Gotowa bibliografia na temat „Représentation musicale”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Spis treści
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Représentation musicale”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Représentation musicale"
Couprie, Pierre. "Prolégomènes à la représentation analytique des musiques électroacoustiques". Circuit 25, nr 1 (16.04.2015): 39–54. http://dx.doi.org/10.7202/1029475ar.
Pełny tekst źródłaGuillotel-Nothmann, Christophe. "Les signes musicaux et leur étude par l’informatique. Le statut épistémologique du numérique dans l’appréhension du sens et de la signification en musique". Revue musicale OICRM 6, nr 2 (24.03.2020): 45–72. http://dx.doi.org/10.7202/1068385ar.
Pełny tekst źródłaRoquais-Bielak, Katia. "Danielle Cohen-Levinas, dir., Récit et représentation musicale". Questions de communication, nr 4 (1.12.2003): 437–39. http://dx.doi.org/10.4000/questionsdecommunication.5876.
Pełny tekst źródłaStiegler, Bernard. "L’armement des oreilles : devenir et avenir industriels des technologies de l’écoute". Circuit 16, nr 3 (29.01.2010): 33–42. http://dx.doi.org/10.7202/902410ar.
Pełny tekst źródłaChevalier, Jean-Marie. "Peut-il exister une logique de la notation musicale?" Recherches sémiotiques 36, nr 3 (20.09.2018): 53–74. http://dx.doi.org/10.7202/1051396ar.
Pełny tekst źródłaDubé, Francis. "L’utilisation de repères microstructuraux dans la mémorisation de pièces pour piano". Les Cahiers de la Société québécoise de recherche en musique 12, nr 1-2 (3.12.2018): 91–101. http://dx.doi.org/10.7202/1054205ar.
Pełny tekst źródłaBougeret, Gérard. "Harmonie, contrepoint, représentation : prélude à une didactique de l’écriture musicale". Spirale. Revue de recherches en éducation 4, nr 1 (2005): 51–68. http://dx.doi.org/10.3406/spira.2005.2025.
Pełny tekst źródłaGodin, Jean Cléo. "« Le texte est sur la table… » : Chaurette et la primauté du texte". L’Annuaire théâtral, nr 50-51 (17.07.2013): 115–24. http://dx.doi.org/10.7202/1017316ar.
Pełny tekst źródłaSolomos, Makis. "L’écoute musicale comme construction du commun". Circuit 28, nr 3 (3.01.2019): 53–64. http://dx.doi.org/10.7202/1055194ar.
Pełny tekst źródłaBoudreault-Fournier, Alexandrine. "Ateliers hip-hop et double morale à Cuba". Cahiers de recherche sociologique, nr 49 (28.03.2011): 95–121. http://dx.doi.org/10.7202/1001413ar.
Pełny tekst źródłaRozprawy doktorskie na temat "Représentation musicale"
Ntakovanou, Xanthoula. "Représentation musicale et représentation psychique : applications cliniques". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC027/document.
