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Artykuły w czasopismach na temat "Articulation (musique)"
Sebban, Sandrine. "Le collectif poplyphonique en tant que créateur d’espace dans l’institution hospitalière". psychologie clinique, nr 52 (2021): 51–60. http://dx.doi.org/10.1051/psyc/202152051.
Pełny tekst źródłaFroidefond, Marik. "De l’ostinato au pastiche : approche comparée du comique de répétition en poésie et en musique au XXe siècle". Études littéraires 38, nr 2-3 (5.09.2007): 71–86. http://dx.doi.org/10.7202/016345ar.
Pełny tekst źródłaCarasco, E. "Autisme infantile et musicothérapie". European Psychiatry 29, S3 (listopad 2014): 667. http://dx.doi.org/10.1016/j.eurpsy.2014.09.061.
Pełny tekst źródłaSchwartzwald, Robert. "« Chus t’un homme ». Trois (re)mises en scène d’Hosanna de Michel Tremblay". Globe 11, nr 2 (8.02.2011): 43–60. http://dx.doi.org/10.7202/1000521ar.
Pełny tekst źródłaGajkowska-Swinarska, Aleksandra. "The French flute school in mid-18th century in the light of the treatises by Michel Corrette, Antoine Mahaut and de Lusse". Notes Muzyczny 2, nr 20 (31.12.2023): 65–76. http://dx.doi.org/10.5604/01.3001.0053.9948.
Pełny tekst źródłaGRENIER, Line. "« Je me souviens »... en chansons : articulations de la citoyenneté culturelle et de l’identitaire dans le champ musical au Québec". Sociologie et sociétés 29, nr 2 (30.09.2002): 31–47. http://dx.doi.org/10.7202/001312ar.
Pełny tekst źródłaBeato, José Manuel. "A Escuta do Irreversível: Filosofia e Música em Vladimir Jankélévitch". Philosophy of Music 74, nr 4 (30.12.2018): 1117–48. http://dx.doi.org/10.17990/rpf/2018_74_4_1117.
Pełny tekst źródłaKane, Brian. "L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction". Organised Sound 12, nr 1 (kwiecień 2007): 15–24. http://dx.doi.org/10.1017/s135577180700163x.
Pełny tekst źródłaGibson, Jonathan. "““A Kind of Eloquence Even in Music””: Embracing Different Rhetorics in Late Seventeenth-Century France". Journal of Musicology 25, nr 4 (2008): 394–433. http://dx.doi.org/10.1525/jm.2008.25.4.394.
Pełny tekst źródłaPellerin, Agnès. "Représentations cinématographiques du passé colonial portugais : enjeux musicaux dans le film Fantômes d’un Empire (2020)". História: Questões & Debates 70, nr 1 (28.02.2022): 118. http://dx.doi.org/10.5380/his.v70i1.82752.
Pełny tekst źródłaRozprawy doktorskie na temat "Articulation (musique)"
Palacios, Quiroz Rafael. "La pronuntiatio musicale : une interprétation rhétorique au service de Händel, Montéclair, C. P. E. Bach et Telemann". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040074/document.
Pełny tekst źródłaThe present dissertation aims to contribute to the debate on Historically Informed Performance: setting aside thequestion of a particular piece’s global pronunciation, HIP ignores the rhetorical dimension of musical interpretation,and it is this specific gap we would fill. Based on a reflection on the rhetorical pronuntiatio theory, and leaning on theprinciples of interpretation as exposed in several selected treaties (C.P.E. Bach, Quantz, Mattheson, L. Mozart), ourreflection leads us to propose what we call the Rhetorically Informed Performance. The RIP is defined as a musicalpractice that grounds its interpretative decisions on information contained in the corpus of rhetorical and oratorial artskill treaties, as well as in public-speaking manuals and methods of vocal and instrumental interpretation. Thepronuntiatio is considered in both its visual and auditory aspects (corpus and vox), its four virtues (puritas, perspicuitas,ornatus and aptum), and their respective vices and licenses. Our intention is to put together a group of adjustablerhetorical strategies enabling the analysis to contribute to the interpretation in terms of the generation of ideas, theenrichment and channeling of imagination, and the inscription of the appropriate movement and energy into thesonorous reproduction. This musical pronunciation theory is applied to four pieces (Händel, Montéclair, Telemann,C.P.E. Bach): these examples of interpretation programs allow us to put forward the idea that the music of thatperiod was in its essence eloquent, and that its interpretation cannot become eloquent again without returning torhetorical intelligence and its principles of pronuntiatio
Suarez, Cifuentes Marco. "Corps, gestes, perceptions : Interrelations, articulations et poétiques de l'espace instrumental, acoustique et électro-acoustique". Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLET002/document.
Pełny tekst źródłaSimard-Saint-Cyr, Nora. "Le répertoire baroque interprété par les grands flûtistes de 1960 à aujourd’hui : une étude sur l’authenticité et son évolution à travers le temps". Thèse, 2019. http://hdl.handle.net/1866/23592.
Pełny tekst źródłaIn this master’s thesis, we studied how the historically informed performance (HIP) movement has impacted the way flutists have approached Baroque repertoire since 1960. We analyzed recordings from five flute players with Sonic Visualiser. We used this software to generate graphical data to objectively support our observations on tempo, articulation, dynamics, and vibrato. By comparing recordings made on baroque and modern instruments, we found that in the past 20 years, flutists who are performing this repertoire on the modern flute started integrating performance practice from the baroque players in their own performance of early music. To contextualize the performance practices, we synthesized a few baroque sources to verify the extent to which flutists have respected these indications. Through the process of this research, we observed that the HIP movement has changed the definition of an authentic performance of early music and that it has modified the way modern flutists perform Baroque music.
Streszczenia konferencji na temat "Articulation (musique)"
Kerr, Vicki. "Performing nature unnaturally: Musique concrète and the performance of knowledge - one seabird at a time." W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.
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