Rozprawy doktorskie na temat „Jardins – chants et musique”
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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
Bernard, Philippe. "Cantus romanus : l'Eglise de Rome et son chant liturgique des origines à la fin du XIIIe siècle". Paris 4, 1993. http://www.theses.fr/1993PA040214.
Pełny tekst źródłaThe aim of this dissertation was to study cultural life at Rome in the middle ages, through the story of its liturgical chant. Its origins go back to late antiquity, perhaps to the “little peace of the church”, a forty-years period which preceded the persecution of Diocletian. At this time were composed the most ancient chants, that is the canticles and the tracts: the in directum psalmody. From the end of the fourth century, it became customary to add a refrain allowing the faithful to respond to the versicles sang by the soloist; responsorial psalmody took its origins during this period. Towards the end of the fifth century, a new corporation, the schola cantorum, reelaborated the chants, gave them a richer ornamentation and shortened them. The psalm in directum became the modern tract and the responsorial psalm became the modern gradual. The schola also composed new liturgical chants: the offertory and the alleluia. The roman chant was fully achieved towards the end of the seventh century. It then came into Gaul from 742 on, where it was adopted by the Frankish church. There took place a hybridation between Roman and Frankish chants. Gregorian chant is the result of this contamination. From the ninth century, it conquered the whole Europe and destructed the old Milanese, Benevento and Spanish chants
Sidibé, Fodé Moussa Balla. ""la confrerie des chasseurs bamanan : litterature et societe a travers des chants et recits de chasse"". Paris 4, 1996. http://www.theses.fr/1996PA040125.
Pełny tekst źródłaOur following work is devoted to the bilingual presentation - in bamanan and french languages - of six (6) epic tales and six (6) hymns from the traditional bamanan hunters of mali. A literary work being the reflection of its society, a brief presentation of the bamanan people is done on historical, economical and socio-cultural levels. Moreover we endeavour to bring out the literary richness and the socio-cultural fonctions of the hunters brotherhood's specific literature; underlining the religious life, beliefs and conceptions of the traditional bamanan hunter
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.
Pełny tekst źródłaThe 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
Perret, Julie. "Du projet républicain de rénovation des arts en France entre 1870 et 1914 à sa réalisation en musique : l’exemple des chants pour l’école". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040102.
Pełny tekst źródłaSince 1870, in a political and social context marked by patriotism, or even anti-Germanic nationalism, the French State felt the need to redefine the Nation and disseminate into the arts a new “esprit français” marked by the values inherited from the Revolution. The fall of the Empire and the advent of the Republicans on the political scene initiated an ideological turning point during which a project of arts renovation emerged. Its aim was to contribute to the regeneration of society and to the birth of a new citizen. By studying both the initial theoretical project, its impact on the arts and more specifically its implementation in music, this dissertation will demonstrate a certain permeability between political and administrative fields and the arts.The first part, devoted to the study of the official context of the turn of the century as well as that of the art press, will examine the project of arts renovation designed by the state. One of its main features lying in its social and political dimension, it was envisaged as a humanist mean of action to educate men and women in their daily lives. The arts would become source of social connection, fraternity and communion, whose main objective was to revive the Republican values.During the second part, we shall study the singular role of music within the project. A musical propaganda movement was indeed initiated and a “service public” of music established in order to democratize music, make its education accessible to all, and integrate it in strong unifying patriotic events. Through the institution of compulsory school throughout France, the project will also largely be realized. The analysis of significant examples of school songs will thus demonstrate how the values upheld by the Republican project also diffused into the musical language
Wartelle, Clara. "Les chants pour enfants au Japon au début du 20ème siècle : de la réception à l'affirmation d'une identité musicale". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCF001/document.
Pełny tekst źródłaChildren’s songs were a source of reflection between pedagogues, intellectuals, and musicians during a dynamic period of cultural revival and the development of media for entertainment.Introduced very early in the school system, singing practice was a source of various interests as much as an enforcement of a collective spirit or knowledge memorization. On the other hand, patriotic demonstrations during public ceremonies allowed the enforcement of national identity through singing. The Japanese musical identity raised several questions for intellectuals of the Taisho era. During that time, they were facing an acceleration of the phenomenal Westernization of Japanese society and wanted to use Japanese nursery rhymes in order to create a new repertoire.Each part of this thesis will describe and analyze nursery rhymes (warabe uta), school songs (shôka) and children songs (dôyô) that form the genre of ‘children songs’ in Japan. Through each item, I will retrace the evolution of those types of vocal pieces and describe the interactions between the repertoire of different musical eras. This will help to reveal the opposition that can be witnessed in the speech of the artistic and literary community at the time and allows a better understanding of the wider society of that period
Gagné, Anne-Catherine. "Chanter ensemble : poétique de la solidarité dans les chansons de Raymond Lévesque". Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29360/29360.pdf.