Pełny tekst źródłaThis thesis considers musical representation as a concrete form of mental representation, just as verbal language or image representation. We are questioning which are the particularities of musical representation in human thought. Why does man need musical representation, what are the origins of music and what functions does music serve in human societies ? Which are the differences of the musical code from the code of verbal language ? The first part of our thesis approaches these questions through an interdisciplinary study. Furthermore, we are interested in the elementary structures of musical discourse : rythm, melody and harmony. In the second part of this thesis, we locate the origins of musical rythm in physical body rythms, and the origins of musical melody in the preverbal voice - concretely in the mother's voice. Musical harmony is considered as an artistic application of the universal laws of the acoustic phenomene. In the third part of this thesis the musical code is analysed, as a form of mental representation which encodes meaning and emotion : we attribute to the musical code the capacity to encode, better than language does, not concrete information but inner affective states and body sensations, as well as the experience of human relation. We name sonograms, in analogy to Piera Aulagnier's pictograms, the musical proto-representations which would encode precicely an affective state felt in utero by hormonal circulation associated to a concrete sonor pattern listened by the fetus at the same time. We examine, furthermore, how sonograms would evolve to more elaborated forms of musical representation, that we name fond musical structures (rythm, melody and harmony) and, finaly, to the sophisticated musical code. We consider this latter musical code as a reflection of the subjectivation of the individual, which encodes precicely the human experience of relation, from the initial phase of symbiosis with the mother to the phase of complete autonomy of the child from her. Music is considered as a form of mental representation which may also reflect the eventual pathological aspects of the psychic apparatus, and it is compared to dreaming, to the primary process and the unconscious. In the fourth part of this thesis, we expose the libidinal investment of the subject which takes place through music : the relation of music to narcissism, but also to object investment is questioned. How does sublimation occur in the artistic field, and what is the particularity of musical sublimation ? The sublimation of Eros, but also of Thanatos is analysed in the reality of musical creation, through concrete musical examples. Finally, in the fifth part of our thesis we are investigating the way in which music, as a form of mental representation, could be integrated into psychoanalytical clinical practice. We are describing our protocol of Analytical Musicodrama, a concrete method of musical implication into psychoanalytical clinical practice, both in individual and group analysis. In this protocol, we are using the musical code, which we alternate with verbal language but also with the image representation code, aiming to access thoughs, affective states and the psychological reality of our patients. We are afterwards working on this reality through musical representation. We are also interested in neo-symbolisation which can take place for the subject by means of sonor sensoriality, and could afterwards be encoded into music. Different applications of Analytical Musicodrama and its therapeutic results are illustrated, trough the exposition of various clinical examples
Couprie, Pierre. "La musique électroacoustique : analyse morphologique et représentation analytique". Paris 4, 2003. https://hal.archives-ouvertes.fr/tel-01264966.
Pełny tekst źródłaWhat we mean here by the analysis of electroacoustic music is a morphological description. It consist in using various criteria to describe the different aural and musical units of the musical material once they have been separated into segments. These criteria can be classified in three groups : internal (spectrum, dynamic, gait, granularity and space), referential (causality, voice, effect and emotion) and structural (formal analysis). Graphical representation has become an essential tool for the analyst and it can take the form of icons - creating strong links between the sound, its analysing criteria and graphic symbolic forms - or symbols - representing sound and its criteria with extremely accurate symbols. Moreover, representation is also an ideal material for multimedia publication : the represented analysis is associated to sounds or even other media to create a very rich didactical document. The theorical plan is completed by analyses of Spirale by Pierre Henry, " Geologie sonore " by Bernard Parmegiani and Stilleben by Kaija Saariaho
Barrera, Juan David. "La musique pour orgue en France à l'âge classique : une représentation du sacré". Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC003/document.
Pełny tekst źródłaThis study of French organ music during the “Classical period” focuses on its signifying dimension, and particularly on its representative function in the liturgy. Our interest springs from an observation: the most important works devoted to this repertoire neglect the question, whereas the genesis of this organ school coincides with one of the most remarkable historical moments of Catholic spirituality. From this point of view, and assuming that sacred music can be understood as an aesthetic-theological product shaped according to the symbolic and expressive topics of the liturgy (in the same way as other manifestations of sacred art), our research seeks to demonstrate the way in which the music of French organists can communicate the fundamental notions of Christian doctrine through a set of aesthetic categories and musical topics directed by rhetorical principles. In this way, our work is divided into four parts, successively highlighting the cultural and spiritual contexts of the seventeenth century in France, the elements of the signifying universe of these music, the stylistic organization of the repertoire, and finally, from a hermeneutic point of view, the analysis of three major composers of this musical tradition: Nicolas de Grigny, Jean-Adam Guilain and François Couperin
Gülgönen, Séline. "La mimesis musicale dans l'oeuvre de Platon". Paris 10, 2008. http://www.theses.fr/2008PA100039.
