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Artykuły w czasopismach na temat "Génération de musique"
Lefebvre, Marie-Thérèse. "L’Underground musical des années 1970 au Québec". Les Cahiers des dix, nr 68 (31.03.2015): 249–86. http://dx.doi.org/10.7202/1029295ar.
Pełny tekst źródłaRugeles, Alfredo. "Le rapport entre la musique contemporaine vénézuélienne dite « savante » et les musiques populaire et folklorique". Circuit 17, nr 2 (10.12.2007): 43–53. http://dx.doi.org/10.7202/016838ar.
Pełny tekst źródłaEvans, Martin. "« Génération rebelle », musique et recherche". Hommes & migrations, nr 1326 (1.07.2019): 22–23. http://dx.doi.org/10.4000/hommesmigrations.9586.
Pełny tekst źródłaMorel, François. "Esquisse d’une rencontre". En mémoire 7, nr 2 (25.02.2010): 9–10. http://dx.doi.org/10.7202/902171ar.
Pełny tekst źródłaPiché, Jean. "Vers une mécanique de l’imaginaire…". Circuit 4, nr 1-2 (4.02.2010): 103–12. http://dx.doi.org/10.7202/902069ar.
Pełny tekst źródłaHafiz, Meriem. "La musique à Alger, le regard d'une nouvelle génération". La pensée de midi N° 4, nr 1 (1.03.2001): 60–64. http://dx.doi.org/10.3917/lpm.004.0060.
Pełny tekst źródłaSirois, Antoine. "Vie musicale et contexte culturel de Sherbrooke (1940-1953)". Les Cahiers de la Société québécoise de recherche en musique 19, nr 1-2 (8.06.2020): 13–19. http://dx.doi.org/10.7202/1069872ar.
Pełny tekst źródłaGonneville, Michel. "Humeurs postmodernes". Circuit 1, nr 1 (29.01.2010): 49–62. http://dx.doi.org/10.7202/902003ar.
Pełny tekst źródłaBoutammina Boudjemâa, Ali, i Naouèl Dellalou. "Systématisation sociolinguistique et contact de langues dans le discours radiophonique : Cas de l’émission Génération Musique de la Radio FM/ Mostaganem". Traduction et Langues 19, nr 2 (31.12.2020): 176–200. http://dx.doi.org/10.52919/translang.v19i2.377.
Pełny tekst źródłaNeveu, Érik. "Won't get fooled again ? Pop musique et idéologie de la génération abusée". Vibrations 1, nr 1 (1991): 41–64. http://dx.doi.org/10.3406/vibra.1991.1093.
Pełny tekst źródłaRozprawy doktorskie na temat "Génération de musique"
Hadjeres, Gaëtan. "Modèles génératifs profonds pour la génération interactive de musique symbolique". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUS027/document.
Pełny tekst źródłaThis thesis discusses the use of deep generative models for symbolic music generation. We will be focused on devising interactive generative models which are able to create new creative processes through a fruitful dialogue between a human composer and a computer. Recent advances in artificial intelligence led to the development of powerful generative models able to generate musical content without the need of human intervention. I believe that this practice cannot be thriving in the future since the human experience and human appreciation are at the crux of the artistic production. However, the need of both flexible and expressive tools which could enhance content creators' creativity is patent; the development and the potential of such novel A.I.-augmented computer music tools are promising. In this manuscript, I propose novel architectures that are able to put artists back in the loop. The proposed models share the common characteristic that they are devised so that a user can control the generated musical contents in a creative way. In order to create a user-friendly interaction with these interactive deep generative models, user interfaces were developed. I believe that new compositional paradigms will emerge from the possibilities offered by these enhanced controls. This thesis ends on the presentation of genuine musical projects like concerts featuring these new creative tools
Hadjeres, Gaëtan. "Modèles génératifs profonds pour la génération interactive de musique symbolique". Electronic Thesis or Diss., Sorbonne université, 2018. http://www.theses.fr/2018SORUS027.