Pełny tekst źródłaPilco, Paz Enrique. "Des voix dans la pénombre : le catholicisme cuzquénien à travers les hymnes religieux en quechua : musique, religion et société dans les Andes au XXe siècle". Paris, EHESS, 2010. http://www.theses.fr/2010EHES0411.
Pełny tekst źródłaThe subject of this thesis is Cuzco's catholicisation, through the study of religious song, in Quechua's language. This repertoire is particularly associated with popular culture, first through lyrics in Quechua, but also through the influence of indigenous genres (yaravi, huayno et qashwa) on the musical content. The music, which until now, was considered "folk music", despite results of the catechization project of the Catholic church, proves to be the essence of the specific religious fervor of the Andes' catholicism. The repertoire of songs in Quechua will be analyszed from three complementarry perspectives; firstly, the interventions of the musician brotherhood in relation to the religious offerings or veladas, secondly, the clergy's intervention in the use of those songs and finally the relationship between the indigenous musical genre and the different facets of that culture. This study focuses on a musical life ethnography of the major churches of Cusco's area, viewed from the perspective of musicians. Special attention will be paid to the activities of the chapel masters, who had a key role in the musical expression of the popular fervor
Aubert, Eduardo Henrik. "Ecrire, chanter, agir : les graduels et missels notes en notation aquitaine avant 1100". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0078.
Pełny tekst źródłaMy dissertation concems the GraduaIs and Missals written in Southem France between the ninth and the eleventh centuries. Its main focus is the transformation in musical literacy from the Carolingian Renaissance to the Gregorian Reform (c. 880-c. 1090). My contention is that the leap from exclusively oral transmission to the widespread use of notated books was not an inexorable development limited to an independent realm of 'music' , but rather an index and an active agent in the radical transformation that led society to become progressively dominated by hierarchical, well defined and efficient ecclesiastical structures -part of the creation of Christendom as an over arching, all-encompassing 'cadre de vie'. The dissertation proceeds in two parts. In the first, I define the nature of this musical literacy in relation to musical practices by providing a comprehensive catalogue of sources (chapter 1), a semiological study of their notation (chapter 2) and an analysis of musical variants (chapter 3). The second part deals specific manuscripts that can explored as windows relevant contexts: the functions notation the oldest extant Gradual-Antiphonary Southern France (MS Bibliothèque Municipale, 44, chapter a scribe' s negotiation between literacy and predominantly oral experience Florence, Biblioteca Medicea-Laurenziana, Ashburnham chapter and the attempt to introduce Church reform in Toulouse London, British Library, Harley 4951, chapter 6)
Belliard, François. "Instruments, chants et performances musicales chez les Kwakum de l'arrondissement de Doume (est-Cameroun) : Etude ethnolinguistique de la conception musicale d'une population de langue bantu A91". Paris 7, 2005. http://www.theses.fr/2005PA070045.
Pełny tekst źródłaThis thesis proposes an ethnolinguistical analysis of the status and functions of music in the kwakum society of east-Cameroon. The first part presents geographically and culturally this population and gives a brief description of their language. The second part, devoted to music, gives informations about : kwakum lexicon and conceptionof music; instruments and instrumental skills; musical performances and repertories, funerals. This allows to consider certain fundamental aspects of kwakum music : the primacy of vocal music on instrumental music; the predominance of rythmic instruments on melodic instruments; the evolution of musical practices wich tend to get centered on collective performances, on a single repertoire which includes most of traditional repertoires, and on the roud dance. Beyond of music's functions, this study also reveals several characteristic socio-cultural facts like : the attachement to ancestors worship role and the symbolic role of the river; the importance of the feminine secret society which is charged to protect the village
Heau, Catherine. "Une Révolution chantée : les corridos de Zapata". Perpignan, 1986. http://www.theses.fr/1986PERP0003.
