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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
Moreau, Christophe. "La jeunesse à travers ses raves : l'émergence à la personne et sa régulation par le monde adulte : le cas des fêtes techno". Rennes 2, 2002. http://www.theses.fr/2002REN20010.
Pełny tekst źródłaThe human person experiences, since adolescence, a period of singularity which permits, by recusing truths and principles of the "grown-up world", to better appropriate and integrate them. But for this opposition to make sense and to permit to "make society", on one hand the youth must be structurally able to negociate his being and social duty, and on the other hand, the "grown-̀up world" must be ready and attentive to this necessary negotiation, to this necessary exchange between generations. The "techno-party" phenomenon is a most fruitful model for broadening these hypotheses, because it shows on one hand a strong "singularisation" of young populations, and, on the other hand, a difficulty of the "grown-up world" to regulate, codify and order these festive practices who can be held legally but have become increasingly clandestine. The hypothesis that can be drawn is that if a society is not able to "negociate politically" with part of it's youth, these could accent their trend to singularisation, or even, in some cases, develop pathological tendencies as well in respect to personal structuration (their ability to negociate their relations to others, to regulate their desires by social codification) as to the more or less codified and ordered social context in which they live. This thesis is structured in four parts, who show in their turn a historical and sociological interrogation on youth, then a theoretical approach of the "mediation" model, after which we analyse the phenomenon of "techno parties" from the point of view of the young who build themselves in them, and from that of the institutional interventions
Lehmann, Michel. "Giuseppe Verdi : la Trilogie (Rigoletto - Il Trovatore - La Traviata) et ses "posizioni" : éléments pour une dramaturgie générative sous l'influence du drame romantique". Paris 4, 1996. http://www.theses.fr/1995PA040136.
Pełny tekst źródłaThe grouping together of Rigoletto, il Trovatore and la Traviata as a trilogy is both a popular and scholarly tradition. However, there is no convincing definition to corroborate this concept. The three operas attest to Verdi’s interest in French romantic drama, more particularly in its dramaturgy. This interest of his appears in what Verdi calls "posizione", to designate a single dramatic sequence. Verdi's generative dramaturgy is developed from this concept of "posizione" to which he subordinates all the different languages, literary, musical, and dramatic proper. This enables him to integrate the characteristics of the French romantic drama. Verdi's approach is at the root of a dramatic conception common to all three operas, therewith providing a new working definition for the trilogy
Lavault, Antoine. "Generative Adversarial Networks for Synthesis and Control of Drum Sounds". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS614.
Pełny tekst źródłaAudio synthesizers are electronic systems capable of generating artificial sounds under parameters depending on their architecture. Even though multiple evolutions have transformed synthesizers from simple sonic curiosities in the 1960s and earlier to the main instruments in modern musical productions, two major challenges remain; the development of a system of sound synthesis with a parameter set coherent with its perception by a human and the design of a universal synthesis method, able to model any source and provide new original sounds. This thesis studies using and enhancing Generative Adversarial Networks (GAN) to build a system answering the previously-mentioned problems. The main objective is to propose a neural synthesizer capable of generating realistic drum sounds controllable by predefined timbre parameters and hit velocity. The first step in the project was to propose an approach based on the latest technological advances at the time of its conception to generate realistic drum sounds. We added timbre control capabilities to this method by exploring a different way from existing solutions, i.e., differentiable descriptors. To give experimental guarantees to our work, we performed evaluation experiments via objective metrics based on statistics and subjective and psychopĥysical evaluations on perceived quality and perception of control errors. These experiments continued to add velocity control to the timbral control. Still, with the idea of pursuing the realization of a versatile synthesizer with universal control, we have created a dataset ex-nihilo composed of drum sounds to create an exhaustive database of sounds accessible in the vast majority of conditions encountered in the context of music production. From this dataset, we present experimental results related to the control of dynamics, one of the critical aspects of musical performance but left aside by the literature. To justify the capabilities offered by the GANs synthesis method, we show that it is possible to marry classical synthesis methods with neural synthesis by exploiting the limits and particularities of GANs to obtain new and musically interesting hybrid sounds
Prang, Mathieu. "Representation learning for symbolic music". Electronic Thesis or Diss., Sorbonne université, 2021. http://www.theses.fr/2021SORUS489.
Pełny tekst źródłaA key part in the recent success of deep language processing models lies in the ability to learn efficient word embeddings. These methods provide structured spaces of reduced dimensionality with interesting metric relationship properties. These, in turn, can be used as efficient input representations for handling more complex tasks. In this thesis, we focus on the task of learning embedding spaces for polyphonic music in the symbolic domain. To do so, we explore two different approaches.We introduce an embedding model based on a convolutional network with a novel type of self-modulated hierarchical attention, which is computed at each layer to obtain a hierarchical vision of musical information.Then, we propose another system based on VAEs, a type of auto-encoder that constrains the data distribution of the latent space to be close to a prior distribution. As polyphonic music information is very complex, the design of input representation is a crucial process. Hence, we introduce a novel representation of symbolic music data, which transforms a polyphonic score into a continuous signal.Finally, we show the potential of the resulting embedding spaces through the development of several creative applications used to enhance musical knowledge and expression, through tasks such as melodies modification or composer identification
Clair, Romain. "Etude de méthodes de production d'art génératif et de leur application pour la conception d'outils de création artistique accessibles". Thesis, Tours, 2010. http://www.theses.fr/2010TOUR4026/document.