Pełny tekst źródłaThis thesis discusses the use of deep generative models for symbolic music generation. We will be focused on devising interactive generative models which are able to create new creative processes through a fruitful dialogue between a human composer and a computer. Recent advances in artificial intelligence led to the development of powerful generative models able to generate musical content without the need of human intervention. I believe that this practice cannot be thriving in the future since the human experience and human appreciation are at the crux of the artistic production. However, the need of both flexible and expressive tools which could enhance content creators' creativity is patent; the development and the potential of such novel A.I.-augmented computer music tools are promising. In this manuscript, I propose novel architectures that are able to put artists back in the loop. The proposed models share the common characteristic that they are devised so that a user can control the generated musical contents in a creative way. In order to create a user-friendly interaction with these interactive deep generative models, user interfaces were developed. I believe that new compositional paradigms will emerge from the possibilities offered by these enhanced controls. This thesis ends on the presentation of genuine musical projects like concerts featuring these new creative tools
Caires, Carlos Miguel Marques da Costa. "Algorithmes de composition : exemples d'outils informatiques de génération et manipulation du matériau musical : parcours entre l'instrumental et l'électroacoustique". Paris 8, 2006. http://octaviana.fr/document/143284983#?c=0&m=0&s=0&cv=0.
Pełny tekst źródłaThe development of computer assisted composition environments, intended for data-processing and formalization of musical structures, as been an important contribution for the contemporary musical writing, during second half of the 20th Century. Starting from a reflection on the influence that such environments brought to the musical composition, this study will propose a set of tools CAC which will try to give a new approach concerning these issues. This research will be based mainly on my personal experience as a composer, and will be based upon three fundamental aspects: 1 - Processes of composition - Creation of a corpus of processes of composition aiming its algorithmic formalization. 2 - Representation of the musical data - creation of a unit of visualization and listening tools for sound data and musical structures. 3 - Interaction Composer-Computer. Creation, experimentation and development of graphic user interfaces (ergonomic research) for each type of function or tool
Vallet, Cécile. "L'improvisation dans les pratiques physiques et artistiques : contribution à la compréhension des processus attentionnels et mnésiques en jeu dans la génération d' actions". Bordeaux 2, 2001. http://www.theses.fr/2001BOR28883.
Pełny tekst źródłaCorneloup, Bernard. "Génération MPB : filiations, dialogues et ruptures : Mouvements musicaux et dynamique socioculturelle dans le Brésil contemporain". Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20087/document.
Pełny tekst źródłaIn 1958, a new musical genre appears in Brazil: the Bossa nova, which looks like a revolution in the traditional musical landscape. Twenty years later, 1978 is the year of political openness, Chico Buarque, poet musician who dominated the decade through his songs as well as his resistance against the millitary dictatorship, launches an album on which he records some songs that were censored until then. This event puts an end to a period of great artistic creativity, punctuated with social and cultural changes, statements of intents, ruptures, standpoints on the political or cultural life of the country, which often are one. These twenty years witnessed the appearance of the most striking figures of Brazil’s 20th century music scene, and of the acronym whereby the urban song gained respectability: MPB, initials of Música Popular Brasileira. Rooted in tradition though defending itself from it, exchanging with outside influences which it influences as well, distancing itself till the rupture of the movements of which it was the closest, today this generation seems to us much more united and limited in time than it thought it was. That’s why the time has come, with historical perspective, to look at the musical production of that period with fresh eyes, in order to define the characteristics that unite and distinguish it at the same time
1958, nasce no Brasil un gênero musical novo, a Bossa Nova, que se anuncia comme uma revolução na paisagem musical. Vinte anos depois, 1978, é o ano da "Abertura" política, Chico Buarque, poeta músico que dominou a década tanto pelas suas canções como pela sua atitude de resistência contra a ditadura, lança um disco no qual ele grava músicas até então proibidas pela censura. Esse acontecimento conclui um período de intensa criatividade artística, acompanhada por grandes mudanças sociais e culturais, declarações de intenções e rupturas, tomadas de posição em relação com a vida política ou cultural do país, que muitas vezes faz uma só. Esses vinte anos viram emergir as figuras mais marcantes da canção brasileira do século XX, concomitantemente à sigla pela qual a canção urbana moderna foi consagrada : MPB, iniciais de Música Popular Brasileira. Ancorando-se na tradição sem reivindicá-lo, dialogando com as influências externas que ela influencia por sua vez, demarcando-se até à ruptura dos movimentos que lhe eram próximos, essa geração nos aparece hoje muito mais unida e circunscrita no tempo do que ela o percebia. Por essa razão, o tempo veio, com o recuo histórico, de questionar com um olhar novo a produção musical daquela época, para definir as características que a unificam e distinguem ao mesmo tempo
Zhao, Rui. "Les renaissances et les innovations de la culture traditionnelle chinoise dans la musique contemporaine chinoise depuis les années 1980". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040168.
