Rozprawy doktorskie na temat „Représentation musicale”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich 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.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
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
Ahn, Yun-Kang. "L'analyse musicale computationnelle : rapport avec la composition, la segmentation et la représentation à l'aide de graphes". Phd thesis, Université Pierre et Marie Curie - Paris VI, 2009. http://tel.archives-ouvertes.fr/tel-00447778.
Pełny tekst źródłaGibet, Sylvie. "Codage, représentation et traitement du geste instrumental : application à la synthèse de sons musicaux par simulation de mécanismes instrumentaux". Grenoble INPG, 1987. http://www.theses.fr/1987INPG0142.
Pełny tekst źródłaRamstein, Christophe. "Analyse, représentation et traitement du geste instrumental : application aux instruments à clavier". Phd thesis, Grenoble INPG, 1991. http://tel.archives-ouvertes.fr/tel-00340367.
Pełny tekst źródłaDufour, Frank. "Les enjeux de la numérisation des objets temporels". Paris 8, 2004. http://www.theses.fr/2004PA082467.
Pełny tekst źródłaThe designation of temporel objects is that of creations inscribed within time-based media. The objective of this dissertation is the study of the technological and aesthetic consequences of the digitizing of systems that treat and represent time and that are constructed by audiovisual media. Time is referred to, not only as the vector and support of audiovisual representation, but also as their objet. This reference renders necessary to first ask the philosophical question concerning even the possibility of representing time. Systems of time deducted from this investigation were then considered through narrative, musical and cinematographical processes. This production is therefore confronted with modifications induced by digitizing and computing of information. The final section dedicated to the digitizing of audiovisual techniques demonstrates the new composition between two temporal modes : synchronicity and diachronicity
Hall, Anne. "Scènes d'enfance : uen représentation de l'expérience musicale infantine chez E.T.A. Hoffmann, Jules Verne, George du Maurier et Michel Leiris". Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10110.
Pełny tekst źródłaKim, Jinho. "Représentation et analyse musicale assistée par base de données relationnelle de la partition des variations pour orchestre op. 30 d'Anton Webern : vers un système d'"analyse musicale assistée par base de données relationnelle"". Paris 4, 2006. http://www.theses.fr/2006PA040004.
Pełny tekst źródłaA note in a score, as other musical objects, can be considered as an entity having some properties. These last are represented by atomic values in columns on a line of relational data base table. The representation of all notes in the score in relational form of tables as a totality of columns and lines facilitates the access to the music analysis of open character: each can interrogate following each problematic the database that represents and stocks the score. The score of Variations for orchestra op. 30 of Anton Webern, as an example of application of the concept of “Relational Database-aided Music Analysis”, is represented, stored, and analyzed in a classificatory and a paradigmatic way: All sets, all intervals, and all chords existing in the score are retrieved, as a result on can verify the dominant intervals and chords; the particularities concerned distribution of notes in the register, duration, intensity and orchestration are also recognized
Tessier, Eugénie. "Le « cas » Marianne Oswald et la critique musicale : la construction du personnage artistique depuis ses multiples perspectives". Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39597.
Pełny tekst źródłaVerrey, Arnaud. "Le droit selon la musique". Thesis, Paris 2, 2013. http://www.theses.fr/2013PA020011/document.
Pełny tekst źródłaThis thesis, the subject of which is “Rights and law in according to music” is in response to Mr Carbonnier's “Précis de sociologie juridique” (Précis of legal Sociology) in which the writer suggest doing a research about the rights and law’s representation in music. The aim of this thesis, accordingly, is to enquire whether music does indeed involve rights and law – an associated legal phenomenon – and if so, what extent. In this context, all aspects covered by the terms “rights and law” are considered: the law, the judgement, the contract and the basis of authority – whether human or divine. As used here the term “music” represents solely that which falls within the scope of western classical music, be it of a religious or non-religious nature. The wording “in according to” refers therefore to the different aspects inherent in “the rights and law’s representation in music” which is the subject’s problematic: - rights and law for the use of music: after confirmation of the presence of rights, law and legal actors in the five hundred or so works reviewed, the purpose of this first part is to explain why these legal requirements exist in a musical work, what these requirements define and how they apply in this work. - rights and law concerning musical composition: this second part , based on many of the musical procedures used by composers (instrumentation and voices, the use of harmony and counterpoint, musical phrasing and motifs, expression and rhythm), aims at identifying how the musical composition represents rights and law
Garcia, Reyes Juan Rodrigo. "L'énaction et l’art sonore numérique". Paris 8, 2011. http://octaviana.fr/document/172759005#?c=0&m=0&s=0&cv=0.
