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Artykuły w czasopismach na temat "Musique spatiale"
Bouscant, Liouba. "L’« Union sacrée » esthétique dans La Musique pendant la guerre. Trêve des débats pour la refondation du projet national". Revue musicale OICRM 4, nr 2 (8.02.2018): 58–74. http://dx.doi.org/10.7202/1043220ar.
Pełny tekst źródłaBarthel-Calvet, Anne-Sylvie. "De l’ubiquité poïétique dans l’oeuvre de Iannis Xenakis — Espace, Temps, Musique, Architecture". Articles 29, nr 2 (23.11.2010): 9–51. http://dx.doi.org/10.7202/1000038ar.
Pełny tekst źródłaSevin, Jean-Christophe. "Modes d’affiliations versus dynamique des scènes. Le cas de la musique techno en France". Cahiers de recherche sociologique, nr 57 (24.02.2016): 79–95. http://dx.doi.org/10.7202/1035276ar.
Pełny tekst źródłaHarley, Maria. "Musique, espace et spatialisation". Espace Xenakis 5, nr 2 (5.02.2010): 9–20. http://dx.doi.org/10.7202/902104ar.
Pełny tekst źródłaSTEVENS, BLAKE. "Transpositions of Spectacle and Time: The Entr'acte in theTragédie en musique". Eighteenth Century Music 11, nr 1 (3.02.2014): 11–29. http://dx.doi.org/10.1017/s1478570613000353.
Pełny tekst źródłaLelong, Guy. "Musique in situ1". Circuit 17, nr 3 (28.02.2008): 11–20. http://dx.doi.org/10.7202/017585ar.
Pełny tekst źródłaVidal, Jean-Pierre. "La jeune fille est la mort ou les trois temps d’une séduction". Articles 20, nr 2 (9.07.2008): 26–31. http://dx.doi.org/10.7202/018330ar.
Pełny tekst źródłaJaccard, Jean-Philippe. "Велемир i -поэт становлянин". Modernités Russes 8, nr 1 (2009): 437–48. http://dx.doi.org/10.3406/modru.2009.1481.
Pełny tekst źródłaCarpentier, Thibaut, Natasha Barrett, Rama Gottfried i Markus Noisternig. "Holophonic Sound in IRCAM's Concert Hall: Technological and Aesthetic Practices". Computer Music Journal 40, nr 4 (grudzień 2016): 14–34. http://dx.doi.org/10.1162/comj_a_00383.
Pełny tekst źródłaLheureux-Davidse, Chantal. "Traces de mouvement et constitution de l’espace". Enfances & Psy N° 98, nr 4 (7.12.2023): 65–77. http://dx.doi.org/10.3917/ep.098.0065.
Pełny tekst źródłaRozprawy doktorskie na temat "Musique spatiale"
Crawshaw, Alexis Story. "La musique électro-Somesthésique : approches spatiales, théorisation et expérimentations créatives". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080074.
Pełny tekst źródłaThis work of research proposes the idea of electro-somaesthetic music (ESM). We define it as a computer music that targets somatosensation for artistic and musical ends. ESM engages the non-cochlear somatic senses sensitive to mechanical waves. We propose that the somatosensory experience of space is qualitatively distinct from other senses. These sensations operate at high resolution within our intimate space: across our bodily threshold and even within the interior space of our bodies. These subtleties offer a novel artistic terrain for exploration. However, its potential spatial considerations are complex, and these can lend themselves to confusion. As such, to better appreciate their relationships and experiment with compositional ideas, we advance some theoretical considerations with several technical and artistic proofs of concept. In the first part, we address the conceptual space of ESM spatial expression. We examine the relationships among the levels of the perceiver, the content, and the environment. In the second part, we elaborate upon the matrix of possibilities regarding computational spatial rendering: three principal paradigms of spatial manipulation—physical (via acoustics), virtual (via computation), perceptual (via non-evident spatial illusions)—that transpire through two lenses: where sonic events are relative to the level of the body (egocentric) or where they are relative to the environment external to the body (allocentric). Together, these theoretical cells form a promising creative space and our practical experimentations explore paths forward toward future investigations
Iliescu, Mihu Coriola. "Musical et extramusical : éléments de pensée spatiale dans l'oeuvre de Iannis Xenakis". Paris 1, 1996. http://www.theses.fr/1996PA010627.
