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Статті в журналах з теми "Musicologie (discipline)"
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Huvet, Chloé. "La Musicologie du cinéma : enjeux disciplinaires et problèmes méthodologiques." Articles 36, no. 1 (March 16, 2018): 53–84. http://dx.doi.org/10.7202/1043868ar.
Повний текст джерелаАнотація:
Si la musique de cinéma a longtemps été délaissée sur le plan scientifique, en particulier dans la francophonie, la floraison d’analyses musicologiques spécialisées dans ce domaine depuis quelques décennies commence toutefois à combler cette lacune. Par un regard réflexif porté sur ce jeune champ disciplinaire qu’est la « musicologie du cinéma », il s’agira d’interroger la place de l’étude de la musique de film au sein des travaux en musicologie, afin de comprendre le désaveu dont elle a pu faire l’objet. Bien que des disparités perdurent entre les musicologies nord-américaine et française, nous montrerons que l’institutionnalisation progressive de l’étude de la musique de film et son rattachement assumé à la musicologie semblent en bon chemin. L’exposé des problématiques propres à l’étude de la musique de cinéma permettra de dégager non seulement les défis méthodologiques posé par un tel objet de recherche, mais aussi d’éclairer la manière dont elles rejoignent et réengagent nombre de réflexions animant la discipline musicologique elle-même.
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Duchesneau, Michel. "La Revue musicale ou le phoenix musical." Revue musicale OICRM 4, no. 2 (February 8, 2018): 19–34. http://dx.doi.org/10.7202/1043218ar.
Повний текст джерелаАнотація:
Lorsque le directeur de La Revue musicale sim, Jules Écorcheville, part pour le front en 1914, il écrit à son ami Émile Vuillermoz : Malgré le souhait d’Écorcheville, La Revue sim disparaîtra, mais pas pour longtemps puisqu’elle donnera naissance à deux nouveaux organismes en 1917 et 1920. Pendant la guerre, les anciens de La Revue sim dont Lionel de La Laurencie, vont créer la Société française de musicologie (sfm) sur les ruines de la Société internationale de musique et publieront un Bulletin qui deviendra la Revue de musicologie. Loin de l’actualité, s’écartant délibérément du contexte sociopolitique et culturel, la sfm et son Bulletin favoriseront une approche très « scientifique » et relativement nouvelle en France, de la musicologie, bien qu’encore teintée par les tendances historicisantes à la manière de la Schola Cantorum et écartant pour un temps toute la musicologie germanique. En parallèle, sous les auspices du musicologue Henry Prunières qui s’écarte résolument de la sfm, est créée La Revue musicale. C’est à partir d’un réseau international qui place la musicologie française au coeur de l’action musicale contemporaine que Prunières établit de nouvelles alliances avec le milieu des arts et de la littérature pour fonder l’une des plus célèbres revues musicales de la première moitié du xxe siècle. À partir de documents inédits, nous étudierons les circonstances qui mènent à la refondation de La Revue musicale sur les cendres de la Revue sim entre 1915 et 1919. Nous verrons ainsi comment les hasards de la guerre mènent Prunières à entreprendre la carrière d’éditeur et comment le musicologue conçoit le projet international de la revue dans un contexte de guerre qui contribue à une redéfinition des cultures nationales. Il est difficile d’extrapoler sur ce qu’aurait pu être l’avenir de La Revue musicale sim si la guerre n’avait pas eu lieu. Il est par contre possible de documenter et de comprendre le rôle que la Grande Guerre jouera dans l’essor d’une nouvelle dynamique pour la musicologie française dont la division d’abord justifiée par le conflit aura des conséquences à long terme sur l’échiquier international de la discipline.
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Couprie, Pierre. "Quelques propos sur les outils et les méthodes audionumériques en musicologie. L’interdisciplinarité comme rupture épistémologique." Revue musicale OICRM 6, no. 2 (March 24, 2020): 25–44. http://dx.doi.org/10.7202/1068384ar.
Повний текст джерелаАнотація:
Des premières utilisations de base de données dans les années 1970 aux travaux récents portant sur l’analyse de fichiers audio, les musicologues ont progressivement intégré l’usage des technologies numériques dans leurs méthodes de travail. Toutefois, si quelques logiciels comme iAnalyse proposent des interfaces adaptées aux sciences humaines, force est de constater que ces technologies restent encore difficiles à manipuler sans de solides bases en informatique ou en acoustique. Dans cet article, l’auteur présente une pratique interdisciplinaire de la recherche à la base de la musicologie numérique qui couvre un champ d’activités très vaste allant de l’usage de logiciels pour améliorer les méthodes existantes au développement de nouvelles méthodes indispensables à l’étude de certains corpus. Dans ce dernier cas, la modification profonde de la nature même de la pratique musicologique, le décentrement vers une discipline hybride et le changement de perspective sur un objet musical complexe mettent en évidence une véritable rupture épistémologique.