Pełny tekst źródłaCazaux, Christelle. "Le Graduel-responsorial-antiphonaire palimpseste de Turin : Paris, BnF, ms. Grec 2631 (Xe-XIe s.) : édition et commentaire". Paris, EPHE, 2006. http://www.theses.fr/2006EPHE4107.
Pełny tekst źródłaMs. Greek 2631 of the Bibliothèque nationale de France (Paris) is a Lexicon Etymologicum copied in South Italy in the 13th century which contains 48 palimpsest leaves from a notated graduale, responsoriale and antiphonale. Written for a church of the area of Turin ca. 1000, it is the earlierst example of the so-called Novalesa neumatic notation and the first liturgical source from the North of Italy including extensive musical notation. The palimpsest of Turin is an unusual document. Antiphons and responsories of the office are copied in separate codicological items and the arrangment of the series is quite unique. The sanctorale of the graduale contains only a few feasts and is completed by common masses, whereas most of the saints' masses are gathered in a table of incipits. Several votive masses and processional chants bring a lot of new compositions or rare ones. The repertory and the musical notation reveal relations not only with the Italian peninsula, but also with the North of France, the Rhône Valley, Normandy, Aquitaine and Spain. It is representative of the variety of traditions that can be found in North Italy, a region which was not only the meeting point of several influences coming from the places cited above, but also influenced some of them. The edition of the Palimpsest of Turin is provided with indexes of the chants and several tables comparing its content with various sources from the 8th to the 15th century
Geneix, Stéphanie. "Nyima me elo thatraqai haa nekönatr ngöne la qene drehu : chants et jeux chantés pour enfants en langue drhu (Iles Loyauté - Nouvelle-Calédonie) : analyse de l'expression d'un répertoire en évolution constante". Paris 4, 2008. http://www.theses.fr/2008PA040045.
Pełny tekst źródłaThis doctorante research, based on ethnographical interviews, direct and participating observations, and historiographical analysis of available archived data, does not endeavour to fossilise the oral tradition of song, but rather, in an original manner, it attempts, as holistically and scientifically as possible, to introduce a viewpoint on the current manifestations of oral sung expressions that adults intended for children on Lifou. Not specifically considering if these are lullabies, songs or play songs, the research tries to higlight the formal, melodic, rhythmic, textual and kinetic characteristics of a repertoire scrutinised under innovative and modernised procedures
Araujo, Juliana. "La voix du peuple chez Leon Hirszman ˸ des films du CPC aux courts-métrages sur la musique". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030042.
Pełny tekst źródłaThis research focus on a set of short films made by the Brazilian film maker Leon Hirszman (1937-1987). Leon is one of the members of the movement known as Cinema Novo,which appeared amongst the political and cultural efervescence of the 1960's in Brazil. Ater analysing his two first films: Pedreira de São Diogo (1962) and Maioria Absoluta (1964), we moved to five documentaries made during the period of the military dictatorship (1964 - 1985). The films are made in direct cinema about popular music. Two films are about samba: Nelson Cavaquinho (1969) and Partido Alto (1976-1982). The three other films are about work songs of the Northeast of Brazil: Cantos de Trabalho – Mutirão ; Cana de Açucar ; Cacau. The films represent about half of what the film-maker could produce during the most difficult years of a repressive regime. Besides that, these films made possible for him to reestablish contact with the poor classes of the country after the military coup had interrupted his experiences with the « cine-activisme », closing the first cicle of his career. They also represented a space of freedom for the film-maker's search for an artistic expression in tune with the popular cultural productions. In a a context in which the patrimonial services in Brazil value each time more the cultural diversity, these films that were little seen and studied until now, start to be rediscoveredby researchers and also by contemporary rt curators
Laflèche, Chrystine. "La "participation active des fidèles à la messe" : réception et mise en application par deux groupes de musiciens au Canada français (1950-1954)". Master's thesis, Université Laval, 2001. http://hdl.handle.net/20.500.11794/42789.
Pełny tekst źródłaGuillevic, Myriam. "Pièces chantées écrites en breton vannetais au début du XXème siècle : processus de traditionalisation". Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20066/document.
