform the repertory of all cultures
Lefebvre, Dominique. « La musique dans le texte, France, 1660-1750 ». Paris 3, 2003. http://www.theses.fr/2003PA030037.
Texte intégralThe ultimate objective of this work is to analyse how to put together a dissertation on the development of music in France since the classical period (with the creation of the opera) until the seventeen-fifties (period before the Querelle des Bouffons). This thesis is a study of the founding and development of aesthetics in musical appreciation of that period and its connection to aesthetics in literature and painting. The explosion of music and the beginning of criticism in music are examined as a social event and an object of historiography. Our study of music has been limited to opera and instrumental music. The texts which have been studied concern scientific and technical treatises of the Royal Academy of Sciences, theoretical works, works on aesthetics, private correspondance, dictionaries and some specialist publications on music
Ogawa, Midori. « La musique dans l'oeuvre litteraire de marguerite duras ». Caen, 2000. http://www.theses.fr/2000CAEN1315.
Texte intégralElthes, Agnès. « Théâtre et musique dans les tragédies de Racine ». Paris, INALCO, 1991. http://www.theses.fr/1991INAL0009.
Texte intégralIn the tragedies of Racine, the paraverbal elements of representation are involved in the poetic text. The elements referring to the scenic movements, to the mimic and to the setting are in a dynamic relationship with the text. At the same time, the art of Racine is inseparably connected with the music. In order to prove the existence of relations between Racine and the music, the researcher has to overcome the traditional disciplinary limits of the analyse of a literary work. By analysing the musical partition, "Idylle sur la paix" of Racine / Lully it can be regarded as an opera prologue. The phenomena having musical reference in the composition of the time are polyphony, counterpoint and variation. The most compound acoustic effect in the poetic text combining signification, phonics, rhythm and iconography, is the echo-technique. In "Berenice", being the most classical tragedy written by Racine, it is possible to demonstrate abstract and concrete relations with the music
Sorbier-Rawls, Julie. « La musique dans la prose narrative moderniste espagnole ». Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30038/document.
Texte intégralModernist literature is by essence musical. It is meant to arouse the reader’s senses: the use of music, a suggestive art by excellence, creates the allusion. How can one insert music in literature? Stéphane Mallarmé suggests to precede the effects of music by redefining it from its origin. If the art of music is naturally expressed through a poem, how about through prose? In Spain, Ramón María del Valle-Inclán offers a prime example of musical prose in his Sonatas. Is this all that can be expected? Has there been no other echo of Mallarmé’s project in Spanish prose? Certainly the intention to do so exists; histories of literature confirm this intention but nothing more. Our work is going to be twofold: first we need to find Spanish modernist prose works, and then analyze these works through the prism of music in order to understand how the fusion of these arts (music and prose) is realized. The analysis reveals that the music of the prose, sometimes imperceptible, sharpens the senses and makes the reader more sensitive to the elegance, to the rhythm and the phrasing of a syntagm. In other words, the inner music paves the way to the ineffable. The poet’s role in society is described within this project. He presents himself as a modern times priest. Yet the myth to which he tries to subscribe lacks substance: sensitive to the realities of his time, in search of an audience keen on naturalism, the Spanish writer is not fully implicated. His prose is hesitant, often corny: this explains why it has passed unnoticed in history
Ducharme, Jean. « L'un et l'autre dans la musique d'André Boucourechliev / ». Villeneuve d'Ascq : Presses universitaires Septentrion, 1998. http://catalogue.bnf.fr/ark:/12148/cb371148973.
Texte intégralElthes, Agnès. « Théâtre et musique dans les tragédies de Racine / ». Paris : Inalco, 1990. http://catalogue.bnf.fr/ark:/12148/cb37073590p.
Texte intégralSupanggah, Rahayu. « Introduction aux styles d'interprétation dans la musique javanaise ». Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb375951863.
Texte intégralMoreira, Paulo Estudante Dias. « Les pratiques instrumentales dans la musique sacrée portugaise dans son contexte ibérique : XVIe et XVIIe siècles : le ms. 1 du fond Manuel Joaquim (Coimbra) ». Paris 4, 2009. http://www.theses.fr/2007PA040137.
Texte intégralThis dissertation undertakes the study of the instrumental performance practice of four major Portuguese religious centres, the cathedrals of Braga, Coimbra and Évora along with the Santa Cruz monastery, at Coimbra. These institutions give us enough information as to understand the instrumentalists admission, organization and repertoire at the religious centres. All this information, most of it previously unknown, is taken through an Iberian perspective in order to give us a first sketch of what may have been the ministriles participation during the XVIth- and XVIIth-century Peninsula’s liturgy. Moreover, this work discloses a new Portuguese XVIIth-century instrumental music source