Teses / dissertações sobre o tema "Instruments de musique – Facture (instruments de musique) – Histoire"
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Liavas, Lambros. "La Lira piriforme en Crète et dans le Dodécanèse facture, histoire et implications sociales". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb375991909.
Texto completo da fonteGrévrend, Isabelle. "Les orgues néoclassiques en Normandie : études de la facture instrumentale et de l'écriture musicale : études historiques et analyses techniques de quelques instruments normands". Rouen, 2006. http://www.theses.fr/2006ROUEL533.
Texto completo da fonteThis studying deals with characteristic elements of the instrumental technique and musical composition as regards neoclassical organ, as well as the historical origin of this style. With these explanations add a glossary and two indexes. The concerned period opens out between the nineteen-thirties years and the nineteen-seventies years. In comparison with these generalities, historical and technical analyses, with documentary and iconographical appendices from Basse- and Haute-Normandie, are providing precisions concerning the instrumental technique. Some musical extracted shed light on explanations about composition process
Marconi, Emanuele. "Le Musée des instruments à vent de La Couture-Boussey : genèse et développement d'un musée ouvrier". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL039.
Texto completo da fonteThe La Couture-Boussey Wind Instrument Museum (Eure Department, Normandy) was founded in 1888 by members of the “Chambre Syndicale des Ouvriers en Instruments de Musique (Finisseurs)”. The only example of its time as a French museum dedicated to music instrument making, it was founded both in connection with the growing interest in public collections of musical instruments which took shape at the beginning of this century, and in the context of the workers' strikes of the 1880s. Its purpose is to promote and perpetuate the know-how of the makers of the La Couture basin, a group of about ten villages around La Couture-Boussey, epicentre of the manufacture of woodwinds since the beginning of the 17th century. Its history, characterized by alternating periods of activity and abandonment, reflecting the socio-economic dynamics of the village, can be read through the main events of the 20th century: the two World Wars, the crisis of the 1930s, the economic boom of the 1950s and 1960s and, finally, the globalization of the market and the closure of businesses.Developed from numerous archival sources collected and for the most part unknown to date, this thesis successively addresses, with an approach and new results, the history of the making of woodwinds in La Couture- Boussey, the deconstruction of the myths of its origins, the strikes at the origin of the creation of the Union, the history of the Museum, and that of its collections of instruments and tools, of its library, while highlighting its leading role at the European level, at the end of the 19th century, in the creation of copies of old musical instruments (facsimiles) which constitute a founding part of his collection
Razafindrakoto, Jobonina. "La valiha de Madagascar : tradition et modernité en Imerina de 1820 à 1995 (études organologique, acoustique et socio-historique)". Paris 4, 1997. http://www.theses.fr/1997PA040049.
Texto completo da fonteEthnomusicology, as a scientific project, was, from the beginning, interested in similarities between spoken and musical languages. As a matter of fact, we may consider the musical instrument as a part of the musical production. So, we established a possible approach of the Malagasy culture based upon the acoustic object itself (organology allowed us to study its structure). Widespread in Madagascar, under different names, valiha is a secular instrument which came to us through many organologic and sociologic transformations. Made in Imerina, central highlands of the island, today very occidentalised, this study reveals a surprising paradox between tradition and modernity. That way, our monography on valiha tries to enlighten evolution of musical practices reported in Imerina from 1820 to 1995. On the one hand, we emphasized the historical point of view to point out how Merina people adapt themselves to change. On the other hand, we choosed specialities related to ethnomusicology like musical acoustics (which explains how the instrument and their sonorities are built) and semiology (which explains how the instrument can be symbolized). This wide set of descriptive and analytic tools had to be used to achieve this synthetic work on valiha. This synthesis gave us a thorough knowledge of Malagasy culture authenticity
Vandervellen, Pascale. "La facture du piano dans les provinces belges des origines à 1851". Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210716.
Texto completo da fonteDoctorat en Histoire, art et archéologie
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Mathis, Thierry. "Le clavecin en France aux XVIIe et XVIIIe siècles : découvertes organologiques et nouvelles techniques de l’interprétation". Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC011.