Pełny tekst źródłaThe study of the process of traditionalization of songs, that is to say the various steps that make the creation of an author a piece of musical heritage common to a population, is based on a corpus of two hundred and seventy songs composed in the first half of the 20th century in Brittany. At this time, a strong impetus of creation crosses the country and many authorsstrive to renew the musical heritage, especially in the country of Vannes, geographical area of this study. The first part of this thesis studies this corpus by seeking to better understand the main authors of these songs, detailing the themes they cover and the historical context in which they evolve, as well as examining the literary and musical characteristics of their songs. Then comes the question of the mediation of the songs through various means, both oral and written, and in particular the press, so that it reaches the public for whom it is intended. The second part is to observe the fate of these songs a century later. This work is based on counting and listening to numerous collections and the reading of songbooks to determine which pieces survived their creation or on the contrary have disappeared or never even existed. It aims to try to understand what criteria can explain this phenomenon. To this census is added the analysis of ten cases of study with the detailedobservation of all collected collections of these examples, completed by interviews with several singers in order to perceive their feelings by listening to these ten songs. During this work, several constants were noted that allow to better understand the different transformations that a song undergoes to become traditional. The creation of a man then becomes collective
Dubois, Paul-André. "Naissance et évolution de la musique religieuse en langue vernaculaire dans les missions amérindiennes de Nouvelle-France au cours de la première moitié du XVIIième siècle". Master's thesis, Université Laval, 1996. http://hdl.handle.net/20.500.11794/28409.
Pełny tekst źródłaKriticou, Flora. "Etude comparée de répertoires liturgiques musicaux : l'hymnaire de Laon, manuscrit 263 et ses correspondances dans les hymnaires du Nord-Est de la France". Paris, EPHE, 2004. http://www.theses.fr/2004EPHE4004.
Pełny tekst źródłaThis essay has had as a starting point the Laon, Bibliothèque 263 manuscript, which holds a hymnal in use in the cathedral of Laon. The research, afterwards, has included the hole hymnologic repertory of Laon and the one of the neighbouring cities as well. The first volume concerns a general preface in which the repertory of hymns has been examined in terms of history. The second volume concerns the manuscript on which this research has been based and the lists of hymns contained as well. The third volume concerns the music analyses of hymn melodies. The forth and fifth volume are supplements where we can find the scores of the music analyses separated in two corpora along with the indexes pertaining to the analyses
Scarcez, Alicia. "La réforme musicale de saint Bernard: ses sources et ses enjeux". Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209590.
Pełny tekst źródłaLa principale liasse d’épreuves bernardines, constituée des quelque 185 folios de l’antiphonaire 12A-B de Westmalle, constitue le socle de la thèse et la matière du tableau liturgique général présenté dans l’annexe 3. Cette table distingue les pièces de première main de celles écrites par les correcteurs bernardins. Les autres épreuves, l’antiphonaire 6 de Tamié (Savoie) et les fragments de la Fille-Dieu (Suisse), ont été reproduites dans l’annexe 2. Avec les folios de Westmalle 12A-B, elles sont les seules à conserver une part importante des mélodies originelles, à révéler les corrections et les procédures bernardines. Les analyses codicologique et paléographique des documents, mises en relation avec les données historiques, ont permis de dégager deux phases de corrections et de situer l’achèvement de la réforme bernardine, vraisemblablement à Hautcrêt vers 1143.
Le répertoire de l’hymnaire a été revu (chapitre IV) et celui de la messe, réexaminé à la lumière des reliquats du premier graduel cistercien, jusqu’ici inexploités. Ces bribes intactes ont été confrontées aux équivalents de la deuxième réforme et ouvrent (chapitre III) l’étude comparative des chants de l’office du premier et du deuxième Cîteaux (chapitres VII à X).
Au fil de l’analyse, des échantillons tirés du graduel ou de l’antiphonaire sont présentés dans les tableaux synoptiques rassemblés dans l’annexe 1. Chacun d’entre eux comprend, quand c’est possible, la première version cistercienne originelle reconstituée, la version bernardine et, selon les besoins, un panel plus ou moins important de référents grégoriens (décrits au chapitre VI), destinés à replacer chaque liturgie cistercienne dans son contexte culturel et à en établir les sources.