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Blum, Mickael. "Introduction à la ludomusicologie : le cas de Shovel Knight." Musurgia Volume XXIX, no. 3 (September 11, 2023): 75–96. http://dx.doi.org/10.3917/musur.223.0075.
Повний текст джерелаАнотація:
L’étude de la musique de jeu vidéo dans les milieux académiques est une discipline récente qui remonte à la charnière des années 1990 et 2000. Elle a ouvert un champ musicologique spécifique nommé « ludomusicologie », approche pluridisciplinaire dans laquelle l’histoire de la technologie et la pratique du jeu vidéo côtoient une musicologie plus classique, faite d’analyses formelles, motiviques et harmoniques. Le présent article se donne pour mission de fournir les bases nécessaires à la compréhension de cette discipline au travers de l’étude d’un cas, celui d’un jeu de plateformes en deux dimensions nommé Shovel Knight (Yacht Club Games, 2014). Ces quelques pages doivent être vues comme une entrée en matière d’un champ d’étude quasiment absent des milieux musicologiques francophones en Europe. Au départ de généralités sur la musique de jeu vidéo, les premiers morceaux de la bande originale de Shovel Knight sont abordés au moyen des outils habituels à l’analyse de la musique savante occidentale. Couplée à une approche plus spécifique de la composition musicale au moyen du programme FamiTracker, cette analyse plurielle de l’objet audiovisuel permet alors de replacer les morceaux dans leur contexte d’écoute en jeu et de comprendre comment la musique de Shovel Knight concorde avec l’esthétique du jeu, ainsi qu’avec sa narration.
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Odoj, Wojciech. "Podróż do źródeł muzyki? Afrykańsko-niemieckie związki muzyczne w I poł. XX wieku." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 172–77. http://dx.doi.org/10.14746/rfn.2021.22.14.
Повний текст джерелаАнотація:
The article is a review of Anna Maria Busse Berger’s book The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries. This volume discusses the role of youth movements (Jugendbewegung, Wandervogel, Singbewegung) responsible for creating the cultural life of Germany, and the interdependencies between musicologist-medievalists, ethnomusicologists and missionaries. It also deals with the fascinating, difficult beginnings of comparative musicology, including the story of musicology as a scholarly discipline that was slowly finding its place among other branches of learning that had already been long established at universities.
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Kizińska, Karolina. "Rola płci kulturowej w badaniach muzykologicznych – zarys pola badawczego muzykologii feministycznej." Kultura i Edukacja 94, no. 1 (2013): 22–41. http://dx.doi.org/10.15804/kie.2013.01.02.
Повний текст джерелаАнотація:
This article’s aim is to follow new directions in musicology research, that aspire to be interdisciplinary in character and to focus on cultural, analitical and critical approach to music. Almost entirely unknown to Polish readers, this research, defined as “new” musicology, refers to ethnomusicology and sociology of music’s outputs, and tries to apply some of the methods used in those disciplines to analyze classical Western music. Feminist musicology, on which I focus the most, is a still evolving, very popular in the US and at the same time very wide field of study. It’s analyses, although they are sometimes ideological, are one of the most interesting examples of widening the frames of traditional musicology, that are worth knowing. Not assuming to exhaust the topic, I find it crucial to outline the fields of research for this discipline.
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Traube, Caroline. "Quelle place pour la science au sein de la musicologie aujourd’hui ?" Circuit 24, no. 2 (August 13, 2014): 41–49. http://dx.doi.org/10.7202/1026183ar.
Повний текст джерелаАнотація:
De Pythagore à aujourd’hui, le rôle de la science dans l’étude de la musique a connu de nombreux positionnements et repositionnements. Avant la spécialisation des savoirs et le cloisonnement des disciplines qui se sont produits au xixe siècle, la musique pouvait être étudiée suivant différentes perspectives disciplinaires par un même savant, penseur ou philosophe. En 1885, Guido Adler formalise un modèle tripartite comprenant, d’une part, la musicologie historique et, d’autre part, la musicologie comparative, qui elle-même se scindera en l’ethnomusicologie et la musicologie systématique. Cette musicologie dite systématique, maintenant aussi appelée musicologie expérimentale ou musicologie computationnelle suivant les méthodes de recherche privilégiées, tire profit du développement de disciplines connexes, comme la neurocognition et les technologies du numérique. Aujourd’hui, elle se retrouve soutenue par la mobilisation récente des digital humanities, concept qui a émergé il y a quelques années et qui désigne l’application du savoir-faire des technologies de l’information et de l’informatique à des problématiques relevant du domaine des sciences humaines et sociales.
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Cohen, Judah M. "‘Fate Leads the Willing, and Drags the Unwilling’." European Judaism 54, no. 1 (March 1, 2021): 64–87. http://dx.doi.org/10.3167/ej.2021.540106.