Texto completo da fonteIs French harpsichord music of the 17th and 18th centuries played today as it should be ? What sources can help musicologists and musicians to reproduce the authentic harpsichord sound and playing techniques of that epoch, and understand its repertoire, as faithfully and fully as possible ? The mere fact that this music went unplayed for so long prompts that question. In fact, the harpsichord was forgotten overnight. The favoured instrument of court and fashionable society under the ancien régime, it had aristocratic associations which doomed it when the Revolution came. A century later, in June 1889, the noble, silvery sound of its plucked strings made a first, hesitant comeback, thanks to Louis Diémer. But it was only in the 20th century, between the two world wars, that Wanda Landowska’s tireless enthusiasm gave this baroque keyboard instrument a new lease of life. Interest in building “old-style” harpsichords, using traditional techniques, first developed in the late 1950s, and their popularity has grown steadily ever since. Today’s enthusiasts want to go back to the origins, and revive old ideas and techniques, but they still have a long way to go. At an earlier stage, techniques used in making pianos were extended to harpsichords - and some of these “alien” elements and additions are still present. We felt the time had come to clarify the picture by consulting certain contemporary texts, which had been unduly neglected. We found indeed that these were at odds with twentieth- century improvements, had been mistranslated or misunderstood, or were, quite simply, hard to find.Anyone wishing to form an idea of the original harpsichord sound must start with organology, and the various instruments used by French musicians in the 17th and 18th centuries offer valuable clues. X-ray examination reveals their design and shows how they were regulated (keys, jacks, plectra).Thanks to this approach, we have identified nine essential factors which illuminate the design and construction of these instruments. French manuals of the time had a narrower octave span than those of instruments made in neighbouring countries - or today. Span, of course, determines the distance between thumb and little finger, which itself affects playing. The smaller the gap, the closer the fingers, and the more relaxed the hand. From the beginning, the French sound was also distinguished by its highly flexible harmonies,low-tension strings and low pitch (A3 at 392-406 Hz.). We also found that some harpsichords had three manuals, that some (particularly Alsatian instruments) had 16 foot stops and a lute stop, and that the S-shaped bentside was a French innovation. Musicologists and musicians already know in general terms how manuals evolved from the early 17th to the late 18th century, but no specific research has been done on the process by which they became wider, between 1670, when the first book, Chambonnière’s Pièces de clavecin, was published, and 1741, when Rameau’s Pièces de clavecin en concerts made five octaves the norm.We have also studied strings, their thickness and the materials of which they were made. We have found that string diameter was smaller than it is now, and that bass strings were never made of copper. Only brass with high copper content was thought to give the deeper strings a satisfactory sound. Strings on the upper three-fifths of the manual were made of soft iron, which had little tension. Steel, which is used today, was obviously unknown.Finally, harpsichords, once their temperament is established, are today tuned in pure octaves –which, as a text by Corrette has shown us, was far from being the case in the 18th century
Koppe, Dominique. "La trompette dans la seconde moitié du vingtième siècle : facture, technique et interprétation". Paris 4, 1996. http://www.theses.fr/1996PA040198.
Texto completo da fonteDuring the eighteenth century, composers used to consider the trumpet as a fringe instrument cut off from the strings, the latters being dealt with as the foundation of the orchestra. In the nineteenth century, on the contrary, the making of this neglected instrument as well as the concern of musicians themselves, worked towards giving a less subdued lighting on trumpets and opened new developments for them. Several aesthetics trends of the early 1900s strengthened the position of the trumpet as a key instrument among soloists but equally in the circle of chamber music. Nowadays the trumpet still retains favour with an inseparable threesome composed of the maker, the performer, and the composer. The writer of this thesis sets out to study the link between the making, the technique and the rendering of the trumpet during the second half of this century thanks to the observation of the Berliner Philharmonische Orchester, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Orchestre de l'Opéra de Paris and the Wiener Philharmonische Orchester
Lefeuvre, Gilbert. "Les instruments de musique dans la vie quotidienne de la picardie au xvieme siecle". Paris 4, 1986. http://www.theses.fr/1986PA040268.
Texto completo da fonteThe first part of this musical instruments in picardie daily life during the xvi c. Study presents the organisation shart in the theoratical works of xvi c. And begining of xvii c. Compares these whole elements to the instrumental patrimony shown in paris an brussels instrumental art galleries public collections. The second part, 9 chapters made up, describes the picardie instrumental practising during this period according to its society part or exactly studies the place that returus to the musical instruments in human activity different sides : instruments linked to public function, the brotherhood used instruments founded in the royal halls entrances, the army music and hunting sound instruments, the church music musical instruments, the popular music instruments, the middle class interior instruments, the repertoire reconstitution. In the 3d part, 2 chapters made up : "from the organisation chart to the instrumental making", we did think it essential to change four analysis to a suitable resouding reality for this study. The 2 instruments achievement, one 4 chorus renaissance guitar and one henry the 2nd, kinf of france, hurdy gurdy has been possible from originals kept in art galleries. The coherence between the work research an the making can be the promising hope for many old music ensembles an allows their musicians to play on faithfully reproduced copy instruments
Eveno, Pauline. "L' impédance d'entrée pour l'aide à la facture des instruments de musique à vent : mesures, modèles et lien avec les fréquences de jeu". Paris 6, 2012. http://www.theses.fr/2012PA066502.
Texto completo da fonteThis work deals with the evaluation and the choice of relevant objective descriptors of the wind instruments quality. It is part of a collaborative project which aims at developping a platform helping instruments making. The work is essentially based on the notion of input impedance. A comparative study of different calculation methods for the input impedance of horns are compared with the measurement. Results show that the transmission line method used with curvilinear abscissa and a suitable model of radiation, allows predicting resonance frequencies with an accuracy of 8 cents. Above the cutoff frequency, numerical methods are closer to the measurement but high frequencies have a minor influence on playing frequencies. Furthermore, a study on the pad “resonators” of a saxophone shows that they have to be considered as “stiffeners”. The presence or absence of “resonators” can cause visible differences on the input impedance of the instrument, which can also be perceived by the musician in playing conditions. Finally, an analysis comparing the resonance frequencies and the playing frequencies of a trumpet with a parametrized leadpipe was led with various musicians. After a statistical analysis of the results, the playing frequency appears to be controlled by the resonance frequency, with a 8 cents precision, which is the order of magnitude of the musician repeatability. For the trumpets, the resonance frequencies seem to be suitable descriptors of the instrument intonation
Mohamad, Barzan. "Les instruments de musique du Kurdistan et leur rôle dans la tradition". Paris 4, 2008. http://www.theses.fr/2008PA040085.