Ce travail tend à modifier l’image de la réforme bernardine, censée avoir appauvri la tradition grégorienne par l’application stricte des règles musicales. Elle montre que de nombreuses pièces introduites par les correcteurs sont issues de la tradition clunisienne et parfois spécifiquement de la tradition de l’abbaye de Molesme d’où sont issus les pères fondateurs de Cîteaux. Les reliquats de la liturgie molesmienne notée, reproduits en fac-similé (annexes 2) et inconnus jusqu’ici, ont permis d’établir l’existence d’une chaîne de tradition musicale reliant Molesme aux monastères de sa tradition (Montier-la-Celle et Marmoutier) ;et de faire ressortir les liens qui unissent la tradition des premiers moines blancs à de nombreuses corrections bernardines. L’examen du bréviaire Paris 3241, sorti de l’anonymat en 2007 et exploité ici pour la première fois, a en particulier permis de conclure au transfert de pièces et formulaires entiers de la tradition molesmienne vers le deuxième Cîteaux.
Bien plus que la théorie musicale, réputée si importante, mais en réalité modérément appliquée, ce sont la raison pratique, le souci de l’authenticité et de la bonne articulation du texte latin, l’esthétique et la culture mélodique du terroir bourguignon qui ont guidé les choix des réformateurs bernardins. La liturgie messine, adoptée à Cîteaux entre 1108 et 1143, était porteuse de variantes dialectales que les Bernardins ont abandonnées pour se réapproprier leur patrimoine ancestral, marqué par des segments musicaux expressifs et des idiomes caractéristiques du domaine latin.
L’interprétation musicale de spécimens du premier et du deuxième Cîteaux, mis en regard, illustre ce basculement culturel de l’ensemble liturgique « est » vers celui de l’« ouest ». La pochette musicale comprend aussi quelques unica et emprunts traditionnels ciblés qui illustrent la richesse de l’esthétique du deuxième Cîteaux.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Chedid, Youssef. "Typologie musicale de l’hymnodie syriaque de l’Église Maronite : la tradition du Père Maroun Mrad (Ordre Antonin Maronite)". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040134.
Pełny tekst źródłaThis research wants to transcribe and analyze the Syriac Hymnody of the Maronite Church in order to create a typology. The Maronite Church has conserved its musical and liturgical identity along with its communion with the Universal Church. I based my work on some recording done by Father Ivar Schmutz-Schwaller, from the University of Cologne. In his field trip to Lebanon in 1972, he recorded Father Maroun Mrad, a cantor from the Antonine Maronite Order, while he was singing capella the whole repertoire of the Syriac hymns. The methodology applied here consists in creating a diagram of musical analysis that can summarize the whole piece and simplify the analysis. In fact, each diagram contains all the degrees of the scale and determines its genre (Zalzalian, Hijaz or Diatonic). With the help of some signs, we indicate the basic notes (initial, tenor, temporary ending note and the ending note of the piece) and the number of their movements. With the help of these diagrams, we chose to consider the relation between the “tenor” of the piece and its ending note as criteria for this classification. In fact the pieces that has their tenor equal to their ending note belong to type 1. In the type 2, the interval between the tenor and the ending note is a second, in type 3 a third, in type 4 a fourth and in type 5 a fifth. This typology would help us to better classify these hymns and, furthermore, to analyze other aspects of them
Cao, Hélène. "Le tropaire-prosaire de Nevers, XIIe et XIIIe siècles (Bibliothèque nationale de France, Nouv. Acq. Lat. 3126)". Paris, EPHE, 2013. http://www.theses.fr/2013EPHE4013.
Pełny tekst źródłaThe troper-proser BnF N. A. L. 3126 was prepared in the mid-twelfth century for the monastery St. Martin of Nevers which became an Augustinian house in 1143. Two quires were added in the thirteenth century, at the top and the back of the manuscript. Since it was discovered in a private collection in the 1950s, it has interested several scholars, for it comprises a substantial number of proses and troped Ordinary chants of the second epoch, as well as four pieces associated with Abelard. Its repertory attests to connections with many traditions (in particular the cathedral St. Cyr of Nevers, South-West of France, Cluny, East, Notre-Dame de Paris and Saint-Victor). Furthermore, it is the earliest witness to several pieces and the sole witness to some proses and tropes. Our dissertation approaches the manuscript from various points of view : codicological description, study of the musical notation and liturgical assignments, structure of the manuscript. The melodies are carefully studied, for they distinguish themselves by stylistic diversity, thanks to their musical structure, modal conceiving, techniques of melodic development, style and part of their ornaments. Pieces were transcribed and compared with the versions transmitted by eight manuscripts from Nevers’ cathedral, South-West and Paris. Secondary sources were also examined, in order to state precisely some details of analysis. The purpose is to define better the influences of those traditions on the St. Martin repertory and to observe how the Augustinians of Nevers have mastered them to work out their own creations
Essele, Essele Kisito. "Continuités et innovations sonores des cérémonies funéraires des Éton du Sud-Cameroun". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100119/document.