Pełny tekst źródłaThis work feature about reflects of computer sound arts from de non-representative approach proposed by enaction concept. In first time, we are going to analyze the cognitions representative’s approaches and their consequences in manner to descript the creation process of a sound work. We are going to see in this part the influence of computational and connectionist paradigms in descriptions of creative process, in music analyze, in the conception of compositional strategies and in the invention of computer and it’s use in the champs of sound creation. The second part of this work make a description of manner that a non-representative approaches of knowledge can be use for approach the sound creation from a perspective that establishing a link between subjective experience and objective observation. In third section, we are going to show an application tools that we can use for creation of sound performance, electronic sound improvisations, interactive installations, and sound material in real time for use in compositions of sounds works. We are going to referring about “sound énaction”
Guillot, Pierre. "La représentation intermédiaire et abstraite de l’espace comme outil de spatialisation du son : enjeux et conséquences de l’appropriation musicale de l’ambisonie et des expérimentations dans le domaine des harmoniques sphériques". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080150/document.
Pełny tekst źródłaThe creation of sound effects in space with Ambisonics highlights the musical potential of sound field decomposition by spherical harmonics, and redefines the representation of the sound space. This thesis defends that the abstract and intermediate representations of the sound space make it possible to develop new original approaches to sound spatialization. The reasoning that leads to this affirmation begins with the musical appropriation of the ambisonic approach. The creation of new space and sound processing patterns in Ambisonics leads to an original way of using signals associated with spherical harmonics, and to a different conception of the relations between them, and their hierarchization. The specificities of these experimental approaches and the singular characteristics of the sound fields generated call for the design of new theoretical and practical tools, for their analysis and restitution. The performed changes make it possible to free this approach from the initial technical and material issues of Ambisonics. But above all, it emancipates this approach from the psychoacoustic and acoustic models on which ambisonic techniques are originally defined. In this context, the signals associated with spherical harmonics are no longer necessarily a rational representation of the sound field but become an abstract representation of the sound space possessing in itself a musical potential. To validate the hypotheses, this thesis then proposes a new spatialization model based on a matrix decomposition of the sound space
Larrieu, Maxence. "Analyse des musiques d'informatique, vers une intégration de l'artefact : propositions théoriques et application sur Jupiter (1987) de Philippe Manoury". Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC0007/document.
Pełny tekst źródłaThis thesis question the musical analysis of computer music works. These works are particular insofar as they exist with a wholly singular medium, a digital medium, which we name artifact. Our reflection starts from the ascertainment that the means needed to understand the artifact are new for the theory of musical analysis. Thereby our work begins with the following question : « how does computer music works can be analyzed with the help of their artifact ? ». Our thesis intends to answer to this question through a pioneer work from the 1980s, Jupiter, composed by Philippe Manoury at Ircam with Miller Puckette. Our answer is built in three parts. At first, we enlighten artifact by defining five points of singularity which characterize them. In the same line we identify a key system in the study of artifact, the Man Artifact Sound system. The second part is dedicated to our answer. One of the main difficulties in studying artifact is that they are structured in different levels of abstraction, and each one has its own structure. Consequently, the understanding of artifact had to be done inside a highly dynamic process, where the computational, sound and musical significations overlap as much as necessary. A conceptual framework is then suggested by which artifacts can be described, taking into account the different levels of abstraction. In the last part we put into practice those last propositions in analyzing Jupiter. His artifact is entirely dismantled and then an analysis is carried out, section by section, in confronting the listening and the knowledge we get from the artifact
Bouabid, Nadhir. "La spécificité du déchiffrage pianistique chez les musiciens aveugles et déficients visuels : effets des représentations mentales des notations musicales sur la conduite de mémorisation". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040012/document.
Pełny tekst źródłaThe present work involves an analytical description of the behaviors of blind and visually impaired pianists when memorizing and rendering on the piano various tasks presented to the ear or on written material adapted to their visual disability. This adaptation, which consists in transcribing ordinary music scores in braille, for the blind, or in large print, for the visually impaired, entails important consequences. Two conditions result in those musicians having to perform a very difficult integrating and synthesizing task: on the one hand, musical braille is complex, being highly abstract and characterized by permanent spatial linearity; on the other hand, the technique for enlarging ordinary texts is not compatible with synthetic reading and a very restricted visual field. Those circumstances lead us to investigate how those musical notations and the mental representations they generate affect the memorizing process when vision is totally or partially lacking. The main objective is to pinpoint the specific processes underlying the assimilation of the data inscribed on the reading material. To this end, I have carried out a case study involving young non-professional blind and visually impaired pianists using diverse reading procedures
Bigo, Louis. "Représentations symboliques musicales et calcul spatial". Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST1074/document.