Texto completo da fonteThis body of research is devoted to the study of the musical instruments of the four parts of Kurdistan region, which is divided between Iran, Iraq, Turkey and Syria. The instruments encompass several centuries of Middle Eastern history and attest their bonds with Mesopotamia, with the beliefs of old Iran and the culture of Islam. This study more particularly examines the historical aspect and symbolic system of the music, the construction and materials of the instruments and their organology. This work proposes a classification of the instruments according to their use in the profane and sacred world, (some being exclusively played by Sufi brotherhoods during their ceremonies)
Sarrasin, Francine. "La representation des instruments de musique : iconographie de la vie culturelle au canada". Paris, EHESS, 1986. http://www.theses.fr/1986EHESA112.
Texto completo da fonteMy thesis is based on the analysis of musical instruments in canadian works such as paintings, drawings, etchings. . . I have previously listed more than three hundred of the latter from the great eastern canadian museums (national gallery of canada, fine arts museum of montreal, museum of quebec, royal ontario museum. . . ). This inventory is not exhaustive but significant enough to layout the different chapters and set off the process of analysis. On the methodological point of view, the study of the different kinds of representations and the specific character of the chosen iconographic theme (the musical instrument), extend the area of my investigations. The iconology remains the principal way of my intervention but is frequently linked with the historical or sociological study, with the musical, ethnological or philosophical reference. The use of several methods of working in different specialized fields is a good way to circumvent the polysemic meaning of the subject which is concerned. One of the basic hypotheses is that the musical instruments, as figured in paintings, reveal something about the cultural reality. The canadian specification expresses itself principally with the instruments of the three first chapters: the instrument used in merrymaking: the fiddler's violin; -the instruments played outdoors: the military brittain wind-band and the indians' music; -the woman pianist. The three last chapters discuss a more universal subject. They are about the musical instrument in the portrait, the symbolism of the mythological lyre and of religious instruments and about still-life. The musical instruments which are played on in the first scenes become progressively silent. About this music, the representation takes over from which is represented
Fritsch, Philippe. "Les ateliers alsaciens et saxon de la dynastie des Silbermann : étude des "Claviers"". Tours, 1996. http://www.theses.fr/1996TOUR2017.
Texto completo da fonteThe study of measuring-units used during the 18th century in the Silbermann-workshops, both in Alsace and Saxony, has led to the identification of several unsigned harpsichords and clavichords. Links could then be established between both countries, leading to a new concept, that of a specific instrument-making tradition: the Saxon-Alsatian school, or Silbermann-school. The comparative analysis has been extended to the different aspects of craftmanship concerning all stringed keyboard-instruments including fortepianos and spinets. Some antique techniques have been discovered, especially in terms of design. Follows a new approach of pitch and instrumental function
Wilmotte, Marie-Hélène. "La flûte traversière et le système Böhm : 200 ans d'histoire, d'enjeux et d'enseignement : du début de XIXe siècle au début du XXIe siècle". Rouen, 2009. http://www.theses.fr/2009ROUEL001.
Texto completo da fonteDuring 1960s, the instrument still develops : creation of instruments which can reach(affect) surprising tessituras, development of flutes intended for the youngest pupils. . . The comment of this work is to determine the place occupied by the new flutes in the musical creation of the XIXth century in our days, by studying the organologiques innovations, the stakes and the intrinsically connected musical and educational enrichments, as testimony of a tremendous vitality of the traverse flute. The multipolar meetings of metalworkers, specialists of surface treatments, factors of flutes, composers, teachers and interpreters allow us to approach the study of the invoice of the traverse flute in the XXth century in a very complete way, succeeding on propositions of innovations and future experiments. The crossed involvements of the evolution of the system Böhm on the musical creation, the education and the evolution of the invoice of the traverse flute, and al's link flute Böhm in the concept of art-science are demonstrated
Tiffou, Augustin. "Le basson en France au XIXème : facture, théorie et répertoire". Paris 4, 2008. http://www.theses.fr/2008PA040260.
Texto completo da fonteThis research tries to bring light on the environment in which the bassoon took place in France during the 19th century. The instrument, in a primitive form at the beginning of the 19th century, endures multiple modifications and finds at the end of the same century a manufacturing stability, a more homogeneous sound, a greater volume sound, giving the instrument a steady place in the orchestra. But, two bassoons systems were developed side by side at this time: the German system and the French system. Even though there are researches on the bassoon, many of them concern the German one. For these reasons, this research tries to give a better idea of the situation of the French bassoon. The three parts of this research (the manufacturing, the theory and the repertoire) should give a more precise idea of the condition of the bassoon in France during the 19th century. Finally, the preference given these days to the German system is obvious and if the French system has to disappear one day, this research will keep it in mind
Karami, Elham. "Effet de traitements thermiques modérés et de revêtement sur les propriétés vibratoires des bois d’Epicéa et de Mûrier". Thesis, Montpellier, 2016. http://www.theses.fr/2016MONTT340/document.
Texto completo da fonteWood is commonly used for making musical instruments. During the process it is often subjected to treatments, that either modify its volume or its surface properties. Two species used for for string instruments were studied, representative of different cultures: Spruce (Picea abies Karst.) used in Europe and White Mulberry (Morus alba L.) used in Iran. For each of them the effect of thermal treatment at moderate temperature (<150°C) and of coating on various physical and mechanical properties was studied. The main results are as follows. In contrast to Spruce, Morus has a very low degree of mechanical anisotropy. For both species, thermal treatment induces a strong decrease in damping, especially in R direction for Spruce, and equilibrium moisture content, without marked degradation as indicated by the very small weight loss. However, after reconditioning at high humidity, a significant part of the changes is recovered. The application of a solvent-based varnish on Morus induces a continuous stiffening, while a very strong increase in damping after application is followed, after about 2 months, by a return to values close to those of untreated wood. For Spruce, siccative oil based varnish was applied and several parameters of the process were tested. In this case, the kinetics of property stabilisation are very slow and significant changes were still observable after 5 months
Vauthrin, Camille. "Acoustique et respiration dans le jeu musical des instruments à vent : application aux flûtes". Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066388/document.