Повний текст джерелаАнотація:
In this article, I explore the role that Austrian-born musicologist/composer Eric Werner (1901–1988) cultivated as a representative of musical Wissenschaft des Judenthums in postwar America. I focus here on the diary that Werner kept between 1955 and 1957 – a heretofore untapped resource – which chronicles his efforts to build intellectual refugee networks while simultaneously helping to restart an international network of Jewish music discourse spanning America, Europe and Israel. Music, in Werner’s view, required a scientific basis for study from which authentic practices could be rebuilt. Thus, while Werner relied on revitalising cantors as vessels of Jewish music, he viewed musicology as the core discipline from which Jewish music ‘tradition’ could arise.
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Englin, Stanislav E. "History and Theory of Musical Writing as an Academic Discipline." Musical Art and Education 7, no. 1 (2019): 95–106. http://dx.doi.org/10.31862/2309-1428-2019-7-1-95-106.
Повний текст джерелаАнотація:
The article outlines the reasons why the modern musicologist must be competent in matters of history and theory of a notation. Results of research of the systems of graphical writing of music are proposed to be used in educational purposes. This is due to the fact that the notation is reflected some of the most important features of the musical thinking of the era of its formation. Therefore, knowledge of specific types of music semiography is a tool of obtaining objective data on the deep principles of music of the specific historical period (time of creation and at least, the initial existence of this notation). The interconnected subjects analyze the study of the notation and the basic tasks of musicology. Introduction of training course of music semiography be seen in the light of the multidimensional problem of music education and science. It is concluded that the implementation of educational subject “History and theory of musical writing” provided the coordination of efforts of scientists aimed at creating a modern concept of semiography, contributes to the attainment the essence of musical writing on the basis of generalization of the results of semiography studies. In turn, this will be a significant step on the path of knowledge absolutely patterns, reflected in the variety notations.
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McClatchie, Stephen. "Theory's Children; or, The New Relevance of Musicology." Canadian University Music Review 21, no. 1 (March 4, 2013): 14–27. http://dx.doi.org/10.7202/1014475ar.
Повний текст джерелаАнотація:
The recent theoretical turn in musicology has made the discipline more relevant, both within the university itself, and in the larger society within which it is situated. I consider what this development may mean for younger scholars, both as graduate students and as new faculty members, and explore the paradox that critical theory is often attacked for its impenetrability, yet has allowed us to communicate more easily with our colleagues in other disciplines. Finally, I argue that the primary aim for music study in the twenty-first century should be an ethical one: the creation of whole, musical human beings, literate in, and accustomed to thinking about, musics, plural, rather than Music.
Дисертації з теми "Musicologie (discipline)"
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Weber-Rigaudière, Angélica. "La participation des revues à la construction d’une discipline : the Musical Quarterly (1915-…) : revue de Musicologie (1917-…) : archiv für Musikwissenschaft (1918-1927 ; 1952-…)." Thesis, Avignon, 2009. http://www.theses.fr/2009AVIG1099.
Повний текст джерелаАнотація:
À partir d’une approche documentaire, éditoriale et historique du périodique musicologique est interrogée la participation des revues académiques à la construction d’une discipline.Composé de 122 titres américains, français et allemands du 20e siècle ainsi que de l’Archiv für Musikwissenschaft, de la Revue de Musicologie et du Musical Quarterly, le corpus est soumis à une double observation, macroscopique et microscopique, sur le temps long, ainsi qu’à une analyse des sommaires. Partant de l’idée que la musicologie est une forme d’écriture sur la musique, cette investigation a pour objectif d’éclairer les ambiguïtés et l’historicité du périodique savant sur la musique ainsi que de repérer la manière dont l’articulation entre science, écriture et musique agit sur la revue musicologique. Instrument rhétorique et de captation du lecteur, cette dernière régule, hiérarchise et contrôle un territoire disciplinaire qu’elle délimite. Espace de représentation, le périodique musicologique fabrique l’histoire et l’identité d’un collectif qu’il fédère et dont il constitue le support de communication. La capacité de la revue à accepter la différence et à relier, à laisser place aux polémiques et aux prises de position, ainsi qu’à faire circuler le discours en font un objet hétérogène en perpétuelle transformation que l’on envisage comme un objet culturelBasing on a documentary, editorial and historical approach of the musicological periodical and considering musicology as a form of writing about music, we examine the contribution of journals to the construction of a discipline. Consisting of 122 american, french and german titles, as well as of three leading journals in musicology, the Archiv für Musikwissenschaft, the Revue de Musicologie and The Musical Quarterly, the corpus is submitted to a macroscopical and microscopical observation and to a content analysis. The aim of this investigation is to shed light on the ambiguities and the historicity of learned journals about music. As a rhetorical instrument, the periodical circumscribes a disciplinary territory. This medium of communication federates a collective of which it writes the story, elaborates the history and constructs the identity. By its faculty to accept differences, to link, to leave room to controversy as well as to put discourses into circulation, it can be viewed as a cultural and a heterogeneous object. The articulation between science, writing and music acts on the musicological periodical which is in perpetual transformation
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Matzkin, Daniel. "Perception de similarité de mélodies tonales et non tonales : étude pluridisciplinaire." Paris, EHESS, 2001. http://www.theses.fr/2001EHES0125.
