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Artykuły w czasopismach na temat "Jardins – chants et musique"
Lorent, Catherine. "Paysages et jardins méditerranéens dans la musique". Horizons Maghrébins - Le droit à la mémoire 45, nr 1 (2001): 50–55. http://dx.doi.org/10.3406/horma.2001.1982.
Pełny tekst źródłaHauser, Michael, Ramon Pelinski i Christian Leden. "Musique et chants Inuit: Eskimo Point et Rankin Inlet". Yearbook for Traditional Music 24 (1992): 179. http://dx.doi.org/10.2307/768501.
Pełny tekst źródłaKnight, Roderic C., Les Freres Coulibaly i Gerard Suter. "Anka Dia. Musique et chants du Burkina Faso". Ethnomusicology 38, nr 3 (1994): 557. http://dx.doi.org/10.2307/852131.
Pełny tekst źródłaBaridon, Michel. "Imaginaire scientifique et naissance d’une tradition : la géométrisation des jardins (1500-1700)". Recherches anglaises et nord-américaines 29, nr 1 (1996): 9–28. http://dx.doi.org/10.3406/ranam.1996.1304.
Pełny tekst źródłaBlanchet, Pascal. "Chants de femmes triomphantes". Revue musicale OICRM 3, nr 2 (6.06.2019): 38–54. http://dx.doi.org/10.7202/1060106ar.
Pełny tekst źródłaLemaire, Marianne. "Chants de l'agôn, chants du labeur : travail, musique et rivalité en pays sénoufo (Côte d'Ivoire)". Journal des africanistes 69, nr 2 (1999): 35–66. http://dx.doi.org/10.3406/jafr.1999.1208.
Pełny tekst źródłaNtahomvukiye, Ariel Fabrice. "Burundi, des gospels dans la guerre : lieu de mémoire invisible ou signe de mauvais augure ?" Varia 1 (2020): 121–40. http://dx.doi.org/10.4000/11ta5.
Pełny tekst źródłaLoisel, Gaëlle. "« Avant d’écrire, chaque peuple a chanté » : penser les relations entre poésie, musique et histoire à l’âge romantique". Romantisme 200, nr 2 (15.06.2023): 94–103. http://dx.doi.org/10.3917/rom.200.0094.
Pełny tekst źródłaNakayama, Tomoko. "Le vaudeville des chants patriotiques dans La fille soldat de Desfontaines". Voix Plurielles 14, nr 2 (9.12.2017): 19–34. http://dx.doi.org/10.26522/vp.v14i2.1638.
Pełny tekst źródłaNeiss, Benoît. "Bosco et la musiqueTombeau d’un artiste à la double compétence". Relire Henri Bosco aujourd'hui 88 (2023): 43–50. http://dx.doi.org/10.4000/121z5.
Pełny tekst źródłaRozprawy doktorskie na temat "Jardins – chants et musique"
Da, Lage-Py Emilie. "Des chants au Monde : l'authenticité musicale, réseaux, dispositifs et médiations". Paris 8, 2000. http://www.theses.fr/2000PA081655.
Pełny tekst źródłaDuring, Jean. "Musique et mystique en iran". Université Marc Bloch (Strasbourg) (1971-2008), 1986. http://www.theses.fr/1986STR20048.
Pełny tekst źródłaThe first chapter presents the principles of the sama', mystical audition of the sufis, leading to ecstasy, through the classical works of sufism. It is followed by 5 chapters presenting different musical traditions of iran related to sufism or mysticism ('erfan). The guati ritual of baluchistan is a synthesis of chamanistic, animist and popular sufi (qalandari) influences. It consiste in a kind of musicotherapy inducing trance, which may correspond to this "sama' of vulgus pecum" condamned by sufi authors. The sufi songs of the cheshti order of baluchistan are of a much different kind. They deal with simple melodic structures and rythmic patterns which enhance a semi-classical mystic and lyric poetry. The zekr-ceremony of the kurdish qaderi dervishes is a organisation of a space and time archetype, corresponding to their sac red representation of the world. In these correspondances, music hold an essentiel position and is the suport of super-natural phenomena related to ecstatic states. The kurdish dervishes of the ahl-e haqq sect reserve an outstanding place to sacred music. It may reach a high level of sophistication and refinement, wich make it really "esoteric", in its form as well as in its purpose. The "imaginal" universe evoked by the texts of the songs (kalam) strengthes the effect of music. This effect is also in relation to charismatic elements associated to the personality of some performers. Persian art music is also deeply marked by mysticism ('erfan) but in a non-direct or implicit way, since esthetic and ethic are closely linked. Its estheticals principles are to be related to those of persian metaphysic of "mundus imaginalis"
Kvist, Dahlstedt Barbro. "Suomis sång : kollektiva identiteter i den finska studentsången 1819-1917 /". Göteborg : Göteborgs Universitet, 2001. http://catalogue.bnf.fr/ark:/12148/cb41068094z.