Texto completo da fonteThis thesis presents an acoustical study of flute-like instruments, which is developed by the analysis of flautist’s breathing. The flautist acquires during his musical background an expert control of his instrument. The control developed by the musician directly depends on the freedoms and constraints provided by the musician musical expertise, his respiratory physiology, the musical tasks and the acoustic behavior of the flute. Studying the playing techniques requires us to consider the flautist and the instrument as a whole.First, this work focuses on the study of the acoustic response of the flute through two studies: one on the contribution of the linear acoustics in the design of a new instrument with a flute-maker, the other on the influence of the position of the flautist’s lips. This work allows us to highlight irregularities in the acoustic behavior of the flute according to the fingerings, and leads us to study how the flautist compensates them. Secondly, we study the respiratory strategies developed by the musician while playing, in order to obtain detailed analysis and understanding of relationships between respiratory and aeroacoustic control parameters in a musical context. We answer two questions: how does a flute player adapt his breathing and playing to musical tasks, and when does the musical playing begin. Finally, we were interested in the respiratory efforts developed by the musician, in terms of work and power. A new question is asked: how does the flautist use his respiratory system in order to achieve and/or to highlight a musical intention
Gétreau, Florence. "Le Musée instrumental du Conservatoire de Musique de Paris : Histoire et formation des collections". Paris 4, 1990. http://www.theses.fr/1990PA040405.
Texto completo da fonteMohammad, Salah. "L'organisation mélodique et rythmique des Maqamat irakiens". Paris 4, 1986. http://www.theses.fr/1986PA040121.
Texto completo da fonteThis research aims at studying and analyzing the Iraqi maqam, and at presenting it as the most perfect, the most complete form in oral music of the musical heritage from Irak. In a first part, it sets out: the definition of the Iraqi maqam, its origin, its social background and the composition of its concerts and of its orchestra. This orchestra is composed of a singer and four musicians who respectively play the santur, the joza, the tabla, the riq and the naqqara. It also presents the schools of "masters" in Iraqi maqam (the singers and the musicians). Those schools developed for 6 generations (1775-1985). Then, we analyzed the tetrachords and the mods which are the constituent elements of Arab music as a whole and of Iraqi maqam in particular. We've classified these tetrachords in three groups (diatonic, chromatic and unharmonic) and these mods in six groups (rast, bayat, nahawand, kurd, 'ajam and one group for those out of classification). This melodic analysis is completed by that of the rhythms accompanying the performance of the Iraqi maqamat and that of the songs which complete them. In the last part, we've analyzed six main maqamat (rast, bayat, nahawand, saba, hujaz-diwan and 'awj); our analysis is founded on five basic elements (the mode, the successive constitutive notes, the melody process, the notation and the principal types of ornamentation of the singer). We joined an analytic list including all the Iraqi maqamat. In this study, we've presented the melodic and rhythmic organization of the Iraqi maqamat, laying the accent on the technical aspect of this music and not the historical one
Eveno, Pauline. "L'impédance d'entrée pour l'aide à la facture des instruments de musique à vent : mesures, modèles et lien avec les fréquences de jeu". Phd thesis, Université Pierre et Marie Curie - Paris VI, 2012. http://tel.archives-ouvertes.fr/tel-00787322.
Texto completo da fonteVigreux, Philippe. "La darbuka : histoire, organologie, ethnomusicologie d'un instrument de percussion". Paris 10, 1997. http://www.theses.fr/1997PA100120.
Texto completo da fonteFirst part: the earthenware goblet drums in the ancient world: central germany (chalcolithic period), ancient orient, palestine, anatolia, egypt, india, central america. High arabic middle-ages: the supposed ancestors (kabar, qar'a, dirrij); the darbuka in the texts. Position of islamic law towards percussion instruments. The etymology of the word drbkt / drbwkt. Second part: the goblet drums' line of development: some evolutionistic patterns. The sounding caracteristics of the goblet drums (an acoustic report). The making of the tabla in cairo (the pottery, the ornamentation, the skin). A typology of the extant shapes. Third part: the role of the darbuka in the family celebrations (birth, circoncision, weddings). The darbuka as a women's instrument. New steps of the darbuka into the high music of the cities and brotherhood music: the tunisian example. Technics and improvisation language: towards a definition (musical examples)
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.
Texto completo da fonteCe 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.
De, Putter Éric. "Les trois fonctions indoeuropéennes et l'instrument de musique : lectures de mythologies trifonctionnelles et de leurs héritages, en fonction de la place structurelle et du rôle symbolique de l’instrument de musique". Strasbourg, 2009. http://www.theses.fr/2009STRA1050.