Повний текст джерелаАнотація:
L'expertise musicale des auditeurs influe-t-elle sur la manière dont la similarité est perçue ? Comment reconstruire un jugement de similarité en termes des processus mentaux sous-jacents ? S'agit-il de processus spécifiques à la perception mélodique ? La perception de similarité obéit à une nécessité écologique de base : l'adaptation des organismes à leur environnement. Une revue des processus mentaux sous-jacents à la reconnaissance et à la généralisation de patterns suggère que les opérations mentales mises en jeux lors de la perception de similarité mélodique ne sont pas nécessairement particulières à la faculté musicale. Certaines activités périphériques et centrales du cerveau peuvent être modélisées relativement correctement à partir d'une conception réductionniste de son fonctionnement. Différents exemples provenant de fonctions cognitives très variées permettent de faire l'hypothèse que la perception de similarité mélodique pourrait être prédite par un modèle additif combinant des traitements des dimensions musicales " hauteur " et " durée ". Ce mémoire fournit quelques données permettant de caractériser les processus mentaux sous-jacents à la perception de similarité mélodique (modularité, perception des propriétés configurationnelles, et expertise musicale). Les similarités entre ces processus et ceux d'autres facultés mentales sont soulignées. Les données montrent une nouvelle relation entre la perception du contour mélodique et la durée, et amènent à reformuler les modèles de traitement existants. Un modèle computationnel de la perception de similarité mélodique a été proposé, ses liens avec les caractéristiques de la loi de Shepard sont soulignés. Toutefois, des limitations importantes bornent le degré de généralisation des données. Cela tient aux caractéristiques des stimuli musicaux utilisés, à l'approche simplificatrice qui a été adoptée, ainsi qu'aux analyses statistiques effectuéesDoes the musical expertise of listeners influence the way in which similarity is perceived? How can we rebuild a similarity judgement in terms of the subjacent mental processes? Are these processes specific to melody perception? Similarity perception obeys a basic ecological need: the adaptation of organisms to their environment. A review of the mental processes subjacent with the recognition and generalization of patterns suggests that the mental operations behind melodic similarity perception are not necessarily particular with the musical faculty. Certain peripheral and central activities of the brain can be modelled relatively correctly starting from a reductionistic approach. Various examples coming from very different cognitive faculties makes it possible to make assume that melodic similarity perception could be predicted by an additive model combining the processing of musical dimensions “height” and “duration”. This research provides data making possible to characterize some of the computations underlying melodic similarity perception (modularity, perception of the configurational properties, and musical expertise). Similarities between these processes and those of other mental faculties are underlined. Data shows a new relation between the perception of the melodic contour and duration, and conveys to reformulate the existing processing models. A computational model of melodic similarity perception is proposed. Its links with the of the Shepard law are underlined. However, significant limitations limit the degree of data generalization. It is due to the characteristics of the musical stimuli used, to the simplifying approach which was adopted, as well as with the type statistical analyses carried out
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Pardoen, Marie-Hélène. "Du sabre à la baguette : les musiques militaires pendant la Révolution française." Clermont-Ferrand 2, 2007. http://www.theses.fr/2007CLF20006.
Повний текст джерелаАнотація:
Les musiques populaires ou savantes font l'objet de nombreuses études musicologiques, voire sociologiques. Etrangement , il semble qu'il n'existe que fort peu de sources, études ou littérature sur le sujet des musiques militaires. C'est la raison pour laquelle cette étude est menée. Le sujet étant vaste, l'époque historique est restreinte à celle de la Révolution française : 1789-1800. Le choix de cette période relève du constat suivant : c'est un période charnière faisant la jonction entre les musiques militaires de la seconde moitié du XVIIIe siècle (des musiques encore en gestation) et celles du Premier Empire (où elles sont à leur apogée). La première partie de cette étude présente les difficultés rencontrées lors du travail d'élaboration et pose un certain nombre de fondamentaux, qui jusqu'à présent, semblaient faire défaut. Il en est ainsi de la définition ou de la typologie de ces musiques, des éléments essentiels pour mener une recherche dans une branche de la musicologie jusqu'à présent inexplorée. Elle focalise également sur les aspects matériels de cette musique (partition, instrumentarium, etc. ). La seconde partie s'attache, dans une approche de type sociologie de la musique, à étudier les hommes et les structures dans lesquelles ils évoluent. La troisième tend à démontrer combien la musique militaire est adaptée aux différentes fonctions qui forment la spécificité du métier de militaire, mais également elle est un acteur principal dans la mise en place de ce que l'on a appelé la "guerre totale". Ce sujet innovant aurait pu n'être traité que sur le plan musicologique. Or les musiques militaires possèdent d'autres fonctions totalement inexistantes dans les musiques classiques ou populaires, des fonctions essentiellement utilitaires et typiquement militaires. Notre étude privilégie ces approches originales
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Nishimagi, Shin. "Les modalités de l'enseignement musical au Moyen Age : Le traité De Modis, Cambrai, Médiathèque municipale, Ms 172 (XIIème siècle)." Paris, EPHE, 2005. http://www.theses.fr/2005EPHE4047.