Pełny tekst źródłaThis work focuses on the nature, the operating and the goals of musical mimesis in Plato's Dialogues. It should contribute to the study of platonician thought, while also shedding a new light on the concept of mimesis. In Plato's thought, music is not – or not essentially – an “art of sounds”. It is primarily a tangible imitation of the movements of the soul, an can also serve to propagate them to ether souls. Platonician thought never separates what music can do from what it should do, as can be seen in the Republic and the Laws. But the imitative power of music is not limited to individual souls : music can also imitates cosmic movements, as can be seen in the Timeaus. Through this imitative capacity, music can therefore become hygienic and therapeutic technique, linking the soul and the body to the movements of the world, which is also invested with musical qualities. In the light of mimesis, music proves to be an essential mediator between intelligible and sensible, thus playing an important role in the theory of the soul, the City and the world
Boisbourdin, David. "Vers un nouvel humanisme musical : Perception et représentation de l’oeuvre musicale électroacoustique d’Elie-Paul Cohen. Un langage musical universel est-il possible aujourd’hui ?" Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040231.
Pełny tekst źródłaElie-Paul Cohen is a doctor and a composer who is relatively unknown by the general public. His electroacoustic works are built around a physiological sound material, resulting from the capturing of human body vibrations. The study of these works raises the question of the relationship between the body and music, a concept which was already being addressed by the Renaissance humanists. He is also part of a medical research group which has developed sound patterns of DNA molecules that he will use in his next musical production. These physiological sounds have a huge impact on our perception of sounds but also of music; this led us to question the very notion of music and the perception we have of it. Could a universal music based on the sound modeling body vibrations exist? This led our work to result in a cross-disciplinary approach including the fields of music, musicology, phenomenology, neuroscience, physics, medical research or advanced biology
Goudard, Vincent. "Représentation et contrôle dans le design interactif des instruments de musique numériques". Thesis, Sorbonne université, 2020. https://accesdistant.sorbonne-universite.fr/login?url=http://theses-intra.upmc.fr/modules/resources/download/theses/2020SORUS051.pdf.
Pełny tekst źródłaDigital musical instruments appear as complex objects, being positioned in a continuum with the history of lutherie as well as marked with a strong disruption provoked by the digital technology and its consequences in terms of sonic possibilities, relations between gesture and sound, listening situations, reconfigurability of instruments and so on. This doctoral work tries to describe the characteristics originating from the integration of digital technology into musical instruments, drawing notably on a musicological reflection, on softwares and hardwares development, on musical practice, as well as a number of interactions with other musicians, instruments makers, composers and researchers
Kafetzi, Eleni. "Interdisciplinarité en représentation théâtrale. Éléments du Musical dans le spectacle interdisciplinaire contemporain". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA046.
Pełny tekst źródłaInterdisciplinarity is a widely employed practice in the contemporary arts scene. Whether the term refers to the collaboration or notion of integrating different disciplines, we can infer to a process of fusion, which in the field of the performing arts, takes numerous forms. This dissertation focuses on contemporary inter-artistic performances that combine theatre, music and dance, and their relation to the interdisciplinary genre of Musicals. Musical Theatre is by definition a hybrid entity, combining different artistic expressions. The latter, are at all times maintain their separated integrity, while they must be fused in such a way in order to form an organic unity. Despite its complexity, Musical Theatre manages to be a genre in itself, which in turn has influenced other genres, including many contemporary experimental performances. Thus, as an autonomous form of expression, it possesses laws of operation, technical characteristics and aesthetic rules that defines it. The purpose of this research is to identify elements and influences of Musical Theatre within five contemporary interdisciplinary shows, while tracing the theoretical aspects and conventions that determine this genre. The examined shows are Out Loud by STOMP, Tubes by the BLUE MAN GROUP, Perseus by ithakArts, Elektra Fragments directed by Michael HACKETT and 2, directed by Dimitris PAPAIOANNOU. These autonomous fusion works defy categorization; however, they share fundamental characteristics with Musicals
Ahn, Yun-Kang. "L'analyse musicale computationnelle : rapport avec la composition, la segmentation et la représentation à l'aide des graphes". Paris 6, 2009. https://tel.archives-ouvertes.fr/tel-00447778.