Pełny tekst źródłaOne important aspect of Xenakis's originality lies in his manner of conceiving music as space, as an outside-of-time structure referring to a metamusic. Ancient greek thinking, on the one hand, and modern scientific formulae and hypotheses, on the other hand, provide him the theoretical basis to a multifaceted concept of musical space. Different personae express themselves through it : the mathematician who geometrizes and the architect who draws, the philosopher and the fighter, the demiurge and the artisan. Xenakis the composer, inventor of sonic morphologies like the glissandi, the sound-masses and the arborescences, sums up these figures but also surpass them as he reaches through his music a verity unattainable by any metamusic
Meric, Renaud. "L' appréhension spatiale de l'écoute : un mouvement entre imagination et perception. L'exemple de la musique électroacoustique". Montpellier 3, 2009. http://www.biu-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2009MON30063.
Pełny tekst źródłaThe notion of space became crucial in the music of the 20th century and more specifically in the electroacoustic music. By taking account of the idea of grasp of listening, we want to find a link between body, space, listening and sound: we are here based in particular on the idea of “flesh”, developed by the philosopher Maurice Merleau-Ponty in his last works and on the concept of “enaction” introduced by the neurobiologist Francisco J. Varela. In this way, the listening can be defined as the grasp gesture as well as what is grasped (sounds): then, the grasped space becomes a complex movement where the grasp gestures and the movements peculiar to the sound interweave and merge themselves. The sound, grasped in space, can be thus considered as a moving, ephemeral and complex phenomenon, constantly set between imagination and perception. The electroacoustic and computer musics, in correlation with their researches on sound space, have nurtured this evanescent aspect of sound. To illustrate that, we finish our thesis by analyzing the composers’ electroacoustic music works who, each one in his own way, has attached an importance to sound space: Concret PH by Iannis Xenakis, Paysage, personnage, nuage by François Bayle, Gymel by Horacio Vaggione and Audible ecosystemics 3a, background noise study by Agostino Di Scipio
Guilbert, Alma. "Evaluation et prise en charge du syndrome de négligence spatiale unilatérale : apports de la modalité auditive et de la musique". Thesis, Lille 3, 2016. http://www.theses.fr/2016LIL30033/document.
Pełny tekst źródłaThe aim of this thesis was to focus on hearing in the evaluation and the rehabilitation of unilateral spatial neglect (USN) syndrome. USN not only affects the visual, but also the auditory modality. The first hypothesis of this thesis was that, due to the specificities of each modality, differences exist between the auditory and visual symptoms of USN. Consequently, the second hypothesis was that the specificities of the auditory modality could permit to compensate the attentional deficits that occur in the visual modality and, thus, make this modality an efficient tool for the rehabilitation. Concerning the evaluation of the auditory symptoms, orienting attention mechanisms in the auditory modality as well as sound lateralisation were explored with patients with USN. These studies showed patients with USN to have difficulties in both. Concerning the rehabilitation, the place of hearing, and in particular of music, in the re-educations in patients with USN was explored. Finally, a program based on music practice was developed and tested with a patient with a chronic USN. This patient showed long-term benefits on USN visual signs and also on daily activities. The results of these studies are consistent with the hypotheses and underline the importance of considering hearing in clinical practice either for the USN evaluation or for its rehabilitation
Pires, Isabel Maria Antunes. "La notion d'espace dans la création musicale : idées, concepts et attributions : une réflexion à propos d'"espaces" intentionnellement perçus ou composés de l'"entité sonore"". Paris 8, 2007. http://octaviana.fr/document/133290859#?c=0&m=0&s=0&cv=0.