Повний текст джерела
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Mayaud, Isabelle. "Sciences de la musique sans frontières ? : Contribution à une sociologie du processus de primitivisation." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080007.
Повний текст джерелаАнотація:
Cette thèse analyse la division moderne des domaines des sciences de la musique et la hiérarchisation des répertoires musicaux qui lui est corrélative. La recherche s’appuie sur une enquête socio-historique menée à partir du cas français et sur plusieurs sources courant du début du XVIIème au milieu du XXème siècle. Elle mobilise des ressources manuscrites et imprimées (documents administratifs, archives savantes et muséales, actes de congrès et autres imprimés issus des Expositions universelles, archives du secteur de l’édition, pièces documentant la collecte et la conservation d’instruments de musique, de chansons et d’enregistrements sonores) qui sont traitées à l’aide de plusieurs méthodes (analyse lexicale, sociologie des textes, bases de données, ethnographie historique). L’enquête met en lumière une configuration de patrimonialisation de la musique pilotée par l’État-nation français, qui participe d’un processus de longue durée de différenciation du social par la musique. Des opérations de collecte et de conservation des objets de musique sont impulsées par le Second Empire et confortées par la Troisième République. Elles concourent à assigner certains répertoires, portés par des populations vivantes, à une anhistoricité – un en-deçà de l’histoire. Ce partage est analysé comme un système de domination symbolique institué par plusieurs administrations (Instruction publique, Commerce et Industrie, Beaux-Arts, Colonies), produit et reproduit par différent·e·s agent·e·s mandaté·e·s par l’État (Professeur·e·s, académicien·ne·s, conservateurs et conservatrices, dirigeant·e·s territoriaux)In this dissertation, I analyse how, in the modern period, the different scientific domains dealing with music were divided, and how, at the same time, musical repertories were organised into a hierarchy. This research, focused on the French case, is based on a socio-historical enquiry and on several sources dating from the beginning of the seventeenth to the mid-twentieth century. Those sources are both manuscript and printed, and range from administrative documents, scientific and museum archives, conference proceedings and other printed sources related to the Universal Exhibitions, to archives from the publishing sector and other pieces related to the collection and curating of musical instruments, songs and audio recordings. The following methods were mobilised : lexical analysis, textual sociology, databases and historical ethnography. The enquiry emphasizes a configuration of the process of making music a part of national heritage by the French State, which is also a long-term process of social differentiation through the music. Collecting and curating operations of musical objects were initiated by the Second Empire and consolidated by the Third Republic. These operations have contributed to make certain repertories anhistorical, kept in a zone below history. This separation is analysed as a symbolic domination system, which was enacted by several administrations (Public Instruction, Trading and Industry, Fine Arts, Colonies), produced and reproduced by different agents commissioned by the State (teachers and professors, academicians, curators, territorial leaders)
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Romero-García, Gonzalo. "Mathematical Morphology for the Analysis and Generation of Time-Frequency Representations of Music." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS554.
Повний текст джерелаАнотація:
Cette thèse explore l'application de la Morphologie Mathématique à l'analyse et la génération de musique, en se concentrant sur deux représentations en temps-fréquence : les spectrogrammes et les piano rolls. La morphologie mathématique est un outil de traitement des images non linéaire qui sert à considérer des notions topologiques de l'image. Nous présentons trois applications. La première est d'analyser des spectrogrammes avec des outils morphologiques pour obtenir des paramètres avec lesquels synthétiser un son d'instrument de musique. La deuxième est de générer des piano rolls avec deux paramètres musicaux, la texture et l'harmonie, en les disposant grâce à la dilatation morphologique. La troisième est d'appliquer des opérateurs morphologiques pour analyser des piano roll à l'aide de la théorie des graphes. La thèse propose donc de nouvelles approches pour des problèmes d'analyse sonore et musicologie computationnelleThis thesis explores the application of Mathematical Morphology to the analysis and generation of music, focusing on two time-frequency representations: spectrograms and piano rolls. Mathematical Morphology is a nonlinear image processing tool that serves to consider topological notions of the image. We present three applications. The first is to analyze spectrograms with morphological tools to obtain parameters with which to synthesize a musical instrument sound. The second is to generate piano rolls with two musical parameters, texture and harmony, by arranging them through morphological dilation. The third is to apply morphological operators to analyze piano rolls using graph theory. The thesis thus proposes new approaches for problems in sound analysis and computational musicology
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FRATTALI, ARIANNA. "La drammaturgia fra letteratura e musica nel Settecento: figure femminili nei salotti lombardo veneti." Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/750.