Pełny tekst źródłaMusical symbolic representations and spatial computing. The notion of symbolic space is frequently used in music theory, analysis and composition. Representing sequences in pitch (or chord) spaces, like the Tonnetz, enables to catch some harmonic and melodic properties that elude traditional representation systems. We generalize this approach by rephrasing in spatial terms different musical purposes (style recognition, melodic and harmonic transformations, all-interval series classification, etc.). Spaces are formalized as topological collections, a notion corresponding with the label- ling of a cellular complex in algebraic topology. A cellular complex enables the discrete representation of a space through a set of topological cells linked by specific neighborhood relationships. We represent simple musical objects (for example pitches or chords) by cells and build a complex by organizing them following a particular neighborhood relationship defined by a musical property. A musical sequence is represented in a complex by a trajectory. The look of the trajectory reveals some informations concerning the style of the piece, and musical strategies used by the composer. Spaces and trajectories are computed with MGS, an experimental programming language dedicated to spatial computing, that aims at introducing the notion of space in computation. A tool, HexaChord, has been developped in order to facilitate the use of these notions for a predefined set of musical spaces
Carvalho, Guilherme. "Représentations musicales d'idées mathématiques". Paris 8, 2007. http://octaviana.fr/document/122016750#?c=0&m=0&s=0&cv=0.
Pełny tekst źródłaThis work reflects a musical trajectory as composer and interpreter influenced by mathematics. It deals with the stakes of formalization in music and, more generally, with those of bringing together these subjects. In this particular frame, it aims to bring forth a strategy with which to approach issues proper to a composer’s work, and approach what could be a musical epistemology. The representation of a mathematical idea is the musical adaptation of the form and internal relations of a set of objects proper to mathematics. We study the possibilities to attribute musical meaning and consistence to such a representation, and the inevitable choices in this interpretation. With the notions of musical space and musical variables, we approach oriented by geometry the continuity and form of a piece of music. Finally, we study the concept of musical poetics in this context
Prang, Mathieu. "Representation learning for symbolic music". Electronic Thesis or Diss., Sorbonne université, 2021. http://www.theses.fr/2021SORUS489.
Pełny tekst źródłaA key part in the recent success of deep language processing models lies in the ability to learn efficient word embeddings. These methods provide structured spaces of reduced dimensionality with interesting metric relationship properties. These, in turn, can be used as efficient input representations for handling more complex tasks. In this thesis, we focus on the task of learning embedding spaces for polyphonic music in the symbolic domain. To do so, we explore two different approaches.We introduce an embedding model based on a convolutional network with a novel type of self-modulated hierarchical attention, which is computed at each layer to obtain a hierarchical vision of musical information.Then, we propose another system based on VAEs, a type of auto-encoder that constrains the data distribution of the latent space to be close to a prior distribution. As polyphonic music information is very complex, the design of input representation is a crucial process. Hence, we introduce a novel representation of symbolic music data, which transforms a polyphonic score into a continuous signal.Finally, we show the potential of the resulting embedding spaces through the development of several creative applications used to enhance musical knowledge and expression, through tasks such as melodies modification or composer identification
Maugars, Cedricia. "De la notation d'évaluation en éducation musicale: des représentations d'enseignants". Paris 4, 2004. http://www.theses.fr/2004PA040208.
Pełny tekst źródłaThe experimental research called “Q-test-vocal” lasted six months (December 2002 to June 2003). We discovered that the teachers assessed the vocal performance according to their personal instructive objectives. They found that peer assessment or self assessment were both very difficult. Although it was the first time that they had ever recorded their pupils and, they appreciated the process very much. They thought it was a very useful instrument of evaluation. The purpose of our study is divided into three parts: To analyse, to understand of the different forms (modes) of assessment used by the teachers and to identify how those forms lead to a final mark. To study the links between the teacher's practices in class and what they tell about their actual practices, specifically regarding to the different musical activities (vocal, instrumental, creative, auditory). To examine and focus on the changes of those concepts of those occur during interviews and to analyse their evolution in relation with specific factors of musical activities in secondary classes. In conclusion, the experiment shows that the evaluation of vocal performance is a crucial problem for music teachers who use different forms of marking and that their strategy for evaluation is not clear. The music teachers judged with a sommative assessment of final performance. They justified their marks with a subjective and holistic approach. And their appreciations and preferences were the same in January as they were in June. They showed no changes occurred towards favorite or disliked extracts
Montandon, Frédérique. "Les représentations sociales de l’éducation musicale par les parents dans le vingtième arrondissement de Paris : étude des stratégies parentales pour l’éducation musicale". Thesis, Paris Est, 2008. http://www.theses.fr/2008PEST0082.