Pełny tekst źródłaNoiret, François. "Les chants "zafindraony" du Sud-Betsileo (Madagascar)". Paris, INALCO, 1994. http://www.theses.fr/1994INAL0004.
Pełny tekst źródłaThe region of Betsileo is famous throughout the island of Madagascar for its Zafindraony songs. These christian songs, a creation of the people which arise without clerical control, reflect the cultural and social history of the region during the last century. The thesis dedicates, to begin with, five chapters to the history of the genre zafindraony : to its birth (I), to its performance today (II), to its place in Betsileo literature whence it has emerged (III), to its complex position within a bi-polarised society (IV and V). The second part, a literary analysis examines 180 songs gleaned from their context. The approach is in part ethnological, in part literary, the performance of the songs allowing the effect of their oral nature to be grasped. The corpus is arranged according to the citerea : oral (traditional) and written (imported). Whilst protestantism, attached to the written word, rejects narrativity in favour of prayer and wisdom, the action of a few jesuit missionaries (H. Dubois) has released amongst the catholics a powerful current of creation of song tales (above a biblical) in which the oral character seeks to reemerge, particularly in songs of the death and resurrection of the great hero Rajeso (Jesus). The common inspiration of these tantara (stories) is the strength of the aina, the malagasy life-force current that is expressed in the emulation of rival groups, the alternation of choirs and of voices, the theme of the stories (the reversal of a situation, sacrifices, fights) and the circumstances of their performance (song competitions, evening gatherings, funerals). All these together have as their end the anatra, the advice, in which the traditional objectives of malagasy wisdom : the socio-cosmic integration of the individual and the maintenance of social cohesion (fihavanana), are expressed in christian terms. An authentically malagasy fruit of the meeting of cultures, these songs show that in Betsileo "to sing is to conquer death. "
Coyault, Bernard. "Figures prophétiques et chants révélés dans le réveil évangélique du Congo". Paris, EHESS, 2015. http://www.theses.fr/2015EHES0664.
Pełny tekst źródłaDaniel Ndoundou (1911-1986), a littleknown Congolese prophet and pastor of Evangelical Church of Congo, ran a popular movement whose impact went far beyond the scope of his church over a period of 38 years. This "1947 Revival" (or nsikumusu), which had started among the students, both pastors and teachers, of Ngouedi's missionary station in the south of Congo Brazzaville is part of the legacy of Kongo Prophetism. At the death of the prophet, the movement was left without a successor which led to its partitioning with the emergence and multiplication of local and anonymous prophetic figures. Until today, they reproduce and enrich the initial prophetic matrix. Their therapeutic and visionary activity is conducted within "specialized groups" within the parishes, under the control of the pastors, but also in private therapeutic centers called bizinga, outside the control of the church. The kilombo choirs where "revealed songs" are interpreted is one of the original features and the identity marker of the movements as are the big "spiritual retreats" attended by thousands of participants. The thesis traces the history of Nsikumsu by showing the key role of these local prophetesses and prophets in the construction of a hybrid religious proposal where the prophetic effervescence and unexpectedness combine with the Protestant doctrinal tradition inherited from missions. Faced with the dynamism of Pentecostal and Charismatic Churches, the prophets of nsikumusu attract new audiences in search of meaning and healing and build an identity link connecting the believers to a prophetic tradition both ancient and renewing
Despringre, André-Marie. "Chants de fêtes des villes et villages du Westhoek français : étude des rites et de la musique". Paris 5, 1985. http://www.theses.fr/1985PA05H069.