Pełny tekst źródłaOur research presents some ideas about composing musical spaces. This study includes the intentional use of the perceived sound qualities in sound construction, and, by the consequence, in musical composition. Our research is in the intersection between the sound as a physical phenomenon, the spatial sensations created by the auditory perception of some sound proprieties, and the musical composition of sound spaces. We develop the idea of a sound entity that we can compose from its microstructure to the macrostructure. We conceive it by means of an analogical thinking about the tangible world objects and the auditory sound sensations. We consider the ideas of volume, form and matter, positions and movements of the material objects. We used these ideas as metaphor to conceive sound entities integrated into and musical composed spaces. The conception of the sound entity as a group of heteroclite elements ; il make possible the conception of operational networks. The composer can use these networks for sound manipulations in his compositional work
Pires, Isabel Maria Antunes Vaggione Horacio. "La notion d'espace dans la création musicale". Saint-Denis : Université de Paris 8, 2009. http://www.bu.univ-paris8.fr/web/collections/theses/AntunesPiresThese.pdf.
Pełny tekst źródłaGoré, Olivier. "L'inscription territoriale de la musique traditionnelle en Bretagne". Phd thesis, Université Rennes 2, 2004. http://tel.archives-ouvertes.fr/tel-00008987.
Pełny tekst źródłaColafrancesco, Julien. "Spatialisation de sources auditives étendues : applications musicales avec la bibliothèque HOA". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080092.
Pełny tekst źródłaMainstream spatialization techniques are often oriented towards the reproduction of point sources; extension remains a relatively unexplored topic. This thesis advocates that extended sources are yet expressive objects that could contribute to the richness of spatialization practices, especially in the field of music. We’ll decompose this thesis in three hypotheses. A perceptive one, who postulates that extended sources are perceptually relevant, i.e., that they offer the possibility of varying new sound attributes and that the listener is sensitive to these variations. An analytical one, who proposes that the most common spatialization techniques focus to point sources is arbitrary and that other source’s models can be considered. And an operational one, who suggests that it’s possible to create tools for composers so they can handle and musicalize extended objects. To confirm these hypotheses, we’ll formalize the auditory and musical properties of extended sources and we’ll propose concrete methods for their analysis and synthesis. This work will be considered as part of the HOA library, a set of low-level spatialization tools we’ve founded for the purpose of experimentation. We’ll describe the specificities of this library and see how its architecture and its different modules allow the generalization of ambisonics to new practices away of punctuality
Lessard, Andrée. "Les effets de deux programmes sur le développement d'habiletés de lecture, de musique et de mémoire chez des élèves de 2e année du primaire au Québec". Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/22795.
Pełny tekst źródłaLidji, Pascale. "Musique et langage : spécificités, interactions et associations spatiales". Thèse, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/1866/6347.
Pełny tekst źródłaKsiążki na temat "Musique spatiale"
Automated Mapping/Facilities Management/GIS European Conference (9th 1993 Strasbourg, France). Spatial management in a Europe without borders: Proceedings : October 13-15, 1993, Strasbourg, France, Palais de la musique et des congre̓ss = Gestion de l'espace dans une Europe san frontières. [Basel, Switzerland]: AM/FM International European Division, Geographic Information Systems, 1993.
Znajdź pełny tekst źródłaSchiff, David. Back to Modernism. Back to Futurism. Back to New York (1948–1975). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0007.
Pełny tekst źródłaSpatial management in a Europe without borders: Proceedings : October 13-15, 1993, Strasbourg, France, Palais de la musique et des congress = Gestion de l'espace dans une Europe san frontieres. AM/FM International European Division, Geographic Information Systems, 1993.
Znajdź pełny tekst źródłaCzęści książek na temat "Musique spatiale"
Grigorescu, Elena-Daniela. "Musique et représentation romanesque de la métamorphose spatiale". W L’esprit des lieux, 87–94. Presses Universitaires de Bordeaux, 2012. http://dx.doi.org/10.4000/books.pub.23043.
Pełny tekst źródłaBattier, Marc. "Recent Discoveries in the Spatial Thought of Early Musique concrète". W Kompositionen für hörbaren Raum, 123–36. transcript Verlag, 2015. http://dx.doi.org/10.1515/9783839430767-007.
Pełny tekst źródłaMendez, Matthew. "Hugues Dufourt’s Epistemology of Fields, vis-à-vis Varèse and Bachelard". W The Oxford Handbook of Spectral Music, C58.P1—C58.N137. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190633547.013.58.
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