Повний текст джерелаАнотація:
La tesi ricostruisce il ruolo della figura femminile nel salotto settecentesco in area lombardo-veneta per quanto concerne il rapporto fra teatro musica e letteratura. Lo studio si concentra su quattro figure femminili in particolare: Francesca Manzoni, Luisa Bergalli, Maria Teresa Agnesi e Paolina Secco Suardo.The thesis reconstructs the role of the female figure in the XVIII century salon in the lombardo-veneto area regarding the relationship between music, theatre and literature. The study focuses on four female figures: Francesca Manzoni, Luisa Bergalli, Maria Teresa Agnesi e Paolina Secco Suardo
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FRATTALI, ARIANNA. "La drammaturgia fra letteratura e musica nel Settecento: figure femminili nei salotti lombardo veneti." Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/750.
Повний текст джерелаАнотація:
La tesi ricostruisce il ruolo della figura femminile nel salotto settecentesco in area lombardo-veneta per quanto concerne il rapporto fra teatro musica e letteratura. Lo studio si concentra su quattro figure femminili in particolare: Francesca Manzoni, Luisa Bergalli, Maria Teresa Agnesi e Paolina Secco Suardo.The thesis reconstructs the role of the female figure in the XVIII century salon in the lombardo-veneto area regarding the relationship between music, theatre and literature. The study focuses on four female figures: Francesca Manzoni, Luisa Bergalli, Maria Teresa Agnesi e Paolina Secco Suardo
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AVANZINI, SUSANNA. "LA FUNZIONE DELLA MUSICA NEL TEATRODANZA DI SASHA WALTZ E PINA BAUSCH." Doctoral thesis, Università degli Studi di Milano, 2013. http://hdl.handle.net/2434/222405.
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The goal of this project is to re-examine the relationships between movement and musical form in contemporary dance theatre, placing the focus of our analysis on the reception that is on the global effect of spectacle.
The focal point of romantic ballet was dancers virtuosity, that’s why – grounding on some “low quality” scores – ballet music wasn’t considered as dignified as absolute music, wrongly so. At the beginning of 20th century, esthetical, technical, historical and sociological factors determined a turning point, which, instead, allowed gestures to express the affects: Körperkultur, a tradition that comes from the Delsartian theory, permitted dance to acquire expressive sense. Starting from Rudolf Laban, dance becomes an independent art form, concentrating on bodily expression: music was no more the inspirer of the movement, but becomes a sort of “external entity”, giving it only time and rhythmic limits.
In the first chapter we contemplate the historical premises, together with the dancers and choreographers – such as Isadora Duncan, Mary Wigman, Loïe Fuller, Ruth St. Denis, Kurt Joos and Valentine de Saint-Point – who led off the development of modern dance in Europe. They prepared the grounds for the different dance theatre conceptions to come: dance theatre is a form of performance, in which dance, words, gestures and movement coexist, as well as music, which – as stated by Pina Bausch, the “inventor” of this kind of performance – is a very important component of the dance spectacle.
This project will examine exclusively the production of two choreographers, Pina Bausch and Sasha Waltz, who is viewed by some scholars in a way the heiress of the former. We will take into account only some pieces of their whole production: for Bausch Orpheus und Eurydike, (one of her first creations) Kontakthof in the three 1978, 2000 and 2008 versions and Vollmond, one of her last pieces. We didn’t choose Waltz’ more abstract creations, but those of her last periods, on classical music, namely Dido and Aeneas, insideout and Jagden und Formen.
Confronting the different musical demands of both choreographers and the way they built the movement sequences, in chapter 4 to 9 we will analyse piece by piece the musical score and the choreography, trying to discover how the relationships between music and movement develop in the spectacles taken into consideration: in opera as well as in non-narrative performances. As a methodological basis in comparing those structures, we will use the principles given by Paul Hodgins and Stephanie Jordan. Exposed in chapter three, the global significance, which is produced by the interaction between music and dance will then be analysed according to the audiovisual studies of Nicholas Cook.
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VERGA, DAVIDE. "MUSICHE DI SCENA E TEATRO DI REGIA. FIORENZO CARPI E GLI SPETTACOLI GOLDONIANI DI GIORGIO STREHLER." Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/202740.