Texto completo da fonteMethodologically, myth and music answer to similar concems by comparable operation. These practices structure the society. The musical instrument is a reCUITent symbol of the fust function into the trifunctional Jndo-European ideology. Ft has been found in texts from Iran, India, Greece, Rome, Armenia, and from Celtic, Germanic and Scandinavian cultures. It also left sorne marks in texts from the Caucasus. This symbol is present in sorne texts which are not Indo-European, like into the Hebraic Bible or into the Finnish Kalevala. It is the marker of a cultural transfer or of a contamination. The symbol of the musical instrument is meaningful because of its nature of stringed instrument, often in a context of civilisation process and it could be connected with the concept of time. The summary table presented in the appendix synthesizes most of the trifunctÏonal structures studied by scholars
Sabbagh, Grégoire. "La domination de la gamme pythagoricienne sur les instruments à sons fixes : ou l'absence de la gamme tempérée dans les instruments à sons fixes : ou de l'indentité de la gamme utilisée en Occident". Paris 1, 1998. http://www.theses.fr/1998PA010553.
Texto completo da fonteMerati, Mohammad Ali. "Les formes fondamentales de la musique kurde d’Iran et d’Irak : hore, siâw-çamane, danses, maqâm". Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100075/document.
Texto completo da fonteThe study of the various types of Iranian and Iraki Kurdish vocal and instrumental types of expression, associated to four forms of language, enables to delinate the commonalities within traditional Kurdish music, its rythms and modes. The research is based on detailed investigations performed on-site in Kurdish speaking regions of Iran and Irak as well as on more than hundred hours of recordings. Beyond the large diversity of expression resulting from linguistic and religious diversity, local specificies in the use of instruments and from the different roles played by poetry and dance in musical expression, the study eventually reveals the common roots of Kurdish music
Chen, Han-Jin. "Les quintettes pour instruments à vent d'Antoine Reicha". Paris 4, 1997. http://www.theses.fr/1997PA040326.
Texto completo da fonteAntoine Reicha (1770-1836), composer, teacher and theorist, a naturalized French citizen, originated from Bohemia. After studying music with his uncle Joseph Reicha in the princely courts of Oettingen-Wallerstein in Swabia and Cologne in Bonn, where he was a friend and colleague of Beethoven, he moved first to Hamburg and then to Paris and Vienna to seek his fortune : he first turned to opera, but unsuccessfully. In 1808, he was in Paris where he settled permanently. He finally secured his reputation in Europe with his twenty-four woodwind quintets. Inherited from a tradition of emigration of musicians originating from bohemia, the eclectic character of Reicha's works was very European : through his teaching, treatises and compositions, he adapted German musical tradition to the expression of French instrumental music; this blending of German and French musical currents is embodied in his quintets in which he drew on German Harmoniemusik as well as on Viennese and Parisian chamber music. Moreover, Reicha took advantage of the rapid development of wind instruments and the growing virtuosity of wind instrument players at the beginning of the 19th century to promote his quintets which thereafter became the main genre of chamber music for woodwind
Journeau, Alexandre Véronique. "La cithare chinoise qin : texte, image, musique". Paris 4, 2003. http://www.theses.fr/2003PA040115.
Texto completo da fonteThe Chinese zither qin is an instrument of many paradoxes: The manufacture of the instrument is not complicated but sonorities are numerous and modes are complex: after a presentation of the instrument itself, we focus in depth on the terminology of Chinese musical modes. The musical notation is not complicated but the play is subtle: we translate and compare fingerings from three Chinese manuals, including a translation of the pictorial and poetical metaphors. Melodies are not complicated but transcriptions are hard to achieve: a proposal of transcription from original tablatures is made with the point of view of the tension between musicologist and performer. Beyond the theoretical and practical technical aspects which reveal a richness unknowned by an ordinary public, a connoisseur of qin zither is often also poet and calligraph, that is the reason why, despites some tracks in the Babylonian and Greek civilizations during the Antiquity, this instrument has remain specifically a Chinese one
You, Li-Yu. "Facture et jeu de la cithare chinoise qin sous la dynastie des Tang". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040220.
Texto completo da fonteAt the intersection of sinology, philology, history, musicology, organology and instrument playing, this research aims at broadening our knowledge of how the qin Chinese zither was made and played throughout the Tang dynasty (618-907). The research draws on often overlooked or untapped sources of information from this period such as the Tang Chen Zhuo zhifa 唐陳拙指法 treatise (Qin Playing techniques by Chen Zhuo) and 1468 poems in which the instrument is referred to.Study of the body of poems and ancient texts sheds light on the origin of the materials used to make the instrument and how accessories were used, drawing a distinction between amateur and professional instrument makers and explaining how a repertoire is built and how sheet music was read and evolved over time.The translation and critical edition of Tang Chen Zhuo zhifa serve as a basis for an inventory and typological analysis of the techniques described in the treatise, which illustrates the wide range and different styles of playing. Some of the fingerings were filmed and recorded on a DVD included here in appendix. Analyses of the musical acoustics of a selection of techniques provide valuable insights into both the groundings and the subtlety of qin playing during the Tang period
Cristiá, Cintia. "Xul Solar et la musique". Paris 4, 2004. http://www.theses.fr/2004PA040197.
Texto completo da fonteThe study of music in the life and work (Argentine, 1887-1963) reveals new aspects of a very particular personality. Painter, writer and linguist, but also astrologist and inventor, Xul Solar studied many subjects. The sound is integrated into a complex tissue of knowledge that finds visual form in his watercolours, drawings and oil paintings, in his puppet theatre, in his variation of chess. The invented musical notation systems, as well as the keyboards modified to allow their application, are the result of deep thought on the interralation between the arts. His linguistic and esoteric works also show the inluence of music. In order to clarify the implications of this subject, this dissertation approaches it in three stages: firstly, the biography of the artist is presented in three chapters, emphazing the role that music played in hid life (family heritage, studies, musical relations, influence of the milieu, musical affinities, collections, etc. ). Secondly, his investigation on music relatd aspects, such as notation, organology and the application of the interrelation of the arts, are organised in the three following chapters. Finally, the presence of music in his pictorial work is studied in the third part, by means of the analysis, sometimes accompanied by more or less audacious interpretations, of some thirty music related paintings. Xul Solar's figure and work are at every stage placed in the historical and aesthetic context in order to comprehend their real value
Cabanes, Gilles. "Analyser des oeuvres mixtes en fonction de leur nature : éléments de réflexion et propositions". Pau, 2008. http://www.theses.fr/2008PAUU1009.