Pełny tekst źródłaLe, Gonidec Marie-Barbara. "Le beau berger et sa flute de miel : les instruments de musique pastoraux dans les chants traditionnels bulgares". Paris 10, 1997. http://www.theses.fr/1997PA100139.
Pełny tekst źródłaIn a first pan, this work presents the organology of bulgarian flutes, bag, pipes and bells. In a second part, it deals with a corpus of 388 folk-songs witch mention those instruments. Once their organological characteristics and the modalities of their occurrences in the texts have been established, the instruments are analysed in the light of their symbolical meanings. The flutes are mentioned most often. Though the bulgarians also use duct flutes, only those with rim-blown are mentioned : for ex. The kaval, whose timbre is often compared to human voice because of the specific way it is blown into. Since numerous songs bring to the fore the flute's role of communication (traditionally used to direct the flock, using the animal's conditioned reflexes), this choice reveals a relationship between the morphology of the flute's mouth and the part played by the instrument. Moreover, because of the link between breath and voice, the flute gives the shepherd the positive qualities universally attributed to breath. Thus the flute, endowed with the creative properties of the breath of live, symbolizes the phallus. On the other hand, the pastoral characteristic of the bag-pipe is never made to appear. The instrument doubly represents marriage : because it ritualizes a couple's union by publicly leading the wedding procession, and because the blown bag suggest the deflowered woman's belly. Following the way bells are used, the songs show a link between man and the animals : a direct link (the animal bearing a bell has a voice and speaks to the shepherd) or an indirect one (richly adorned, the animal is a display). Studying the songs is an efficient way of understanding the representation in witch musical instruments have a place
Burnea, Volvoreanu Ramona-Mariela. "Étude comparative des pratiques poétiques dans les chants traditionnels roumains et corses". Thesis, Corte, 2020. http://www.theses.fr/2020CORT0010.
Pełny tekst źródłaOur study aims at comparing the doïna and the cantu corsu, traditional songs that deal with universal themes such as love, nostalgia, work, social oppression or death in both agro-pastoral societies.Thanks to the work of contemporary researchers involved in the preservation of these creations and their cultural value, the cantu in paghjella like the doïna became part of the intangible heritage of UNESCO in 2009.The multiple forms of Corsican singing (polyphonic and monodic) cover all aspects of life. From our point of view, the cantu in paghjella can be characterized in particular by the fact that it is sung a capella by men while the doïna is a monody performed in solitude by men and women.Through this study, we highlight similarities and differences, convergences and divergences between these two types of songs.Today we note that the Corsican song constitutes a way of preserving and transmitting the Corsican language or favors the chest voice. We also notice that in Corsica, the universe of death has a more important place than in the Romanian song. These aspects are among the most significant differences.Regarding similarities and in addition to the common themes, let us note that these two types of songs are practiced in isolated territories (geographically for Corsica and linguistically for Romania). For millennia, songs from different regions and dialects have been passed on with the help of transhumant shepherds, with music and lyrics always being transmitted simultaneously. Today and for several reasons (rural exodus or media coverage sometimes disconnected from the context), authentic singing risks disappearing without the implementation of a real process of heritage development
Rantières, Frédéric. "La performativité du chant liturgique carolingien dans les sources philosophiques, liturgiques et didactiques : les pouvoirs affectifs et symboliques de la voix". Paris, EPHE, 2014. http://www.theses.fr/2014EPHE5007.