Pełny tekst źródłaThe study of social representations of musical education by parents for whom children between the ages of 3 and 10 learn music is based through a series of interviews. This study concerns at once the choice of the activity as well as the institution, their hopes and expectations with respect to their practice. It shows that several systems of representations overlap: social representations of education in general - in addition to specific musical education, that of the child, or even more, that of the establishment. Musical education, in France, takes place within the structures of the conservatory, private tutelage or through local associations. Paris’ 20th district, site of this research, offers a variety of structures with respect to pedagogical approach as well as musical style. The use and aim attributed to musical training are analyzed according to the chosen establishement. Several concepts surrounding education and training are emerging. They flow from child social representations and extra-curriculare activities. It is the parameter of parental musical practice or its absence that chapes parental discourse
Guettat, Yassine. "Ghâyatu al-surûri wal-munâ’ : un traité didactique représentatif du mâlûf tunisien (durant la deuxième moitié du XIXème siècle)". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040112.
Pełny tekst źródłaThe present research is a critical, analytical and comparative study combined with the transcription of the whole Tunisian mâlûf’s musical corpus as it was transmitted in the 1871 work entitled Ghâyatu al-surûri wal-munâ ' al-jâmi‘u li-daqâ'iqi raqâ' iqi al-mûsîqâ wal-ghinâ (Perfect welfare and happiness through the refinement of the music and singing). This document represents a unique reference to a better understanding of the musical reality at that time but also a better comparative approach related to the different transformations of the Tunisian music during the second half of the 19th century at diverse levels among which there are the terminology, instrumentation, interpretation (performance) as well as the vocal and instrumental corpus
Olivier, Emmanuelle. "Le patrimoine musical des Bochimans Ju 'Hoansi (Namibie) : représentations : systématique". Paris, EHESS, 1998. http://www.theses.fr/1998EHES0031.
Pełny tekst źródłaBenoît, Josée. "Comprendre les pratiques d'une enseignante de musique instrumentale au secondaire en tenant compte des concepts de représentations et de motivations". Thesis, Université d'Ottawa / University of Ottawa, 2010. http://hdl.handle.net/10393/19767.
Pełny tekst źródłaDahan, Kevin. "Domaines formels et représentations dans la composition et l'analyse des musiques électroacoustiques : systèmes dynamiques dans la création musicale assistée par ordinateur". Paris 8, 2005. http://www.theses.fr/2005PA083580.
Pełny tekst źródłaSome theories and technical approaches used to characterize the computer-assisted composition process are presented. Theories and techniques unusually used in the field of computer music are applied to the numerous problems raised by a musicology of electroacoustic music and its genetic ontology. A critical deconstruction of methods and tools used to characterize musical creation is developed and a novel conceptual tool is exposed, and formalized. The notion of object, which permits a multiscalar reading of the creative process, is described and an adaptation of the traditional electroacoustic toolkit is made neccesary by the object considered as a multiscalar seme. A prototype of a compositional system gives a first answer in order to present complexity
Blondeau, Julia. "Espaces compositionnels et temps multiples : de la relation forme/matériau". Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066292/document.
Pełny tekst źródłaIf the problematic of time, material, form, and their relationships is longstanding question in musical composition, the old dichotomy between form and material should be reshaped in view of the technological opportunities making possible a finer and more global apprehension in the handling of time in the scope of mixed music.In this context, the question addressed is to which extent the existence of a continuum between the notions of form and material is linked to the explicit design of temporal interlacing? This question involves new paradigms to understand the many components that determine the identity and the mutual relationships of material and form.Our research unfolds in two complementary axes to develop a compositional framework addressing the specification and the management of heterogeneous intertwined temporal processes at different time scales. The first axis works out an explicit topological representation of compositional spaces (based on simplicial complexes) that smoothes the boundaries between form and material. The second one spells out the various kinds of writing and the new temporal paradigms allowed by the Antescofo synchronous real-time programming language. The specification of multiple times during the composition phase and their management during the performance is developed through a strong relational standpoint.The theoretical and practical propositions investigated in this research works are illustrated on several pieces written during the thesis
Hisquin, Christophe. "L'industrie musicale en Chine au début du 21ème siècle". Lyon 3, 2008. https://scd-resnum.univ-lyon3.fr/out/theses/2008_out_hisquin_c.pdf.
Pełny tekst źródłaThis thesis analyses the music industry in China at the beginning of the 21st century through the study of the sound and its meaning in China in the 21st century and the link between economic development and the evolution of music industry. The thesis explains how the different factors of the notoriety allow us to comprehend society. Then, a third part discusses the degree of importance that the music plays in being a socio-political prophet in China
Rondeleux, Luc. "Incidences des représentations numériques sur l'évolution du langage musical en France et aux Etats-Unis : 1957-1982 : de la première synthèse numérique au protocole MIDI, vingt-cinq années de bouleversements dans l'expérimentation musicale". Paris, EHESS, 1995. http://www.theses.fr/1995EHES0339.