Pełny tekst źródłaThis thesis provides a detailed description and analysis of the successive stages of present-day funeral ceremonies among the Eton of Southern Cameroon, emphasizing their sonic aspects. At the same time, it seeks to identify the role of changes introduced by colonization and evangelization, as well as more recent innovations linked to the opening of mortuary services, the development of mass-media communication and increased population mobility. Based on materials collected from 2009 to 2013, this work focuses on understanding how traditional expressions – polyrhythm, drum language and songs – coexist with imported practices – Christian songs, contemporary musical styles – in ceremonies structured by a distinctive spatio-temporal pattern, a specific distribution of roles among participants, and the recurrence of certain forms of sound-making (for example that of announcements/responses). The variety and number of sounds are indicators of the power and prestige of the lineage of the deceased; most families seek to organize “big ceremonies” where the sonic presence of the deceased and of the bereaved parents is clearly highlighted
Bouttiaux, Anne-Marie. "La danse des hommes, la jubilation des esprits: masques guro de la région de Zuenoula, Côte d'Ivoire". Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211693.
Pełny tekst źródłaBanner, Anne-Sophie. "Les jardins dans l'œuvre de Lodewijk Toeput : entre tradition flamande et culture vénitienne". Thèse, 2014. http://hdl.handle.net/1866/11579.
Pełny tekst źródłaDurant la Renaissance, les œuvres de l’artiste flamand Lodewijk Toeput, dit Lodovico Pozzoserrato, contribuent à enrichir l’iconographie et l’histoire des jardins vénitiens. Elles expriment également la tradition artistique flamande et la culture vénitienne, marquée par l’idéologie de la villa et par l’univers musical. L’union des deux cultures révèle une hybridation symptomatique des échanges culturels entre l’Italie et les Flandres pendant la seconde moitié du XVIe siècle. Ce mémoire situe les représentations de jardins et la figure de l’artiste dans le contexte historique et artistique vénitien du XVIe siècle. Il vise également à analyser les images de jardins du peintre à travers la notion de « transferts culturels » afin de souligner l’association de l’influence flamande et vénitienne. De plus, il sera question de déterminer les conséquences de cette association dans l’histoire de l’art flamande et vénitienne.
During the Renaissance, the paintings by Lodewijk Toeput, known as Lodovico Pozzoserrato, contributed to enrich the iconography and the history of Venetian gardens. The works by Toeput also combine the heritage of the Flemish artistic tradition with the Venetian culture, marked by the ideology of the villa and the musical world. By merging Flemish art with Venetian culture, Toeput creates a hybridization symptomatic of cultural exchanges between Italy and Flanders during the second half of the 16th century. This master’s thesis situates the representations of gardens and the personality of the artist within the Venetian historical and artistic context in the 16th century. In addition, this master’s thesis also aims to analyze the painter’s images of gardens through the concept of “cultural transfer” in order to emphasize the combination of Flemish and Venetian influences. This paper will also determine the consequences of this union in the history of the Flemish and Venetian art.
Bucionis, Vytautas. "Composition avec la modalité multicyclique". Thesis, 2019. http://hdl.handle.net/1866/24535.
Pełny tekst źródłaThis memoir elaborates on the outcome of my work during my master's degree in the instrumental composition program of Université de Montréal. It begins with a presentation of my poetic approach towards composition, where experiences of landscapes and happenings within them are illustrated through musical devices. What follows is a discussion of all methods I apply to harness the power of intervals to create these experiences. A significant chapter will be devoted to a rather intervallic approach towards modality in the form of multicyclical modes, as most of my work of this master's degree focuses on development of their use. The next chapter focus on all my explorations outside the modal structures, which are at earlier stages of development but have already given me solutions to procedures that are less applicable in a strictly modal context. That includes the treatment of cells, working with just pure intervals and integration of colours derived from the folk traditions of Eastern Europe, more specifically the Balkans. Finally, there will be a chapter that analyzes every individual work included here while digging deeper into the extra-musical imagination behind every work, determining its form and the character of all the sections including the mode of choice if there is one.