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Artykuły w czasopismach na temat "Percussion et musique électronique"
Leroux, Robert. "Chronique des disques québécois". Rubriques 3, nr 1 (4.02.2010): 97–99. http://dx.doi.org/10.7202/902040ar.
Pełny tekst źródłaRieppi, Thomas. "iReal Pro. Un outil technologique utilisé à des fins didactiques pour soutenir les recommandations de la recherche scientifique dans l’enseignement instrumental". Revue musicale OICRM 4, nr 1 (26.06.2017): 150–58. http://dx.doi.org/10.7202/1040303ar.
Pełny tekst źródłaRozprawy doktorskie na temat "Percussion et musique électronique"
Zhang, Boyu. "Mathematical rhythmic structure of Chinese percussion music : an analytical study of Shifan Luogu collections /". Turku : Turun Yliopisto, 1997. http://catalogue.bnf.fr/ark:/12148/cb38877189v.
Pełny tekst źródłaSauvanet, Pierre. "Le rythme et la raison : une approche philosophique des phénomènes rythmiques". Dijon, 1996. http://www.theses.fr/1996DIJOL018.
Pełny tekst źródłaThis work originates from the possible connections between music and philosophy as far as rhythm is concerned (Plato, Nietzsche, Bachelard. . . ) - and not only melody or harmony, as in the age of enlightenment (the Rousseau-Rameau quarrel). What does such a move involve : towards the body, the difference, the essence of time? Then the problem of the connections between rhythm and reason rises : how is rhythm stirring? How do the biological and the cultural, the spatial and the temporal interact? Generally speaking, can a rhythmical phenomenon be accounted for? And how? Thus, much more than a mere musical phenomenon must be meant by the words "rhythmical phenomenon". Contrary to melody or harmony, rhythm or at least a certain form of rhythm - is present in aesthetic as well as biological and even cosmological fields. Between science and art, we are still looking for the reason why we call "rhythm" so many phenomena so different from one to another, avoiding both reductionnism (H. Meschonnic's critique du rythme) and panrhythmism. In "rhythmologics" (tome 1), the first three chapters - etymology (rhuthmos), typology, phenomenology - deal with three "epistemological obstacles" to a comprehension of rhythm, before proposing a terminology
Jedrzejewski, Florent. "Le son dans le son : les percussions dans la musique spectrale". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC012/document.
Pełny tekst źródłaAlthough the musical style called « spectral » is the source of much research, it appears that the percussion family holds in it a special place that has been too little studied. Developments in disciplines such as organology, anthropology or ethnomusicology contributed to the inclusion of many new percussion instruments in the vocabulary of composers. If one notice that the spectra provided by the percussion often serve to dial tone, it is the interest towards perception that pushes composers to consider the overall sound of pieces through memory and threshold phenomena. This brings a new way to craft sounds from some unusually highlighted characteristics such as density, frequency range, roughness, or granulation. Percussion appear as immediate expression vectors to composers and performers, and the spectral movement seems to benefit from this exploration of sound, made possible by the diversity inherent to percussion alloys spectra
Pindard, Marie-Françoise. "Les rythmes fondamentaux de la musique traditionnelle créole de Guyane : signes, symboles et representations d'un fait social total original". Thesis, Antilles, 2016. http://www.theses.fr/2016ANTI0109/document.
Pełny tekst źródłaThe main topic of this research is the traditional music of the Creoles, in French Guiana, a product of a unique historical, sociological and cultural context, cement of the creole identity. The cultures of the first inhabitants, the Amerindians, that of the French colonists and that of the African slaves are the cement of the creole society of French Guiana, and with it, of the underlying cultures and traditions, such as the traditional music and its six main rhythms: the grajé, the léròl, the grajévals, the béliya, the kanmougwé and the kasékò. The performances, either vocal, through a repertoire of songs in creole, or instrumental, accompanied mainly by drums, show the reality of this original and social fact, attested to by writings since the eighteenth century. The researcher shows the role of the soloist tanbou koupé, the tanbou foulé supreme guide accompanying instruments, and tanbou plonbé, the metronome drum, which is taught by the Gangan (the elderly), traditional groups and music schools. Despite the European, US and Caribbean musical contributions, the traditional Creole music of French Guiana keeps its authenticity, it is renewed thanks to a young population, and it is the basis for new musical compositions
Thomas, Olivier. "Analyse et modélisation de vibrations non-linéaires de milieux minces élastiques - Application aux instruments de percussion". Phd thesis, Université Pierre et Marie Curie - Paris VI, 2001. http://tel.archives-ouvertes.fr/tel-00005656.