Pełny tekst źródłaAbstract. Interdependants in their evolution, musical expression and scientific and technical knowledge have, under the influence of digital representations, been subjected to irreversible mutations. The passage from analog to digital was instrumental to the elaboration of formal structures and to the study of cognitive and subconscious phenomena. If computer-aided composition has directed its field of study towards statistical methods, by the use of the theory of information and of the structuralist data of linguistics and semantics, digital synthesis has attempted to elucidate the subjective fundamentals of perception. The reconciliation of these compositional tendencies was brought when the formalisms integrated the esthetic functionnalities of the immanent spatial and temporal nature of sound. The increase of technological potentials and the normalisation of the midi communication protocol have permitted the instauration within the creation processes of forms of logic that are true to life. Emotion and sensibility go beyond understanding and forge the social reception, both perpetually renewed and combined to the revelations about the universe. Digital representation has produced a new frame for projective compositional strategies, impacting upon the musical environment of the end of our century. Mots-cles : cognition - linguistique - meteriau - modele - psycho-acoustique - semantique - sociobiologie
Daudet, Laurent. "Représentations structurelles de signaux audiophoniques : méthodes hybrides pour des applications à la compression". Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX11056.
Pełny tekst źródłaSoulele, Andriana. "La musique de scène des représentations de tragédies grecques en France et en Grèce de 1945 et 1975". Paris 4, 2009. http://www.theses.fr/2009PA040098.
Pełny tekst źródłaThe resurgence of the ancient Greek tragedy in 20th century Europe reveals a phenomenon of great importance concerning Greek Antiquity’s influence in artistic creation. During the period of 1945 to 1975, the consequences of World War II and the Greek Civil War provoke an important reflection on the humanity’s progress, expressed via the Greek tragedy and manifested in France as well as in Greece. Some tragedies’ interpretations leave their mark in theatrical history due to their original scenic direction and music and are characterized by an archaic style, by a traditional inspiration, by a modern actualization of the myth or by a taste for the rite. The Greek and the French composers’ approaches are innovative and exhibit specific aesthetic tendencies. Amid the hellenistic predilection, the traditional, the exotic and modern inclinations, the scores of incidental music renovate contemporary musical expression and make the Greek tragedy a unique and prolific field of musical experimentation
Blondeau, Julia. "Espaces compositionnels et temps multiples : de la relation forme/matériau". Electronic Thesis or Diss., Paris 6, 2017. http://www.theses.fr/2017PA066292.
Pełny tekst źródłaIf the problematic of time, material, form, and their relationships is longstanding question in musical composition, the old dichotomy between form and material should be reshaped in view of the technological opportunities making possible a finer and more global apprehension in the handling of time in the scope of mixed music.In this context, the question addressed is to which extent the existence of a continuum between the notions of form and material is linked to the explicit design of temporal interlacing? This question involves new paradigms to understand the many components that determine the identity and the mutual relationships of material and form.Our research unfolds in two complementary axes to develop a compositional framework addressing the specification and the management of heterogeneous intertwined temporal processes at different time scales. The first axis works out an explicit topological representation of compositional spaces (based on simplicial complexes) that smoothes the boundaries between form and material. The second one spells out the various kinds of writing and the new temporal paradigms allowed by the Antescofo synchronous real-time programming language. The specification of multiple times during the composition phase and their management during the performance is developed through a strong relational standpoint.The theoretical and practical propositions investigated in this research works are illustrated on several pieces written during the thesis
Nentwig, Anne-Cecile. "Sociologie des musiciens traditionnels amateurs : Pratiques musicales et style de vie". Phd thesis, Université de Grenoble, 2011. http://tel.archives-ouvertes.fr/tel-00733932.
Pełny tekst źródłaGarcia, Jérémie. "Supporting music composition with interactive paper". Phd thesis, Université Paris Sud - Paris XI, 2014. http://tel.archives-ouvertes.fr/tel-01056992.
Pełny tekst źródłaReraki, Fotini. "La musique imaginaire : discours, identités et représentations dans l’enseignement grec contemporain". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040018.
Pełny tekst źródłaThe present thesis explores the formal space of music education in Greece as an area of confrontation and negotiation of meanings around music. The introduction of Greek traditional music in this educational space serves as a paradigm for a study on “the management of musical otherness”, based on a field survey (participant observation and non-directive interviews) which focuses in particular on the conditions of cohabitation between teachers-musicians with different musical trajectories, thus on the conditions of cohabitation between learning practices, discourses and imaginaries which sometimes intertwine, sometimes they compete with one another. In this regard, the ultimate aim of this work is to bring to light that the ways individuals represent music and everything related to it, form a symbolic system referring to the manner in which they define and situate themselves in relation to others
Piffaut, Ludovic. "L'univers médiéval et ses figures de représentations dans l'opéra italien (1690-1730)". Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2006.