Pełny tekst źródłaFrom 1980s, CHINA, where great changes have taken placed, has reopened its door to the outside. The Chinese contemporary music has also experienced a rapid development, which leads to the question that how the feature of its development presents.Looking back to the way of Chinese modern music from early 20th century, a common trait can be found in different stages, which can be named as ‘national character’. Meanwhile it extends to various features to reflect the periods.From 1980s, Chinese modern music not only inherits the common character of the previous generations, but also reveals its own distinction. In order to realize all these features, the Chinese musicians of the 5th generation, deriving inspirations and contents from traditional culture of CHINA accompanied by their unique techniques, have created a great amount of musical products. With the worldwide spread of these products, Chinese traditional culture has come to be known gradually. All these lead directly to the renaissance of Chinese traditional culture to a certain extent. In this dissertation, points will be stated from aspects of history, composition technique and aesthetics, etc
Pinville, Typhaine. "Le lien socio-musical : une histoire de famille ?" Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040244.
Pełny tekst źródłaThis doctoral research investigates the transmission of a musical practicewithin different family generations. The study of musical genealogies shows thatmusical experience finds its roots in customs, traditions and family preferencesin interaction with members of the siblings, music and milieu. One should notomit that this practice develops through past, present and future. However, thismusical continuity cannot be similar in the transmission from a generation toanother. Expectations, motivations, norms, tastes and choices differ according togiven periods. Socio-musical link turns out to be the most appropriate concept tounderstand the processes of generational transmission. "Link" has to beunderstood as the interaction between the various family generations; " socio "refers both to music as an object of study and to its influences on socialpractises; "musical" alludes to artistic practices among various individuals. Thisresearch allows to apprehend music as the “analyser” of intergenerational familyrelations
Bayle, Yann. "Apprentissage automatique de caractéristiques audio : application à la génération de listes de lecture thématiques". Thesis, Bordeaux, 2018. http://www.theses.fr/2018BORD0087/document.
Pełny tekst źródłaThis doctoral dissertation presents, discusses and proposes tools for the automatic information retrieval in big musical databases.The main application is the supervised classification of musical themes to generate thematic playlists.The first chapter introduces the different contexts and concepts around big musical databases and their consumption.The second chapter focuses on the description of existing music databases as part of academic experiments in audio analysis.This chapter notably introduces issues concerning the variety and unequal proportions of the themes contained in a database, which remain complex to take into account in supervised classification.The third chapter explains the importance of extracting and developing relevant audio features in order to better describe the content of music tracks in these databases.This chapter explains several psychoacoustic phenomena and uses sound signal processing techniques to compute audio features.New methods of aggregating local audio features are proposed to improve song classification.The fourth chapter describes the use of the extracted audio features in order to sort the songs by themes and thus to allow the musical recommendations and the automatic generation of homogeneous thematic playlists.This part involves the use of machine learning algorithms to perform music classification tasks.The contributions of this dissertation are summarized in the fifth chapter which also proposes research perspectives in machine learning and extraction of multi-scale audio features
Sánchez, Ochoa Ramón Francisco. "Poesía de lo imposible. Gerardo Diego y la música de su tiempo". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040255.