Texto completo da fonteDuring the XXth century, new types of musical works appeared from the use of electricity and technological tools unknown in occidental music. A vast repertory of works has been developing from the 50’s to nowadays constituting the general category of electroacoustic music. More specifically, what were then named the mixed works originally combine the secular instrumental tradition with the new electroacoustic conception. This research work proposes to set up an analytical approach specific to these mixed works. In that sense, it is necessary to precisely define what the aims are (what is analyzed?) and what the method is (how can it be analyzed?). Besides, the stakes of the various questions studied in this work deal not only with these previous points but also with the specificity of the repertory to be analyzed. That is the reason why this work first focus on the fundamentals of occidental music from their evolution to nowadays. The point of the first part is indeed to define as precisely as possible the nature of mixed works according to their artistic background. Once this two axes set up (nature of the mixed works and methods of analysis), the work will focus on the analysis of various extracts of works which well exemplify the category. These analysis are articulated according to two major perspectives: the analysis of the causes of the sounds in a work and the analysis of the morphologic and structural relations between the sounds either produced by instruments or speakers
Chakroun, Haythem. "Spatialisation de la musique et musicalisation de l'espace, du réel imaginaire au virtuel réel : nouvelle conceptualisation pour identifier le üd". Paris 4, 2004. http://www.theses.fr/2004PA040130.
Texto completo da fonteThis Thesis investigates a complex research problem linked to the existential difficulty of an Arabic musical instrument known as the û, an instrument which is in away of disparition. Modern critics suggest multiple hypotheses that often prove simply ideological or superficial. However, reality is beyond and more complicated. This instrument involves its own expression means, richness of ideas and imagination, and secret techniques. In addition, it presents a historical evolution structure that disembarked chaotically few centuries ago on a territory characterized by a critical identity and phenomenological situation, which refers to a real stagnation, disinterestedness and atony. Research and exploration of such a reality should systematically pass through a multidisciplinary grammar where the dialogue becomes the first key. In this sense, the monologue becomes meaningless. Spatialisation of music and musicalisation of space, from imaginary reality to real virtual : a coexistence /coincidence concept which proceeds from a strong interference between sound structures and structured spaces to reach a virtuosely virtual music. The virtual in this context basically depends on a real present. This technological virtual is a conscious strategy of the global representation and a new means of expression which is still experimental and hybrid but aiming the authenticity of the interpreter's gesture and of perception. The information originally produced, is treated in real-time by a musical data processing station, characterized by its abstract language. The interface is an integrated part of work-study. The result of the experience will no more be a stationary music but rather a "spatial music"
Viala, Romain. "Towards a model-based decision support tool for stringed musical instruments making". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCD002.
Texto completo da fonteThis work proposes a methodology for the transfer of industrial and research domain methods toward arts and crafts domain. The virtual prototyping and mechanical characterization of materials are used for the stringed musical instruments making domain. The works is adressed to the guitar and violin making. This domain is historically driven by empricism and it is studied here using objective criteria. The main topic is the mechanical vibratory behaviour of musical instruments. Firstly, the mechanical behaviour of the material used (tonewood) is studied. A non-destructive methodology is proposed and applied on spruce and maple species. The reliability of the numerical models is studied by method usually used in industry and research, the verification and validation process. The models developed are used as a support for the study of complex phenomena in musical acoustics. Finally, the utilization of numerical method for a practical application in instrument making (decision support under uncertainties, geometric and material optimization) is proposed. The methodology for a transfer to art and crafts domain is discussed
Dias, Correia Filipe Elsa. "Les tendances de la musique mixte en France depuis 1981". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL005.
Texto completo da fonteWestern scholarly music has always benefited from the technological advancements available in each era. The influence such has proved to be, at the instrumental level, resulting initially in the broadening of the musical and compositional language and, subsequently, requiring the instrumentalist to adapt to new playing and interpretation techniques. The rapid technological development which marked the twentieth century pushed this situation to limits previously inconceivable. This is the origins of mixed music, which is a new kind of music that combining electro-acousitc music and acoustic instruments. Our thesis proposes a study on the trends of mixed music in France since 1981. First, we will analyze the main concepts inherent to the subject as well as their issues. Then, we will head towards the organization of the social, economic, political, cultural and musical environment existing in France which allowed the development of this musical genre. Lastly, we will focus on the idea of musical research to trace the main lines of mixed music trends in France since 1981. To do so, we will use musical works that are representative of this multidisciplinary work wich characterizing musical research
Mansour, Rym. "L'utilisation du piano dans la musique arabe du XXème siècle : organologie et analyse". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2093.