Pełny tekst źródłaPerron, Alain. "Duo concertant ; : Dorléac ; Relevés no. 7 ; Séquences voilées ; Double éclat : œuvres musicales". Master's thesis, Université Laval, 1992. http://hdl.handle.net/20.500.11794/28621.
Pełny tekst źródłaCayer, Daniel. "Identification des facteurs qui influencent le développement de la lecture à vue aux claviers de percussion chez les élèves du secondaire, selon les auteurs qui ont abordé cette question dans la littérature récente". Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25156/25156.pdf.
Pełny tekst źródłaGiguère, Patrick. "La gestion du timbre comme genèse à la création de trois oeuvres musicales originales". Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30136/30136.pdf.
Pełny tekst źródłaKorth, Arnaud. "Les timbres percussifs comme source d'inspiration à la composition de trois oeuvres". Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/27570.
Pełny tekst źródłaThis master’s thesis examines three of my recent instrumental compositions that use percussive timbres as inspiration. These three pieces are: 1. Et pourtant elle tourne ! for string quartet; 2. Obsession for mezzo-soprano, flute, clarinet, vibraphone, piano, violin and violoncello; 3. Au bord de l’eau for orchestra. This thesis presents my reflections on the parameter of timbre as a mean of strengthening the cohesion of the musical discourse. More specifically, this thesis explores how to generate percussive timbres by non-percussion instruments, as well as non-percussive timbres by percussion instruments, in the context of a coherent and interesting musical discourse. Following an introduction where the origins, objectives and theoretical framework of this creative project are presented, the first chapter lays out my preparatory research, outlining the history of the evolution of timbre and the role of percussion instruments in Western music, as well as building a system to identify and qualify sounds for their percussive qualities. In the second chapter, the pieces are examined and examples are provided. These examinations illustrate how percussive and non-percussive timbres were used. The conclusion discusses the impacts of this creative project on my musical language and future works.
Tarazona, Francia Federico Octavio. "Le hatun charango et la culture andine dans trois de mes compositions récentes". Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30115/30115.pdf.
Pełny tekst źródłaKsiążki na temat "Percussion et musique électronique"
François, Jean Charles. Percussion et musique contemporaine. Paris: Klincksieck, 1991.
Znajdź pełny tekst źródłaBouasse, H. Acoustique : cordes et membranes: Instruments de musique à cordes et à membranes. Paris: A. Blanchard, 1987.
Znajdź pełny tekst źródłaEducation, Alberta Alberta. Guide d'enseignement: Musique instrumentale 10-20-30, instruments á vent et á percussion. Edmonton, Alta: Alberta Education, Language Services Branch, 1995.
Znajdź pełny tekst źródłaSchmid, Will. World music drumming: A cross-cultural curriculum. Milwaukee, WI: Hal Leonard, 1998.
Znajdź pełny tekst źródłaCarlos, Moreira Antonio. Ijexá: O encanto musical da afro diáspora. Rio de Janeiro, RJ: Mundo Contemporâneo, 2021.
Znajdź pełny tekst źródłaDelprato, Jean-Marc. De veloppez des applications originales pour iPhone et iPod Touch: Revendez vos cre ations sur iTunes App Store. Paris: Pearson Education, 2010.
Znajdź pełny tekst źródłaLewis, Marshall Robert, red. Eighteenth-century keyboard music. Wyd. 2. New York: Routledge, 2003.
Znajdź pełny tekst źródłaSchmid, Will. World Music Drumming: New Ensembles And Songs. Hal Leonard Corporation, 2004.
Znajdź pełny tekst źródłaThe Modern Percussion Revolution Journeys Of The Progressive Artist. Routledge, 2014.
Znajdź pełny tekst źródłaFrank, Artt. Essentials for the Be Bop Drummer. Schaffner Press, 2005.
Znajdź pełny tekst źródłaCzęści książek na temat "Percussion et musique électronique"
McCutchan, Ann. "Michael Daugherty". W The Muse that Sings, 173–80. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0018.
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