Pełny tekst źródłaGerardo Diego (Santander, 1896 - Madrid, 1987), an essential figure of the Generation of 1927 and one of the most original voices of Spanish poetry in the 20th Century, was also a musician. Brought up on the piano, this poet had an exceptional musical passion his entire life and kept close relationships with important composers and performers. He also dedicated to music a very significant part of his poems, articles, essays, chronicles, notes, conferences and radio collaborations. This investigation focuses particularly on his writings about Fauré, Debussy, Ravel, Falla and Esplá, the five most representative composers of the so-called “music of his time”, both in chronologic and aesthetic sense. After carefully studying the musical personality of Diego, the author analyses from musicological, aesthetic and poetical perspectives this unexplored part of his work and brings to light the musical influences hidden behind the different levels of his poetic writings
Cifka, Ondrej. "Deep learning methods for music style transfer". Electronic Thesis or Diss., Institut polytechnique de Paris, 2021. http://www.theses.fr/2021IPPAT029.
Pełny tekst źródłaRecently, deep learning methods have enabled transforming musical material in a data-driven manner. The focus of this thesis is on a family of tasks which we refer to as (one-shot) music style transfer, where the goal is to transfer the style of one musical piece or fragment onto another.In the first part of this work, we focus on supervised methods for symbolic music accompaniment style transfer, aiming to transform a given piece by generating a new accompaniment for it in the style of another piece. The method we have developed is based on supervised sequence-to-sequence learning using recurrent neural networks (RNNs) and leverages a synthetic parallel (pairwise aligned) dataset generated for this purpose using existing accompaniment generation software. We propose a set of objective metrics to evaluate the performance on this new task and we show that the system is successful in generating an accompaniment in the desired style while following the harmonic structure of the input.In the second part, we investigate a more basic question: the role of positional encodings (PE) in music generation using Transformers. In particular, we propose stochastic positional encoding (SPE), a novel form of PE capturing relative positions while being compatible with a recently proposed family of efficient Transformers.We demonstrate that SPE allows for better extrapolation beyond the training sequence length than the commonly used absolute PE.Finally, in the third part, we turn from symbolic music to audio and address the problem of timbre transfer. Specifically, we are interested in transferring the timbre of an audio recording of a single musical instrument onto another such recording while preserving the pitch content of the latter. We present a novel method for this task, based on an extension of the vector-quantized variational autoencoder (VQ-VAE), along with a simple self-supervised learning strategy designed to obtain disentangled representations of timbre and pitch. As in the first part, we design a set of objective metrics for the task. We show that the proposed method is able to outperform existing ones
Książki na temat "Génération de musique"
Génération chaos: Punk, new wave 1975-1981. [Paris]: Denoël, 2008.
Znajdź pełny tekst źródłaGombert, Francis. Six générations au service de la musique: Les 150 ans de Delmas-Musique, Perpignan, 1840-1990. [Paris]: F. Gombert, 75014), 1990.
Znajdź pełny tekst źródłaCentre international de recherche et de documentation sur les traditions et les langues africaines, red. Musique(s) traditionnelle(s) d'Afrique: Lien entre générations : actes du colloque international de Brazzaville (République du Congo), août 2010. Yaoundé, Cameroun: Editions du CERDOTOLA, 2011.
Znajdź pełny tekst źródłaBel, Jean-Marc. En route vers Woodstock: De Kerouac à Dylan, la longue marche des babyboomers : essai sur les espoirs, les combats et les musiques de la génération sixties aux États-Unis. Wyd. 3. Paris: Balland, 2004.
Znajdź pełny tekst źródłaCzęści książek na temat "Génération de musique"
Zimmermann, Bernd Alois. "Considérations inactuelles sur la musique de la jeune génération (1952)". W Écrits, 135–37. Éditions Contrechamps, 2010. http://dx.doi.org/10.4000/books.contrechamps.607.
Pełny tekst źródłaDELTORN, Jean-Marc. "L’artiste et l’automate". W Algorithmes et Société, 129–38. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.4549.
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