Pełny tekst źródłaMedieval universe took an important place in the Italian poetic culture from the 16th to the 18th century. Emblems of this universe, Ariosto and Tasso’s epic poems, imitated of Homer’s, upgraded to most popular histories of the Italians theatres of the 17th and 18th centuries. The Middle Ages’ representation in Opera between 1690 and 1730, showed a diversity of esthetics but dramatic and poetic figures too. Thanks to the Accademia dell’Arcadia, the renovation of the libretto led to consider new prospects of its exploitation. Zeno developed the new vision of Middle Ages contrary to Metastasio. Supporting by French tragedy, this renovation unified with strength poetical and musical art. The aria symbolized the meeting point of affects and their musical representations. It contributed to the celebrity of Vinci’s and Hasse’s Artaserse (1730). These two operas hastened the decline of medieval subjects and installed a new lyric model
Ométak, Valérie. "Approche du mouvement du rythme musical par le mouvement graphique de l’auditeur. Représentations graphiques enactives de patterns rythmiques percussifs par des enfants de cinq ans". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040007.
Pełny tekst źródłaGiven the lack of a consensual definition of rhythm and of a scientific theory of musical motion, this dissertation approaches empirically the abstract notion of the motion conveyed by musical rhythm. We present several theoretical conceptions of motion, musical rhythm being alternatively considered as an object, a phenomenon or a dynamic form. These points of view are completed with empirical data describing rhythms through listener’s movements. Within this framework, we use the dynamic form as a conceptual and methodological tool giving insights into the rhythm dynamics according the way their dynamo-agogic elements, assumed to convey information regarding motions' speed, change over time. It also allows the analysis of this musical dynamic form through the graphical dynamic form drawn by the listeners as they listen to a rhythm. This tool was tested in an exploratory experiment on 33 five-year-old enactive subjects, during which the movements of an electronic pen were recorded as the children were asked to draw an enactive graphical representation of 24 brief percussive patterns. The 792 tracing samples thus generated as rhythms unfold are studied with two methods comparing the respective temporal changes of tracing movements vs rhythms. Pairing these graphical and rhythmic dynamic forms for analysis exhibited strong links between the properties of intensity and duration of rhythms on one hand, and dynamic and formal properties of the graphical patterns generated by the listeners on the other hand
Gétreau, Florence. "Histoire des instruments et représentations de la musique en France : une perspective disciplinaire dans le contexte international". Habilitation à diriger des recherches, Université François Rabelais - Tours, 2006. http://tel.archives-ouvertes.fr/tel-00088086.
Pełny tekst źródłaCe mémoire pour l'habilitation est introduit par une présentation historiographique de cette branche de la musicologie. En effet, si les grands traités théoriques français de Marin Mersenne, de Pierre Trichet, de Diderot et d'Alembert notamment, constituent le socle de connaissances de tout organologue, l'étude des instruments de musique en tant que discipline apparaît en France au XIXe siècle avec les travaux de F.J. Fétis. Des figures comme celles de Pontécoulant, de Constant Pierre, d'André Schaeffner l'ont ensuite fortement structurée. C'est donc dans la perspective de ces pionniers et de leurs plus lointains successeurs appartenant souvent au cercle des disciples de Norbert Dufourcq, qu'est placée la réflexion. L'établissement d'une bibliographie des travaux portant sur la France montre la difficulté des chercheurs français, à quelques exceptions près, à s'affirmer dans le contexte international au moment où se mettent en place les tribunes spécialisées, tel le Galpin Society Journal.
Etudier les caractéristiques organologiques des instruments dans une perspective analytique et descriptive (catalogues), mais aussi interprétative (histoire du goût, évolution des sensibilités), reconstituer l'œuvre de facteurs ayant travaillé en France, notamment aux XVIIe et XVIIIe siècles (monographies), éclairer le contexte social et statutaire du métier de facteur d'instruments, contribuer à l'histoire des collections d'instruments en France, et aussi à l'histoire de la conservation et de la restauration, voilà autant d'axes développés dans ce bilan de travaux personnels et collectifs : ils ont été approfondis lors de colloques internationaux et en créant une revue spécialisée française, Musique-Images-Instruments, soutenue par le Ministère de la Culture et le CNRS.
L'ICONOGRAPHIE musicale constitue le deuxième champ disciplinaire présenté dans ce travail. Centrée sur l'étude des représentations de la musique dans les arts visuels en Occident moderne, elle ne concerne pas que l'évolution de l'instrumentarium à travers les images qui en ont été données mais aussi la pratique de la danse et des arts du spectacle.