Pełny tekst źródłaDonnadieu, Sophie. "Représentation mentale du timbre des sons complexes et effets de contexte". Paris 5, 1997. http://www.theses.fr/1997PA05H036.
Pełny tekst źródłaThe identity of the objects of our sound quotidian environment would be vehicle by their timbre. The application of spatials models attempt to represent the psychological structure of a set of timbres according a geometric space which the axes are interpreted as the perceptual dimensions. We observe a tridimensional space for a set of musical timbres where the dimensions correspond to the logarithm of the rise time of the temporal envelope (LRT), the spectral center of gravity (SCG) and the spectral flux. The model fitting better if we include specificities and differences between class of listeners in the perceptual salience of the dimensions. Timbre categories, obtained by a non spatial model, are organised according to the physical functioning of the instruments. The study of context effects show that the dissimilarity decrease when the variation along the LRT and SCG dimensions increase but the categorical structure stay stable whatever the context. Moreover, the first dimension is more affected by the context that the second which suggest that some dimensions would presented a categorical structure when others would be continuous in nature. From a perceptual continuum going to a struck vibraphone to a bowed vibraphone, we show that it is possible to classify the stimuli in one or the other two tested categories (struck/bowed) and to discriminate the stimuli belonging to the same category. Musical timbre could so be defined according some physical dimensions along which the tones would varied in a continuous manner. A such space would be divided in different areas representing timbres categories. Categorisation would be the result of decisional boundarie establish in a given place of the continuum. Context does not affect the categories's organisation within such space but rather the perceptual salience of the dimensions
Céci, Anne-Aurélie. "Le commerce électronique de l'oeuvre musicale". Toulon, 2007. http://www.theses.fr/2007TOUL0048.
Pełny tekst źródłaFor more than ten years, the modern societies have experienced a revolution both in communication and in the access of the information. Obviously, Internet has lead to an impressive evolution in the art of communication. The ways of consumption evolved and particular the one relative to the music thanks to arrival of news technologies and the Internet development. Therefore, the use of Internet has radically changed the mecanism of exploitation and the circulation of music. The exchange of musical files through peer to peer network has become really delicate, both for the internet users, who are swed and the legal owners who don't get any income to compensate for the created for the million of Internet users who practise illegal exchange of musical files
Książki na temat "Représentation musicale"
Société internationale d'histoire comparée du théâtre, de l'opéra et du ballet, Mamczarz Irène i Becker Danièle, red. Représentation de l'eau dans la création théâtrale et musicale. Paris: Éditions de la Société internationale d'histoire comparée du théâtre, de l'opéra et du ballet, 2008.
Znajdź pełny tekst źródłaLes marchés de la musique vivante. La représentation musicale au XXIe siècle. Paris: Pups - Pu Paris Sorbonne, 2015.
Znajdź pełny tekst źródłaLaurent, Feneyrou, i Centre de documentation de la musique contemporaine., red. Musique et dramaturgie: Esthétique de la représentation au XXe siècle. Paris: Publications de la Sorbonne, 2003.
Znajdź pełny tekst źródłaLe son des rouages: Représentations musicales des rapports homme-machine au 20e siècle. [Sampzon]: Delatour France, 2011.
Znajdź pełny tekst źródłaMamczarz, Irène. Le Théâtre Farnèse de Parme et le drame musical italien (1618-1732): Étude d'un lieu théâtral, des représentations, des formes: drame pastoral, intermèdes, opéra-tournoi, drame musical. [Florence, Italy]: L.S. Olschki, 1988.
Znajdź pełny tekst źródłaGueye, Nicole Symonnot. L'orgue, un singulier pluriel: Approche de l'orgue à travers ses représentations dans la littérature et le cinéma européens depuis la fin du XIXe siècle. [Sampzon]: Delatour France, 2010.
Znajdź pełny tekst źródła(Bordeaux), Bibliothèque municipale. La vie musicale à Bordeaux au XVIIIe siècle: Représentations de l'opéra et concerts du musée : exposition, Bordeaux, bibliothèque municipale, 20 septembre-20 décembre 2003. Paris: Fédération française de coopération entre les bibliothèques, 2003.