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Sound design is an essential part of contemporary theatre, despite the lack of studies devoted to musical scores in theatrical plays. Since the early 20th century, music has become an unavoidable element (as well as set pieces, costumes etc.), of the 'text' of the play, contributing to its sense and its global reception. This is why it doesn't come as a surprise that Fiorenzo Carpi - the well trained composer who started to collaborate with Piccolo Teatro in Milan since the very beginning of its activity - is considered one of Giorgio Strehler's closest partners. Over the years, the director has often mentioned the crucial importance of Carpi's work in his letters and interviews. The real impact of Carpi's contribution however, can be measured directly in the text. The study analyzes Carpi's work, attending in a particular way to those plays of Goldoni directed by Giorgio Strehler, mise-en-scenes that were fundamental in the Piccolo Teatro's history e with whom the director focused what is called his 'poetical realism', which uses music to convey an universal meaning from the realistic object. The musical production follows, through the time, the different readings of the director; now music is connected to the movement, now it creates spaces. Moreover, form such mise-en-scenes it rises the muscian's and director's vision of the Eighteenth Century world. To deepen that main theme, this study has broaden to the analysis of musics composed by Carpi for other theatrical plays or else movies related that same century. First by the original autographic scores by Fiorenzo Carpi, held in the Piccolo Teatro Historical Archive, then by analyzing 'secondary' sources such as press reviews, TV videos, tapes, photographs, programmes or playbills, the study tries to explain the complex double paternity of the music, child of the composer and of the director, a music, whose sense is realized only in the synthesis of the staging.
Книги з теми "Musicologie (discipline)"
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Masse, Isabelle. Influence des modes d'émissions vocales extra-européennes dans la musique contemporaine: Thèse pour obtenir le grade de docteur de l'université Paris IV-Sorbonne, discipline musicologie, présentée et soutenue publiquement [en] décembre 2000. Villeneuve-d'Ascq: Presses universitaires du septentrion, 2002.
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Masse, Isabelle. Influence des modes d'émissions vocales extra-européennes dans la musique contemporaine: Thèse pour obtenir le grade de docteur de l'université Paris IV-Sorbonne, discipline musicologie, présentée et soutenue publiquement [en] décembre 2000. Villeneuve-d'Ascq: Presses universitaires du septentrion, 2002.
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Dupré, Sven, Anna Harris, Julia Kursell, Patricia Lulof, and Maartje Stols-Witlox, eds. Reconstruction, Replication and Re-enactment in the Humanities and Social Sciences. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728003.
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Performative methods are playing an increasingly prominent role in research into historical production processes, materials, bodily knowledge and sensory skills, and in forms of education and public engagement in classrooms and museums. This book offers, for the first time, sustained, interdisciplinary reflections on performative methods, variously known as Reconstruction, Replication and Re-enactment (RRR) practices across the fields of history of science, archaeology, art history, conservation, musicology and anthropology. Each of these fields has distinct histories, approaches, tools and research questions. Researchers in the historical disciplines have used reconstructions to learn about the materials and practices of the past, while anthropologists and ethnographers have more often studied the re-enactments themselves, participating in these performances as engaged observers. In this book, authors bring their experiences of RRR practices within their discipline into conversation with RRR practices in other disciplines, providing a basis for interdisciplinary cross-fertilization.
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1937-, Greer David Clive, Rumbold Ian, and King Jonathan 1971-, eds. Musicology and sister disciplines: Past, present, future : proceedings of the 16th International Congress of the International Musicological Society, London, 1997. New York: Oxford University Press, 2000.
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G, Pauly Reinhard, and Radice Mark A, eds. Irvine's writing about music. 3rd ed. Portland, Or: Amadeus Press, 1999.
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Jewler, A. Jerome. Creative strategy in advertising. 5th ed. Belmont: Wadsworth Pub. Co., 1995.
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Jewler, A. Jerome. Creative strategy in advertising. 3rd ed. Belmont, Calif: Wadsworth, 1989.
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L, Drewniany Bonnie, ed. Creative strategy in advertising. 8th ed. Belmont, CA: Thomson/Wadsworth, 2005.
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Jewler, A. Jerome. Creative strategy in advertising. 4th ed. Belmont, Calif: Wadsworth, 1992.
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Jewler, A. Jerome. Creative strategy in advertising. 2nd ed. Belmont, Calif: Wadsworth, 1985.
Знайти повний текст джерелаЧастини книг з теми "Musicologie (discipline)"
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Wissner, Reba A. "Using Public Musicology to Teach Digital Literacy in Music History Classes." In Integrating Digital Literacy in the Disciplines, 95–104. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003445326-11.
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Chimenes, Myriam. "La Vie Musicale Sous Vichy, 1940-1944." In Musicology And Sister Disciplines Past,Present,Future, 541–43. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0078.