Si les pionniers de cette discipline au XIXe siècle en France ont consacré leurs travaux au Moyen Age, l'intérêt pour les œuvres du musée du Louvre, pour les portraits de musiciens, pour l'inspiration musicale de certains peintres, se développe progressivement au début du XXe siècle. La figure d'Albert Pomme de Mirimonde (dont les publications s'étendent de 1960 à 1984) est centrale tant il a exploré de thématiques et de collections françaises. Le bilan des travaux français, préparé dans le cadre de ce mémoire, permet de souligner l'intérêt des chercheurs pour certains sujets de prédilection parmi lesquels par exemple les œuvres de Watteau ou de Fantin-Latour.
Que ce soit dans des travaux personnels ou collectifs, nous avons développé au cours des vingt dernières années des thématiques mettant en évidence l'évolution de pratiques et de goûts musicaux particuliers : la mode des instruments champêtres (musettes, vielles à roue, tambourins-bourdons), la signification sociale de la pratique du luth, de la viole et du clavecin. Des portraits de musiciens de premier plan ou moins célèbres ont été analysés, voire identifiés. L'évolution de certains instruments, sur la base des sources visuelles conjuguées aux sources d'archives et musicales, a pu être mise en lumière (notamment l'émergence du cor d'orchestre en France au XVIIIe siècle ou l'évolution des archets). L'encadrement de travaux collectifs (inventaires systématiques des tableaux musicaux du Louvre ; publications d'études régionales) a pu se développer dans des catalogues d'exposition et dans la revue Musique-Images-Instruments dont les 8 volumes déjà parus ont été ouverts à des chercheurs chevronnés et des étudiants avancés. Celle-ci a contribué à une collaboration disciplinaire mêlant travaux d'organologie et d'iconographie musicale et replaçant la contribution des chercheurs français dans un contexte international.
Issa, Gonçalves Daniel. "Le méta-opéra baroque (1715-1745) : satire et parodie comme sources d’informations sur la pratique musicale au XVIIIe siècle". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL189.
Pełny tekst źródłaOpera, or melodramma, is one of the most important cultural phenomena of eighteenth-century Italy. According to Des Brosses (1709-1777) this genre seemed to be even more prized than spoken theater. The importance and popularity of the melodramma in Italian social and cultural life was such that many musical parodies and satires were produced. In the eighteenth-century, these "operas about opera" became so popular, they constituted a separated "micro-genre", which musicologists claim existed between 1715 and 1827. These operas are called, in the musicological literature, metaopera or metamelodramma. The aim of this thesis is to analyse the parodies and satires which deal with the profession of the musicians and singers active in opera, from the point of view of the musicians themselves. This allows us to identify references relating to the practice, habits, and clichés of the profession (musical practices, social situation of musicians, etc.), which do not necessarily appear in usual historical and critical sources. The analysis of these works provide an unique opportunity to explore the world of the musical production of the eighteenth century, which is parodied and criticized by satire in its own language and by its own actors and protagonists. Despite their caricatural nature, these works are a reflection of musicians, librettists, composers, and other actors of the musical scene on their own profession, and illustrates in a comical and lively way, the situation of the musical business in the eighteenth century
Nieden, Gesa zur. "Vom grand spectacle zur great season : das Pariser Théâtre du Châtelet als Raum musikalischer Produktion und Rezeption (1862-1914)". Paris, EHESS, 2008. http://www.theses.fr/2008EHES0104.
Pełny tekst źródłaIn the period from 1862 to 1914 the Parisian Théâtre du Châtelet hosted the three different musical genres grand spectacle, symphonic concert (Concerts Colonne) and musical theatre of the avant-garde (Salome of Richard Strauss, Ballets Russes). This range of genres is musically and socially representative of the musical life of Paris. The study of this theatre as a room of musical production and reception in the period from 1862 to 1914 analyses the establishment and the institutionalisation of these different genres in the Théâtre du Châtelet and defines a reception model for each of them. Methodologically our study is based on the approach of sociology of architecture and the spatial concept of the theatre historian Mercedes Viale-Ferrero. A comparison of the three different types of musical production in that époque sheds light on the eclecticism of the 1920s when Paris advanced to be the European capital of the arts
Barbedette, Sarah. "Le concert. Approche picturale et questions de poétique". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040124.
Pełny tekst źródłaConsidered for the most part according to its historical significance, both for its role in the social economy and for the light it sheds on musical production, the concert is only rarely studied in terms of the theatrical and religious worlds to which it is, by its very nature, related. The question of its ontology, however, remains deferred. In an effort to understand what constitutes the concert’s radicality, a two-pronged approach has been developed here. The first is applied to Nicolas de Stael’s The Concert (1955), which he painted after having attended two Domaine musical concerts. The second attempts to elaborate a poetics of the concert, that is, to explore its doing. The trace of a fundamental discontinuity that is vital to the concert appears as we move from one to the other, faintly at first, and then more clearly. What this painting shows us, at the intersection of the old preoccupations of the painter and of a musical event, is a fragmentary essence laid bare. Using this subject as the basis of our study, we examine the relations between the concert and the work itself: how is the concert related to the musical opus, the musical piece, the opera ? In counterpoint, the questions of meaning and unity are crucial here, gradually opening a dialogue with the world of the book, from the didactic origins of the concert to the defining of the poetic gesture on which it is based. This deep intimacy with poetry leads us to a political approach to the event : fabricated and fabricating, the concert can only attain its coherence through the virtuous interweaving of connections
Chesnel, André. "La note bleue : l'expression tsigane dans le jazz à travers la presse anglophone nord-américaine des années 1880 aux années 1940". Thesis, La Rochelle, 2018. http://www.theses.fr/2018LAROF001/document.
