Littérature scientifique sur le sujet « Tango (Musique) »
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Articles de revues sur le sujet "Tango (Musique)"
Besnard, Cécile. « Un atelier musique tango dans une unité Alzheimer ». L'Aide-Soignante 34, no 215 (mars 2020) : 26–28. http://dx.doi.org/10.1016/j.aidsoi.2020.03.012.
Texte intégralPlisson, Michel. « Tango et musique urbaine argentine : resurgences et nouveaux thèmes ». Cahiers de musiques traditionnelles 6 (1993) : 271. http://dx.doi.org/10.2307/40240185.
Texte intégralΛΟΥΚΟΣ, ΧΡΗΣΤΟΣ. « ΚΟΙΝΩΝΙΚΗ ΙΣΤΟΡΙΑ ΤΟΥ ΤΑΝΓΚΟ ΑΠΟ ΤΙΣ ΥΠΟΒΑΘΜΙΣΜΈΝΕΣ ΣΥΝΟΙΚΙΕΣ TOΥ BUENOS AIRES ΣΤΑ ΣΑΛΟΝΙΑ ΤΗΣ ΕΥΡΩΠΗΣ ». Μνήμων 20 (1 janvier 1998) : 251. http://dx.doi.org/10.12681/mnimon.677.
Texte intégralApprill, Christophe. « Le tango, une « musique à danser » à l’épreuve de la reconstruction du bal1 ». Civilisations, no 53 (1 janvier 2006) : 75–96. http://dx.doi.org/10.4000/civilisations.548.
Texte intégralHaine, Malou. « Le magazine américain Vanity Fair (1913-1936) : vitrine de la modernité musicale à Paris et à New York ». Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no 1-2 (25 avril 2017) : 23–37. http://dx.doi.org/10.7202/1039610ar.
Texte intégralFontes Saboga Cardoso, Thomas. « L’incorporation d’éléments du jazz dans le tango d’Astor Piazzolla ». Revue musicale OICRM 4, no 2 (8 février 2018) : 118–35. http://dx.doi.org/10.7202/1043223ar.
Texte intégralAubert, Laurent, et Michel Demeuldre. « Sentiments doux-amers dans les musiques du monde. Délectations moroses dans les blues, fado, tango, flamenco, rebetiko, p'ansori, ghazal... » Cahiers de musiques traditionnelles 19 (2006) : 259. http://dx.doi.org/10.2307/40240647.
Texte intégralSaboga Fontes, Thomas. « L'incorporation d'éléments de la musique baroque dans le tango d'Astor Piazolla ». Música em Perspectiva 10, no 1 (9 janvier 2018). http://dx.doi.org/10.5380/mp.v10i1.57354.
Texte intégralThèses sur le sujet "Tango (Musique)"
Fontes, Saboga Cardoso Thomas. « L’expansion du tango d’Astor Piazzolla. Conjugaison du populaire et du savant à travers l’articulation avec le jazz, la musique baroque et la musique savante moderne ». Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040090.
Texte intégralThe aim of the present thesis is to understand the musical production of Piazzolla, especially the particular dialogue between popular and art music in his work. To do so, we located four main musical streams which origins were possible to trace: the tango, structural basis of his music, the jazz, the baroque music and the modern art music. Having shown their presence in the first part, we proceed to the analysis of the particular articulation of these elements in the second one. Certain features of the tango seem favored in this junction, constituting the basic elements mainly through the presence of melodic gestures, accompaniment models and characteristic timbres very frequently used, which assure the cohesion and musical unity as well as the identity of the Argentine urban genre. On numerous occasions, his fusion employs common characteristics of the several music crossed as a strategy for reaching the musical jointure; we also noticed in certain passages a subtle and careful dosage of the musical ingredients used. The speech of the composer analyzed in the last chapter still allowed us to identify three aspects of this relationship between popular and art music: the search for an identity, by producing a music which represents the city of Buenos Aires and Argentina; a relationship with the modernist avant-gardes, in an attempt to express the present time and to symbolize the novelty through a modern music; and the quest for legitimacy, appeared notably under the expression of the "rise" of the tango
Cañardo, Marina Berta. « Fabricas de Tango : industria discografica temprana y musica popular argentina (1919-1930) ». Paris, EHESS, 2011. http://www.theses.fr/2011EHES0062.
Texte intégralThis thesis analyzes several aspects of the relationship between the recording industry and the tango in the 1920s. If the question of identity is studied from the discourses of that time such as advertising, catalogs and newspaper articles, the interpretive dimension of tango is also analyzed and placed in relation to this new form of production, circulation and consumption of music that involve the record. We consider that the music industry contributed to the construction of national identity in conflict in Argentina which makes clear the political dimension of the activity. At the same time, the marketing of tango's record in France anticipates a circulation's model of cultural goods outside their original context that the record device favored and whose ultimate expression is the world music. We analyze the impact of technological changes in music performance by studying the relationship between the appearance of the microphone and the practice of "estribillista" in the typical orchestra. Also the tango's interpretations are placed in the context of the fashion world of dance for understanding the influence that may have the need to record versions more easily to dance for consumption promoted for this purpose. We investigate the new working conditions of tango musicians emerged with the mass of the records, both by the competition between live music and the mechanically reproduced as for new working relationships and the logic of the star system that began with the recording industry and has in Carlos Gardel one of the main representatives
Giraud, Hélène. « Recherches sur le contenu culturel de la poésie traditionnelle et populaire andalouse : le fandango, le tango et autres chants flamencos ». Paris 4, 1986. http://www.theses.fr/1986PA040165.