Texto completo da fonteArabic music is characterized by a rich modal diversity. For its quarter tones included in several modes, ornamentation made while playing special stamps, its execution becomes a kind of disability forced by its particular modes that are often outside the tempered musical system. This does not preclude the presence and use of piano in arabic music whether in accompaniment (instrumental or vocal) in a group or arabic "takht" or even solo. This issue was addressed more comprehensively. The study of the relationship between West and East is a challenge to list the details of a very broad and multidisciplinary acculturation (music, theater, film, social, political ...) In several books and several research projects, musical interaction between these two worlds has been treated in general. Therefore, we find that specific and targeted treatment of our research is presented in the study of the insertion of the piano in the Arab civilization at first and then in arabic music. The merger between an icon of the West and a music modal character, even ethnic, is impressive which brings us to treat this phenomenon in a thesis
Nguyen, Hoang hau. "L'influence de la musique asiatique sur la composition chez Claude Debussy". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040160.
Texto completo da fonteThe cultural and artistic interference and interaction that flowered during the 19th century between Europe and Asia brought a new enormous storage of artistic material at the disposal of European artists. Both continents derived from it materials useful to them in terms of literature, paintings, music, architecture and even religion... The present thesis, “Influence of Asian music on Claude Debussy’s composing”, aims at spotting out exotic materials subtly and sensitively brought into play by Debussy – a progressist spirit open to new trends, symbol of Impressionism in music and, above all, top celebrity for his setting of the new limits for timbres. Analysis of 140 Debussy’s officially published works confirms his success in using Asian materials for his music. Moreover, the thesis also manage to bring into light this other aspect of Debussy, as the final and successful product from the blend between Japanese estheticism, purity of the traditional scales and boldness in the use of new timbres from Asian instruments
Nubel, Jonathan. "Les cordes baroques dans la création musicale d'aujourd'hui : état des lieux, enjeux, perspectives". Université Marc Bloch (Strasbourg) (1971-2008), 2007. https://publication-theses.unistra.fr/restreint/theses_doctorat/2007/NUBEL_Jonathan_2007.pdf.
Texto completo da fonteSince some years, new works for baroque instruments have flourished. Only a few important early music groups have not, at least one time, adressed in contemporary music. The baroque strings, i. E. The family of baroque violins ans the violas da gamba, are specially favored. A 180 works corpus have been compiled, from which general tendencies have been drawed : geographical origins, composers profiles, performers profiles, dedications, titles. After a precice organological definition of the instruments, a works selection allows to explore playing techniques and compositional techniques in use in the pieces. The history and philosophy of the early instruments playing are brought up for put back these works on their context. This is followed by a reflection about the inherent limitations of instruments and the means to go beyond the limits to assure a developpment at the same time in quantitative and qualitative terms to this expanding repertory
Normand, Marie-Astrid. "La manufacture d'orgues Krischer". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040070.
Texto completo da fonteIn the XIXth century, the French organ building expanded. Small manufactures, like the Krischer manufacture in Rouen, flourished in spite of the influence of larger manufactures. Regarded as the most renowned organ builder, Aristide Cavaillé-Coll built almost all the French large instruments at that time. The organ building belongs to those trades for which knowledge is transmitted from generation to generation, as it was the case for the Isnard or the Cavaillé-Coll builders. It was the same for the Krischer family: since Henry-Jean Krischer up to his great-grandchildren, we can pick out at least seven people who practised this trade. Jean-Hubert Krischer, who was the son of a family native to Nideggen near Aix-la-Chapelle, was an organ builder in Paris and was the father of two organ builders, Marie-Joseph, and Hubert François. The latter had more particularly worked in the Parisian workshops of the Merklin, Cavaillé-Coll and Martin manufactures, before creating his own manufacture in Rouen in 1873, where his descendants (Georges, Henry, Ernest and Paul) would learn the job. In this thesis, several points will be approached to define the aesthetics of the Krischer instruments: after having introduced the whole family of these organ builders, we will be interested in the expansion of this organ manufacture in France, by studying its activities from 1860 to approximately 1934. We will also describe all the instruments, by noting their characteristics of the Krischer instruments. Finally, after the disappearance of the Krischer manufacture, we will continue the study of the history of their organs until now, by showing how they did survive or not in History
Brémaud, Iris. "Diversité des bois utilisés ou utilisables en facture d'instruments de musique : étude expérimentale des propriétés vibratoires en direction axiale de types de bois contrastés en majorité tropicaux : relations à des déterminants de microstructure et de composition chimique secondaire". Phd thesis, Université Montpellier II - Sciences et Techniques du Languedoc, 2006. http://tel.archives-ouvertes.fr/tel-00548934.
Texto completo da fonteLe, Guevel Yves. "La musique traditionnelle instrumentale canadienne-française en milieu urbain : le cas de Québec (1930-1960)". Master's thesis, Université Laval, 1997. http://hdl.handle.net/20.500.11794/28433.
Texto completo da fonteDieterlen, Michel. "L'harmonium". Reims, 1996. http://www.theses.fr/1996REIML011.
Texto completo da fonteIn this thesis l'harmonium, the author first of all traces the political and economic evolution of France, under the various governments in power between 1810 and 1914, the period covered by this study. Following this, an outline is sketched of the technical and cultural context of that century. Having described the principle of the free reed, research relative to the swell organ is evoked, thus permitting the consecration of a large chapter to the organologie or harmoniologie of most types of harmonium. All patents taken out for the instrument are reviewed. Then, two important chapters bring to life the rise to power of the french harmonium industry starting with craftsman, culminating with great manufacturers and the consequences in terms of commercial, legal and financial problems. The repertoire consecrated to the harmonium is largely discussed, whether it be for private salon or religious purposes along with its audience in France. Extensive annexes and musical examples illustrate the subject. This work has a tendency to prove that the harmonium started off as the jeu expressif of the second empire and became the voix celeste of the nineteenth century
Khalifa, Mohamed. "Approches organologiques et musicales des rebabs de l’Afrique du nord et du Moyen-Orient". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040159.
