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Статті в журналах з теми "Instruments à cordes – Propriétés acoustiques":
Jedrzejewski, Franck. "Nœuds Polychromes et Entrelacs Sonores : Vers de Nouvelles Catégories Musicales." Musicae Scientiae 7, no. 1_suppl (September 2003): 73–83. http://dx.doi.org/10.1177/10298649040070s104.
Дисертації з теми "Instruments à cordes – Propriétés acoustiques":
Condi, Louise. "L’instrumentarium européen à cordes sympathiques des XVIIe et XVIIIe siècles. Étude historique, esthétique et acoustique des instruments, de leurs pratiques et de leurs répertoires." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL169.
The term 'sympathetic strings' is used on cordophones to describe strings that are never played directly, but which nevertheless vibrate. These strings modify the timbre and resonance time of the instrument, creating an atypical sound signature. Sympathetic string instruments are found all over the world. In Europe, this device has inspired makers, composers and performers to create a rich instrumentarium: viola d'amore, baryton, nyckelharpa, hardingfele, hurdy-gurdy, violin d'amore, marine trumpet, and so on. This thesis explores the influence of the sympathetic strings of these instruments on their respective repertoires, using the methods of musicology, acoustics and heritage sciences
Orelli, Paiva Guilherme. "Vibroacoustic Characterization and Sound Synthesis of the Viola Caipira." Thesis, Le Mans, 2017. http://www.theses.fr/2017LEMA1045/document.
The viola caipira is a type of Brazilian guitar widely used in popular music. It consists of ten metallic strings arranged in five pairs, tuned in unison or octave. The thesis work focuses on the analysis of the specificities of musical sounds produced by this instrument, which has been little studied in the literature.The analysis of the motions of plucked strings using a high speed camera shows the existance of sympathetic vibrations, which results in a sound halo, constituting an important perceptive feature. These measurements also reveal the existence of shocks between strings, which lead to very clearly audible consequences. Bridges mobilities are also measured using the wire-breaking method, which is simple to use and inexpensive since it does not require the use of a force sensor. Combined with a high-resolution modal analysis (ESPRIT method), these measurements enable to determine the modal shapes at the string/body coupling points and thus to characterize the instrument.A physical modelling, based on a modal approach, is carried out for sound synthesis purposes. It takes into account the strings motions according to 2 polarizations, the couplings with the body and the collisions between strings. This model is called a hybrid model because it combines an analytical approach to describe the vibrations of strings and experimental data describing the body. Simulations in the time domain reveal the main characteristics of the viola caipira
Wofford, Timothy. "Study of the interaction between the musician and the instrument. Application to the playability of the cello." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUS336.
We attempt to validate the link between the bridge mobility and the perception of playability by observing whether the musician perceives differences in Schelleng’s upper and lower limits for notes other than the wolf note. We also look for other factors which are relevant to the musician’s perception of playability by studying the interactions between the player and the instrument during an evaluation and performance task. Unlike previous approaches, we observe all parts of the playability feedback loop, including the control parameters, some vibro-acoustical measurements taken with an impact hammer, the response of the instrument to the control parameters, and the musician’s comments about perceptual properties. We find that geometric features of the cello set-up (in particular, the bridge curvature) may lead the musician to use less force than usual in order to avoid accidentally touching adjacent strings. This results in longer transients and different timbres, which are perceived in ways that are not related to geometry or control parameters. Sometimes unconscious adaptations to the geometry affect the sounds produced and the subsequent perception of the instrument. A conscious effort is needed to overcome these natural behaviors in order to compensate for set-up geometry and arrive at a stable evaluation
Nief, Guillaume. "Comportement vibroacoustique des conduits : modélisation, mesure et applications aux instruments de musique à vent." Le Mans, 2008. http://cyberdoc.univ-lemans.fr/theses/2008/2008LEMA1020.pdf.