Znajdź pełny tekst źródłaBellaigue, Hélène de. La vie musicale à Bordeaux au XVIIIe siècle: Représentations de l'opéra et concerts du Musée : 20 septembre-20 décembre 2003 : Bibliothèque municipale de Bordeaux. Paris]: Fédération française pour la coopération des bibliothèques, des métiers du livre et de la documentation, 2003.
Znajdź pełny tekst źródłaFrançoise, Regnard, Cramer Evelyn i Journées francophones de recherche en éducation musicale (4th : 2002), red. Apprendre et enseigner la musique, représentations croisées: Actes des 3es et 4es Journées francophones de recherche en éducation musicale, Centre de Formation des Enseignants de la Musique, Ile-de-France. Paris: Harmattan, 2003.
Znajdź pełny tekst źródłamunicipale, Bordeaux (France) Bibliothèque, red. La vie musicale à Bordeaux au XVIIIe siècle: Représentations de l'opéra et concerts du musée : [exposition, Bordeaux, bibliothèque municipale], 20 septembre-20 décembre 2003, [présentée dans le cadre du mois du patrimoine écrit édition 2003]. Paris: Fédération française pour la coopération des bibliothèques, des métiers du livre et de la documentation, 2003.
Znajdź pełny tekst źródłaCzęści książek na temat "Représentation musicale"
Bougeret, Gérard. "Tempérament mésotonique et représentation". W Epitome musical, 363–92. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.em-eb.3.3288.
Pełny tekst źródłaVillari, Elisabetta. "La représentation du corps dans le monde grec classique: le Canon de Polyclète, entre construction d’une norme et invention de l’antique". W Musica corporis, 67–83. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.stsa-eb.4.00200.
Pełny tekst źródłaGroote, Inga Mai. "L’académie et la ville : représentation musicale entre public et privé". W Marquer la ville, 385–403. Éditions de la Sorbonne, 2013. http://dx.doi.org/10.4000/books.psorbonne.3301.
Pełny tekst źródłaVan Moere, Didier. "J’ai gravi la montagne.... La représentation musicale de la montagne". W Montagnes imaginées, montagnes représentées, 137–53. UGA Éditions, 2000. http://dx.doi.org/10.4000/books.ugaeditions.5459.
Pełny tekst źródłaJullian, Martine. "Les représentations musicales à la cathédrale de Vienne". W Vienne au crépuscule des templiers, 59–79. Presses universitaires de Grenoble, 2014. http://dx.doi.org/10.3917/pug.lauxe.2014.01.0059.
Pełny tekst źródłaClass, Olivier. "Représentation et personnification de l’interaction homme-machine sur scène. Vision et relecture politiques". W Théâtre musical (xxe et xxie siècles), 119–35. Presses universitaires de Franche-Comté, 2019. http://dx.doi.org/10.4000/books.pufc.37832.
Pełny tekst źródłaLŐRINSZKY, Ildikó. "Accents, rythmes et sonorités". W Echantillons représentatifs et discours didactiques, 67–74. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.6540.
Pełny tekst źródłaREDON, Klemia. "Représentations stéréotypées et réaffirmation identitaire dans le rap cubain". W Ecritures de non fiction en Amérique latine, 97–110. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.5166.
Pełny tekst źródłaRagnard, Isabelle. "La renaissance musicale du théâtre médiéval. Deux représentations du Jeu de Robin et Marion d’Adam de la Halle à la fin du XIXe siècle". W Le Moyen Âge en jeu, 277–90. Presses Universitaires de Bordeaux, 2010. http://dx.doi.org/10.4000/books.pub.33233.
Pełny tekst źródłaStreszczenia konferencji na temat "Représentation musicale"
Harmat, Andrée-Marie. "Formes musicales et formes littéraires. Réflexions sur le dispositif esthétique musical au service de la représentation littéraire". W Littérature et musique. Fabula, 2010. http://dx.doi.org/10.58282/colloques.1267.
Pełny tekst źródła