Texto completo da fonteAncestor of the medieval rebec, the emblem of the Arab-Andalusian music or the favorite instrument of the Arabics Bedouins for the accompaniment of their narratives and their poems, the rebab, under its various variants, still plays several roles and functions which differ from each people and each region. This thesis aims at the in-depth study of the rebabs of North Africa and the Middle East. Every variant of this instrument is studied on more than a plan: history, organology, musical and even acoustic. The classification and the museology of this instrument, with its various variants, are also approached on this work. The interest of this thesis, lives in the in-depth study of the various types of this instrument, as well as in the existing links between them, because we think that today, as for the 'ud or any other instrument, it would be necessary to have a global scientific approach about the rebab
Vodenitcharov, Yassen. "L'influence des musiques traditionnelles extra-européennes sur les oeuvres de certains compositeurs de la deuxième moitié du XXe siècle". Paris, EHESS, 2008. http://www.theses.fr/2008EHES0159.
Texto completo da fonteIn the twentieth century some composers researched sources of musical inspiration out of Europe, and this phenomenon mainly increased after the sixties. This research is dedicated to the works of composers like Luciano Berio, John Cage, George Crumb, Morton Feidman, Gyorgy Ligeti, Olivier Messiaen, Harry Partch, Steve Reich, Giascinto Scelsi, Karlheinz Stockhausen, and some others, who marked the second part of the twentieth century, and who use some rhythmic formulas, principles of modal organisation, timbres or vocal techniques, as well as some formaI and conceptual aspects, coming from extra-european musical traditions. The purpose of this research is to show the manner by which these musical elements, coming from extra-european cultures, have been assimilated by the composers, to become an integral part of their own language, so that today we can speak about the realisation of a synthesis
Manzaneque, Gabriel. "Organologie et performance : Induction d'un espace haptique et dichotomie Solmisation/Vectorisation". Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3024.
Texto completo da fonteFrom the perspective of an organology of performance, we first developed, around the concept of haptic system for a musical instrument, a taxonomic framework and typology leading to a questioning about the conceptual identity of an instrument-object. An inductive approach to the exemplary case of the guitar allows us to define a potentially distance in the interaction instrument/instrumentalist ; then, by modeling excerpts of musical works, to consider gestural optimization as an argument of distancing which is an abstraction in the logical field of haptic space (geometric). Finelly, we report the apperception of musical by the instrumentalist, as part of a performance and through his instrument, with a dichotomic model where the concepts of solmisation process and vectorization are proportional to the stylistic aspects of the works and their interpretations
Roy, Sylvain. "Le rubâb afghani, étude historique, musicologique et organologique d'un luth d'Asie Centrale". Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100154.
Texto completo da fonteThis thesis focuses on the diffusion of the Afghan rubâb in Central Asia as well as in the occidental Western countries. It is part of an anthropological and historical perspective, which tends account the organological and typological evolution of the instrument in the different countries where it is practiced. The emphasis is placed on the genesis of the parchment sounding board lute, in particular through morphological comparative analyses of various rubâbs bodies from Central Asia. Thanks to the modelings and an innovative and experimental approach we examined the structural and typological relationships between this instrument and other rubâbs or similar lutes. It has thus been found that there is no filiation between these instruments and the Afghan rubâb. A closer look at some of the bowed lutes from these areas highlights striking similarities with the Afghan rubâb. An attempt has been made to answer the question of a possible relationship between one bowed lute and the Afghan rubâb, a hypothesis which is also considered in the light of historical, philological and organological data. The comparative analysis of the various instruments is based on an abundant iconographic source, accompanied by modeling and organological experiments. This research results in a typology of the Afghan rubâbs, in relation with the requirements of the different repertoires where they are used. Finally, the practice of rubâb in the West has been discussed, under the question of the new means used to ensure the transmission of knowledge and know-how with the absence of direct contact with or follow-up with a master
Contri, Fabrice. "Etre compositeur en Inde du sud : le krti chez les saints poètes musiciens de la Trinité carnatique". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040116.
Texto completo da fonteThe topic of this study presents the part and status of a composer – as well as his influence and style – within the traditional classical music in South India (carnatic music) through its three major representatives, so called carnatic Trinity : Śyāmā Śastri (1762/63 – 1827), Tyāgarāja (1767-1847), Muttusvāmi Dīkṣitar (1775-1835). It concentrates on the most radiant aspects of a large repertoire which has been brought to its achievement by these three musicians, the krti. As an essential tool to implement the Indian mysticism so called bhakti, the kṛti’s first purpose is linked to singing; its composers are also poets and though it is entirely dedicated to God’s praise, it appears to be also a unique way for personal expression, on literary as well as musical aspects. In South India, musical creativity is also a subtle and endless combination between improvisation and composition: the composition side remains partly opened which makes it not only vivid but also perennial. How does the composer manage the future evolution of his work and through which arrangements? Where does he stand in the creation process, including interpretation, through his compositions and his own life standard, thanks to hagiography? Why does the kṛti, especially those belonging to the carnatic Trinity, form a particularly favorable field for the dialectic of permanence and change? These aspects of the question need to be treated from a historical as well as anthropological standpoint but keep opened a wide area for musical analysis investigation
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.
Texto completo da fonteThe 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