The wall vibrations of a wind musical instrument imply various vibroacoustic couplings:duct/internal fluid and duct/external fluid. The duct/internal fluid is studied via the input impedance of the vibrating duct, which differs from the perfectly rigid case. The disturbance of the impedance, still very weak for usual parameters, is maximal when the eigenfrequency of a mechanical ovalling mode of the duct coincides with the one of an acoustic mode. When such a mechanical/acoustical matching occurs, slight timbre modification, or even more important disturbance can be observed on the produced sound. The duct/external fluid coupling is investigated via the acoustic radiation of a trombone bell free to vibrate, which differs from the case where its vibration are damped using sand. Some small differences of a few decibels are measured at frequencies of radiating mechanical modes, which are efficient from the acoustic radiation point of view
Caramiaux, Baptiste. "Etudes sur la relation geste-son en performance musicale." Paris 6, 2011. http://www.theses.fr/2011PA066461.
Bonnet, Marie-Dominique. "La simulation numérique : le rôle des modèles formalisés, à la frontière de la recherche scientifique et de la création musicale : exemple de la synthèse par modèles physiques." Paris, EHESS, 2002. http://www.theses.fr/2002EHESA109.
Computer simulation of how an instrument works – whether it be the vibrating structures, the excitation modes, the propagation modes, as well as the radiation of the instrument – is the structural foundation of any synthesis procedure using physical models. Some of the main techniques currently used, are “waveguide synthesis”, “modal synthesis” with the Modalys software, and the Cordis-Anima system. I have studied the fundamental implications, prospectives and possible orientations of the use of the physical model synthesis through a pragmatic approach of the following three main axes: space, gesture and instrument. These simulation techniques aim at two things: on the one hand it can help theory-developing in acoustic physics, on the other hand it can lead to an analogical, extensive and metaphoric use in the field of musical creation. Moreover, unlike signal model synthesis, physical model synthesis aims at modelling and simulating the causes of an acoustic phenomenon rather than the results of such a phenomenon. This computer simulation of the causes raises numerous epistemological and musical issues. As a result not only will this add a new dimension to sound synthesising, but it might also alter the approach of the composer who will be able to change physical parameters thus revealing new creative fields of research in relation with computer simulation of vibrating objects
Hérold, Nathalie. "Timbre et forme : la dimension timbrique de la forme dans la musique pour piano de la première moitié du dix-neuvième siècle." Strasbourg, 2011. http://www.theses.fr/2011STRA1065.
This thesis examines the structuring role of timbre through the pianistic repertory of the first half of the nineteenth century, an exploratory period in which timbre, as multidimensional compound, occupies a central place. Based on an architectonic and organic conception of form, it conveys acoustics and psychology, in a transdisciplinary perspective. Relationship between timbre and language is based on the timbral resources of writing. This material, provided with strong structural potentialities, is modelled by pianistic and textural factors in interaction. Low-level timbral units, delimited by different types of articulations, find their cohesion in timbral groupings provided with emerging properties. The resulting orientated structures converge or diverge with the other musical dimensions. Formal deployment of timbre involves timbral associations, giving rise to orientated and polarized spaces and to network structures. Timbral prolongations, implying temporal extension, generativity and recursion of form, concern the spectral and temporal dimensions of timbre and question the notion of fundamental structure. Timbral hierarchies, considered in terms of subordination and reduction, involve fractal and treelike structures. Relationship between timbre and overall formal plan implies the examination of high-level timbral units, resulting from statistical and syntactic groupings, and whose articulations present many similarities with low level. The typology of forms renders the resulting structures’ diversity and brings to light the notions of climax, symmetry, progression, anticipation and return. Timbre, structured in interrelated levels, thus constitutes a dimension essential to the comprehension of nature and evolution of pianistic forms
Pallone, Grégory. "Dilatation et transposition sous contraintes perceptives des signaux audio : application au transfert cinéma-vidéo." Aix-Marseille 2, 2003. https://tel.archives-ouvertes.fr/tel-00003363v4.
Robine, Matthias. "Analyse de la performance musicale et synthèse sonore rapide." Bordeaux 1, 2006. http://www.theses.fr/2006BOR13327.
Marco, Olivier. "Instrumentation d'un site avalancheux : de l'utilisation des propriétés acoustiques de la neige et des techniques d'imageries pour la mesure de paramètres physiques d'une avalanche dense." Grenoble 1, 1994. http://www.theses.fr/1994GRE10076.