Texte intégralThe essential purpose of this research is to underline the traditional aspect of andalousian popular poetry. To do so, the most common means of expression will first of all be listed before dealing in more detail with the basic content matter as well as the likely influence of other various literary trends. Last o all, we shall study the problem of the relationship existing between what may be called the traditional poetry of the masses and its more intellectual counterpart - that of national poetry. At this point of our research, it may be concluded that the poetry found in both flamenco songs that which is popular is to be considered neither of lesser importance nor more primitive than any other form but rather as an independent means of expression deserving its place of honour in the literary tradition of a country such as Spain
Chaves, Vanessa. « L’influence des musiques populaires urbaines sur l’écriture des romanciers s’exprimant dans une langue d’origine coloniale : le cas du tango dans le roman argentin et de la rumba congolaise dans le roman du Congo-Brazzaville ». Paris 4, 2007. http://www.theses.paris-sorbonne.fr/chaves/paris4/2007/chaves/html/index-frames.html.
Texte intégralThis comparative study on the Argentina and the Congo-Brazzaville deals with the impact of popular urban cultures - such as the tango and the Congolese rumba - on the novel style. The aim is to define the novelists’ dilemma expressing in a language of a colonial origin. These popular musics have expanded two hybrid languages : the lunfardo and the lingala. The objective is to explain how these forms of expression contribute to emancipate the literary production of these young nations. This comparison seems judicious because of the historic gap between the Argentina and the Congo, the first one coming to the independence in 1816 and the other one, in 1960. At first, we analyse the tensions which influence these national literatures, because of their colonial past. Then, we study how the tango and the Congolese rumba, born in the suburbs of these octopus capital cities, reveal themselves as major cultural phenomena, so that they established their influence on the literature. Finally, we examine how music and writing constitute a salutary alliance for a singular and universal literary creation
Ventura, da Silva Alessandro. « La musique populaire dans les villes américaines en réformes : communautés noires et politiques de modernisation urbaine (Rio de Janeiro, Buenos Aires et New York, fin XIX siècle et début XXe siècle) ». Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA154.
Texte intégralThe aim of this thesis is to identify the analogies between the cultural manifestations of black communities in the cities of Rio de Janeiro, Buenos Aires and New York in the late nineteenth and early twentieth centuries. From the point of view of this reflection, we claim to show that the cultural and ideological stimulations that permeated these cities were fundamental for the formation of a provocative and attenuating matrix in musical and poetic compositions such as sambas, milongas, tangos and jazz of this period and in this way can be observed in a trans-hemispheric perspective in the Americas. Fatally, as the cities of Rio de Janeiro, Buenos Aires and New York have in common the fact of having participated in a modernizing experiment, we deduce that the element of disillusionment felt by a social fraction produced a movement of criticism in these musical demonstrations that defeated the civilizing aims by creating atmospheres that rivaled the official city. It is the city against the city that will draw our attention from the atmosphere felt in the clubs, favelas and conventillos of these cities and which, taken in its complexity and historical density, will provide us with elements to think similarities and the differences of these cities and musical experiences in the Americas
Cassino, Valeria. « Un canto polytropo Geografie dell'Assenza e musiche d'Altrove in Vinicio Capossela ». Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7132/.
Texte intégralYou, 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
Chaves, Vanessa Chevrier Jacques. « Etude comparatiste entre l'Afrique et l'Amérique latine l'influence des musiques populaires urbaines sur l'écriture des romanciers s'exprimant dans une langue d'origine coloniale / ». Paris : Université Paris Sorbonne - Paris IV, 2007. http://www.theses.paris4.sorbonne.fr/chaves/paris4/2007/chaves/html/index-frames.html.
Texte intégralLivres sur le sujet "Tango (Musique)"
Monette, Pierre. Le guide du tango. Montréal : Triptyque, 1992.
Trouver le texte intégralSalas, Horacio. Le Tango. [Arles] : Actes Sud, 1989.
Trouver le texte intégralDeluy, Henri, et Saúl Yurkievich. Les poètes du tango. [Paris] : Gallimard, 2006.
Trouver le texte intégralSuaya, Alejandro. Estilos para bailar tango : D'Arienzo, Di Sarli, Troilo, Pugliese. Ciuidad Autónoma de Buenos Aires : Editorial Autores de Argentina, 2019.
Trouver le texte intégralClark, Walter Aaron. From tejano to tango : Latin American popular music. New York : Routledge, 2002.
Trouver le texte intégralSteiner, Vanina. Mirada de mujer : Las letristas del siglo XXI : (tango y canción rioplatense). Ciudad de Buenos Aires : Contemporánea Grupo Editor, 2019.
Trouver le texte intégralLeymarie, Isabelle. Du tango au reggae : Musiques noires d'Amérique latine et des Caraïbes. [Paris] : Flammarion, 1996.
Trouver le texte intégralOberlé, Gérard. La vie est un tango : Chroniques musicales, France-musiques (avril 2001-février 2003). [Paris?] : Flammarion, 2003.
Trouver le texte intégralMichel, Demeuldre, dir. Sentiments doux-amers dans les musiques du monde : Délectations moroses ands le blues, fado, tango, flamenco, rebetiko, p'ansori, ghazal. Paris : Harmattan, 2004.
Trouver le texte intégralTangos. SOLAR, 2004.
Trouver le texte intégralChapitres de livres sur le sujet "Tango (Musique)"
Gallus, Iacobus. « LXXXII. Tanto tempore vobiscum sum ». Dans Iacobus Gallus : Opus musicum IV/3. Ljubljana : ZRC SAZU, Založba ZRC, 2024. http://dx.doi.org/10.3986/9790709004539_xv.
Texte intégralActes de conférences sur le sujet "Tango (Musique)"
Kerr, Vicki. « Interpretar a Natureza de forma não natural : A música concreta e a performance do conhecimento – uma ave marinha de cada vez ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.g229.
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