Pełny tekst źródłaStarting from a survey of algorithmic methods for automatic artistic creation, our works deals with adaptations of these methods to provide accessible art creation forms, focusing on music and computer drawing.the development of accessible computer software requires some constraints. Following these constraints and using adapted automatic art production systems, notably based on artificial ant colony algorithms, we developed two computer programs.The first one is a virtual music instrument, allowing most people to play music and providing and automatic accompaniment.The second one is a drawing workshop with generative methods-based tools provide complex results from simple actions.This PhD thesis details the development of this two programs and their evaluations, with real users meetings
Tsekova-Zapponi, Daniela. "Les interprètes face à la Sonate en si mineur de Liszt". Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC014/document.
Pełny tekst źródłaOur research focuses a comparative analysis of the performances of Liszt's Sonata in b minor. We analysed twenty-five recordings by pianists grouped into five piano schools : Hungarian, French, Russian, American and German. We compared the deviations of the performers from the score and the differences between the individual performances, based on a selection of seven parameters that allowed us to characterise each of them. A double analysis was made: "by ear" and with the aid of acomputer. Our research has shown the importance of several complementary factors of influence : education, the period during which the pianists lived and created, the artists' temperaments and their artistic individualities. At the end of our research, we demonstrated the existence of specific features within each of the national piano schools, and also of some features that characterise the performing style of each generation
Crestel, Léopold. "Neural networks for automatic musical projective orchestration". Electronic Thesis or Diss., Sorbonne université, 2018. http://www.theses.fr/2018SORUS625.
Pełny tekst źródłaOrchestration is the art of composing a musical discourse over a combinatorial set of instrumental possibilities. For centuries, musical orchestration has only been addressed in an empirical way, as a scientific theory of orchestration appears elusive. In this work, we attempt to build the first system for automatic projective orchestration, and to rely on machine learning. Hence, we start by formalizing this novel task. We focus our effort on projecting a piano piece onto a full symphonic orchestra, in the style of notable classic composers such as Mozart or Beethoven. Hence, the first objective is to design a system of live orchestration, which takes as input the sequence of chords played by a pianist and generate in real-time its orchestration. Afterwards, we relax the real-time constraints in order to use slower but more powerful models and to generate scores in a non-causal way, which is closer to the writing process of a human composer. By observing a large dataset of orchestral music written by composers and their reduction for piano, we hope to be able to capture through statistical learning methods the mechanisms involved in the orchestration of a piano piece. Deep neural networks seem to be a promising lead for their ability to model complex behaviour from a large dataset and in an unsupervised way. More specifically, in the challenging context of symbolic music which is characterized by a high-dimensional target space and few examples, we investigate autoregressive models. At the price of a slower generation process, auto-regressive models allow to account for more complex dependencies between the different elements of the score, which we believe to be of the foremost importance in the case of orchestration
Gilbert, Jean-Michel. "Algorithmes de génération de musique pour application dans les jeux vidéo". Thèse, 2008. http://constellation.uqac.ca/198/1/030095617.pdf.
Pełny tekst źródłaPinard, McManiman Philip. "Relativement à l'abstraction ainsi qu'à la génération d'éléments et de concepts extra-musicaux en composition". Thèse, 2018. http://hdl.handle.net/1866/21402.
Pełny tekst źródłaDaouda, Tariq. "Génération et reconnaissance de rythmes au moyen de réseaux de neurones à réservoir". Thèse, 2010. http://hdl.handle.net/1866/4931.
Pełny tekst źródłaReservoir computing, the combination of a recurrent neural network and one or more memoryless readout units, has seen recent growth in popularity in and machine learning, signal processing and computational neurosciences. Reservoir-based methods have been successfully applied to a wide range of time series problems [11][64][49][45][38] including music [30], and usually can be found in two flavours: Echo States Networks(ESN)[29], where the reservoir is composed of mean rates neurons, and Liquid Sates Machines (LSM),[43] where the reservoir is composed of spiking neurons. In this work, we propose two new models based upon the ESN architecture. The first one is a model for rhythm recognition that uses two levels of learning and with which we have been able to get satisfying results on both recognition and noise resistance. The second one is a model for learning and generating periodic sequences, with this model we introduced a new architecture for generative models based upon ESNs where the reservoir receives inputs from a clock, as well as a new learning algorithm that we called "Orbite". By combining these two elements within our model, we were able to get good results on generation, over-fitting and data extraction. We also believe that a combination of several instances of our model can serve as a basis for the elaboration of an entirely virtual orchestra, and we propose two architectures that this orchestra may have. In the last part of this work, we briefly present the tools that we have developed during our research.
Les fichiers sons qui accompagne mon document sont au format midi. Le programme que nous avons développés pour ce travail est en language Python.