Pełny tekst źródłaShared between several fields of competence, the historiography on Gregorian chant underlines, in a heterogeneous manner, the question of its puissance. Writers over time have focused on different aspects such as the liturgy, music philosophy or theory, anthropology of religions, chant practise and its scientific publishing. Because of this, the scientific corpus provides a fragmented vision, not permitting a clear and homogeneous understanding of the phenomenon of liturgical chant operating inside the medieval context. A thorough study of the performativity of Gregorian chant according to the Carolingian sources appears necessary to understand the notion of the puissance invested in liturgical chant as described by the philosophes, liturgists, theorists and pedagogues from this period. The study of manuscript Carolingian traditions relative to liturgical chant allows to distinguish between three schools of thought, each with their own reflexions corresponding to distinct finalities. Historically, the first, which emerges from the reflexion on Gregorian chant, is based on the six books of the De musica by Augustine (354-430). The second school of thought arising from the study of texts on Gregorian chant is related to hermeneutic literature on liturgy. The third school of thought emerges at the beginning of the Carolingian period with the birth of the first didactic treatises on liturgical chant in the manuscript tradition
Rollin, Vincent. "Rendre les derniers devoirs en musique : Rituels, chants et pompe musicale des cérémonies funèbres catholiques à Paris sous le régime concordataire". Thesis, Saint-Etienne, 2015. http://www.theses.fr/2015STET2210/document.
Pełny tekst źródłaThis thesis studies the motivations, practices and repertories of chant and music used in catholic funeral ceremonies at Paris under the Concordat (1802-1905). The singing and musical solemnization of, added to and during the Mass of the Dead (plain chant, false bourdon, counterpoint, music) is analyzed for its scopes of organization and production : on the one hand the texts and rubrics of the rituals, ceremonies, prayers and chants of the liturgical books (roman and parisian rites) ; on the other hand the legislation, economy and administration of the funeral mass the official fees regulation of “pompes funèbres” fees and parishes. Then the making of the extraordinary musical “pompe” is studied by means of four particular cases : the involvement of the soldiers in and ex ecclesia (military honours and music) ; official and national funeral ceremonies, with their financing, symbolic system, places and official musical repertories ; the mournings of the musical community, involving not only a voluntary summoning up of musicians, singular choices for the musical program, but also a funeral discourse through music
Książki na temat "Jardins – chants et musique"
Laffage, Antonin. La musique arabe : ses chants et ses instruments. Liban, Beyrouth: Distributeur: Dār wa Maktabat al-Hilāl, 2006.
Znajdź pełny tekst źródłaMamy, Sylvie. L' allée de Mélisande: Les jardins et la musique. Paris: L'Harmattan, 2004.
Znajdź pełny tekst źródłaOlsen, Miriam Rovsing. Chants et danses de l'Atlas: (Maroc). [Arles]: Cité de la musique/Actes sud, 1997.
Znajdź pełny tekst źródłaRivard, Laurent Edouard, né 1832., red. Chants évangéliques pour le culte public et l'édification particulière: Avec musique à quatre parties. Montréal: musique, 1997.
Znajdź pełny tekst źródłaWilliam, Kehoe, red. The London disaster: The following lines were composed br [sic] Blind Bill, the Fiddler, well known over the Dominion of Canada, on the wreck of the Victoria ... [S.l: s.n., 1986.
Znajdź pełny tekst źródłaMcKillop, A. Campaign songs. [S.l: s.n., 1985.
Znajdź pełny tekst źródłaConnors, Stompin' Tom. My stompin' grounds-- and four other songs. Toronto: Doubleday Canada, 1992.
Znajdź pełny tekst źródłaRanger, B. Une tarte au grenier, ou, En roulant la boule à mouman: Air des plus connus : réflexions folâtres sur l'imbroglio Tarte-Grenier. Montréal: Dépôt central, 1993.
Znajdź pełny tekst źródłaLyman, Benjamin Smith. Bourinot coal claims and lands, Cape Breton. [New York?: s.n.], 1987.
Znajdź pełny tekst źródłaRouget, Gilbert. Un roi africain et sa musique de cour: Chants et danses du palais à Porto-Novo sous le règne de Gbèfa (1948-1976). Paris: CNRS, 1995.
Znajdź pełny tekst źródłaCzęści książek na temat "Jardins – chants et musique"
GENEIX-RABAULT, Stéphanie. "A travers chants". W Langues chantées / Cultures mises en musique, 43–56. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.5431.
Pełny tekst źródła"Chants des Traditions Judéo-chrétiennes". W Sur le culte divin et la musique, 685–87. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.elsem-eb.5.119041.
Pełny tekst źródłaTESTARD, Emilie. "Les chants de bateliers". W Langues chantées / Cultures mises en musique, 135–48. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.5441.
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