Pełny tekst źródłaThis academic research work is part of a series of recent studies whose aim is to show to what extent Europeans contributed to the birth of jazz and how they marked the development of this new kind of music. American music bears the stamp of the cultural idiosyncrasies that 19th and 20th century European migrants brought along. It is worthwhile focusing on the role played by Gypsies and the way they were perceived across the Atlantic. The reading of the American press from the 1880s to the 1940s, together with a wide variety of other sources, has provided a solid basis for a historical analysis with a multidisciplinary approach including art history, music and geography. A double-entry framework allows one to first study how Gypsies were perceived and represented in American entertainments, romantic music and jazz. What is noticeable is the omnipresence of the Gypsy theme, the emergence of a myth and its Americanization. Secondly, one can see the way Gypsy musics help define jazz music and give clues as to its origins. The third part is devoted to the Gypsies’ nomadic way of life throughout the United States and their settling in large cities where Gypsy musicians played jazz
Hannecart, Claire. "Des musiciens sur les scènes locales en Nord de France : formes d'engagement et enjeux de pluriactivité des pratiques de création collective". Thesis, Lille 1, 2014. http://www.theses.fr/2014LIL12031/document.
Pełny tekst źródłaThe present research studies the social practices to be observed on local scenes, i.e. groups of various actors as musicians, “support systems” and audiences. This thesis contributes to the understanding of the way creators are committed to practices driven by a desire to express their singularity. What is at stake here is to identify how these practices have been shaped by pluralist social representations in northern France. A dual theoretical framework combines both comprehensive and pragmatic sociologies. The period under study spans 5 years from 2009 to 2013 and the empirical study lies on two methodological approaches. On the one hand, a qualitative analysis based upon both semi-structured and unstructured interviews with 52 respondents that were involved one way or another on local scenes, be they artists or associate private or political intermediaries. On the other hand, a quantitative survey used to verify the empirical data relative to the practices and profiles of the musicians, the sample being made of musicians from the city of Lille. The results show the ambivalence in the representation of all the actors that contribute to the formation of local scenes. The cooperative dimension of such practices in keeping with material conditions favored by the digital era have been underlined. Finally, the artisan dimension of the projects represents one of the major stakes this research highlights
Roumanos, Rayya. "Les modalités de configuration télévisuelle d’une identité régionale à travers une émission de télé-réalité : Arabité, hybridité et libanité sur la LBC-Sat". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20044.
Pełny tekst źródłaThis thesis studies the representation of modern Arab identities through one of the most influential reality shows in the Arab World: Star Academy Middle East.It seeks to understand the strategic and ideological discourse over Arabism constructed by one of the leading Lebanese satellite channel in the MENA region: LBC-Sat.Through the study of both the professional and commercial context of emergence of this discourse, as well as a qualitative content analysis of the first four seasons of the show, it tries to understand its rationale as well as its impact in the Arab World.We believe that this narrative is unfolding in an arena of controversies where a multitude of positions regarding Arab identities are debated. Indeed, since the establishment of the first Arab satellite channels that led to a prosperous television industry, a pan Arab public sphere arose. TV shows became political fields in which opinions were exposed and theories regarding political and social issues were considered. The once monopolistic control over media contents of authoritarian regimes gave way to a more liberal environment, where citizens were given the chance to participate in the debates framing there lives. Today, Arab satellite channels act as a lightning rod for what is known as “New Arabism”, a sense of belonging to an imagined community that is no longer imposed by a higher power but developed by the base. With their liberal aesthetic and messages that oppose those of more conservative Arab televisions, Lebanese channels play a crucial role in redefining Arab identities. Their discourse, inspired by a cultural and ideological interpretation of Lebanon’s position in the Arab world, translates into a plea to rebuild bridges between the East and the West. As a symbolic object composed of hybrid forms and ideas, Star Academy Middle East echoes this position
Lavoie, Alexandre. "Rāga-Rāgiṇī : théorie musicale et représentations de divinités". Mémoire, 2013. http://www.archipel.uqam.ca/5930/1/M13240.pdf.
Pełny tekst źródła