Quesney, Cécile. "Compositeurs français à l'heure allemande (1940-1944) : le cas de Marcel Delannoy". Thèse, 2014. http://hdl.handle.net/1866/11445.
Pełny tekst źródłaSi la vie musicale en France sous l’Occupation est aujourd’hui un champ de recherche bien balisé, le parcours de l’un des compositeurs majeurs de cette période, Marcel Delannoy (1898-1962), n’a encore fait l’objet d’aucune étude approfondie. Appuyé sur un large éventail de sources, dont le riche fonds Delannoy conservé à la BnF, ce travail vise à combler cette lacune en situant Delannoy dans le contexte plus large d’une génération particulièrement exposée sous Vichy. Dans ce contexte coercitif mais favorable à la création musicale, plusieurs compositeurs de cette génération (notamment Poulenc et Honegger) sont en effet impliqués dans diverses activités qui révèlent leurs engagements et leur degré d’accommodation face à la situation d’Occupation. Pour rendre compte des activités de Delannoy sous Vichy, il s’est avéré nécessaire d’élargir la périodisation. D’abord parce que son principal projet et succès de la période, Ginevra, un opéra créé en 1942 à l’Opéra-Comique, est le fruit d’une commande d’État de 1938. Et plus généralement parce que ses choix musicaux et extra-musicaux, comme ceux de ses contemporains, ne peuvent être compris dans le seul contexte des 4 années d’Occupation. Delannoy, qui se fait connaître à la fin des années 1920, est un compositeur actif dans les entreprises de popularisation de la culture des années 1930, tandis que son style musical éclectique et accessible conquiert un large public. En 1942, son opéra Ginevra est très bien accueilli en raison de son inscription dans le genre français de l’opéra-comique, de ses emprunts éclectiques et de ses références à la musique du passé. Mais ce moment de grande médiatisation s’accompagne de plusieurs compromissions : critique musical d’un journal collaborationniste, membre du groupe Collaboration et de la délégation française invitée à Vienne pour la Semaine Mozart du Reich allemand (1941), Delannoy prend part à plusieurs projets de collaboration culturelle. À la Libération, ces compromissions lui sont reprochées : il est sanctionné par différentes instances officielles d’épuration et fait en outre l’objet d’une épuration plus informelle. Au croisement de l’histoire et de la musicologie, cette approche monographique qui situe le compositeur étudié dans sa génération vise plus largement à rendre compte des conséquences de l’Occupation sur les carrières des compositeurs, de leurs engagements et du rôle qu’ils ont tenu dans la politique musicale de Vichy et de l’occupant.
Although the French musical life during the Occupation is now a familiar field of research, no detailed study has been made of Marcel Delannoy (1898-1962), one of the most important composers of the period. Supported by a wide range of sources, including the large collection of Delannoy’s papers conserved at the BnF, the present work aims to fill this gap by situating Delannoy in the larger context of a generation of musicians that were especially visible during the Vichy years. In this context, both coercive and favorable to musical creation, several composers (notably Poulenc and Honegger) were indeed involved in a number of activities that reveal their commitments and the degree of adaptation when faced with the Occupation. To account for Delannoy’s activities under Vichy, it was necessary to extend the period under study: his principal project and success of the period, Ginevra (an opera premiered in 1942 at the Opéra-Comique), was the result of a 1938 State commission; more generally, his musical and extra-musical choices, much like those of his contemporaries, cannot be understood if they are restricted to the four years of the Occupation. Having made his name in the 1920s, Delannoy participated in the 1930’s ventures of cultural popularization, while his eclectic and accessible style won him a large public. In 1942, his opera Ginevra was very well received thanks to its ties to the traditional genre of French opéra-comique as well as its eclectic borrowings and references to the music of the past. Very much in the public eye, Delannoy also compromised himself in different ways: as a musical critic of collaborationist newspaper, as a member of the “Groupe Collaboration” and of the French delegation invited to Vienna for the Mozart Week of the German Reich (1941), he took part in several projects of cultural collaboration. It is because of these activities that the composer was penalized by professional and judicial purges following the Liberation, and also by a kind of more informal épuration. At the intersection of history and musicology, this monographic approach which places the composer in the context of his generation aims at a broader understanding of the Occupation’s consequences on composers’ careers, their political commitments, and the roles they played in the musical politics of Vichy and the German occupier.
Hoff, Jullian. "Interaction Humain - Ordinateur en contexte de comprovisation multimédia". Thèse, 2019. http://hdl.handle.net/1866/23595.
Pełny tekst źródłaQuestions related to the evolution of creative decision-making are discussed, in relation to technology that is becoming more and more involved. An overview of generative techniques, from its origins in music to contemporary digital arts, is then presented. Then, three works produced as part of this research-creation project are analyzed. The different tools and techniques I used in making these works are explained and commented. Verklärter Rohr is the subject of a more in-depth analysis. The comprovisational angle of my work, as well as the development of my audiovisual language as it relates to the concept of synchresis will be discussed. An analysis of Machine In The Shell explain the strategies of spatialization and writing techniques I used. The analysis of Gu(I)t(A)rs expands on the use of various technologies including Leap Motion, physical modeling synthesis and artificial intelligence.