Повний текст джерелаАнотація:
Abstract Reunissant musicologues et historiens, cette session s’inscrivait dans le theme general de ce congres, ‘Musicologie et disciplines soeurs’, et temoignait de la necessite, pour traiter certains sujets, d’etablir partenariat entre des representants des deux disciplines. La vie culturelle des annees noires a suscite depuis une quinzaine d’annees des etudes historiques essentiellement ccntrees sur la litterature, Jes arts plastiques, le theatre, et le cinema. Evoquee parfois de maniere anecdotique, la musique est demeuree absente dice champ de recherches, cequi explique la formation, a )’initiative des musicologues, d’un groupe de recherche pluridisciplinaire sur ‘La vie musicale en France pendant la Scconde Guerre mondiale’,1 dont Vichy constitue le coeur. Les recherches en cours visent a determiner les incidences du temps de guerre d’une part sur Jes carrieres des musiciens, sur la reception des oeuvres, et sur leur esthetique, d’autre part sur certaines formes de sociabilite, la frequcntation des concerts OU la pratique en amateur devant etre considerees comme des derivatifs aux difficultes de la vie quotidienne. Une synthese devrait permettre d’evaluerles persecutions et de mesurer Jes engagements.
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Olleson, Philip. "Musicology And Biography." In Musicology And Sister Disciplines Past,Present,Future, 483–85. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0056.
Повний текст джерелаАнотація:
Abstract In a congress whose main theme was musicology and sister disciplines it seemed particularly appropriate to devote a session to musicology and biography. Although not strictly speaking a discipline in its own right, biography has an important, if untidy, relationship with musicology. Moreover, it is in the musical biography that musicology steps outside the specialist arena and addresses a wider public. Although musical biography may not have achieved the popularity of literary biography, it is none the less widely read, and a major new study can play a significant part in establishing or altering the way in which its subject’s life and career are perceived; furthermore, its impact can be particularly pervasive as the picture is more widely disseminated through journalism, broadcasting, and programme and sleeve notes.
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Martin, Peter J. "Music and Cultural Practices." In Musicology And Sister Disciplines Past,Present,Future, 331–41. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0037.
Повний текст джерелаАнотація:
Abstract One of the most interesting features of the contributions to this Round Table is the extent to which certain common themes run through them, and I propose to concentrate on these here. As a sociologist with a particular interest in musical activities, rather than a musicologist seeking to add a ‘social’ dimension to the analysis, I wish to argue that the development of a thoroughly sociological perspective on music will have profound implications for many established beliefs and practices in musicology. Not all of these need be seen as challenging or threatening to conventional musicological work: on the contrary, it is possible to clear away some of the misunderstandings that have hindered the effective collaboration of musicologists and sociologists, and to point to examples of recent work which promise much for the future.
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"Musicology and Related Disciplines." In Musicology and Performance, 11–23. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300146394-004.
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Stenzl, J. ü. rg. "Response." In Musicology And Sister Disciplines Past,Present,Future, 218–20. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0024.
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Abstract From a European point of view, ‘New Musicology’ is part of US home politics. As Andrew Dell’Antonio put it, a new approach means taking up new, alternative ideas from ‘sister disciplines’. Musicology has always been conditioned by ‘sister disciplines’, especially by the history of art. Likewise, philosophical concepts generally functioned as much more than mere ‘sisters’: ‘Restoration’ was, for example, a ‘big brother’ of Cecilianism, of the Solesmes editions of Gregorian chant, and of a large part of musicology during the late nineteenth and twentieth centuries. French right-wing extremism and anti-Semitism were ‘sisters’ to Vincent d’Indy’s music history at the Paris Schola Cantorum, just as nationalistic and fascist ideas conditioned parts of French and Italian musicology between 1920 and 1945. Structuralism had its impact on French musicology in the 1970s, not to mention the impact of Hegel and, later on, the influence Adorno’s synthesis of philosophy, sociology, and music has had on German musicology since 1950.
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Seebass, Tilman. "Musicology And Art History." In Musicology And Sister Disciplines Past,Present,Future, 548–51. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0081.
Повний текст джерелаАнотація:
Abstract Ever since the beginnings of modern musicology in the second half of the nineteenth century, scholars have been aware of the intellectual context provided by neighbouring fields. After language and literature, art history was closest. Jakob Burckhardt’s and Heinrich Wolfflin’s periodizations were adopted, and an interest in style history as well as a tendency towards Personenkult in the writing of biographies was typical for both disciplines. The twentieth century brought an emphasis on synaesthetic questions and, most recently, reception history.
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Meconi, Honey. "Session 29: Hildegard of Bingen." In Musicology And Sister Disciplines Past,Present,Future, 646–47. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0122.
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Abstract What happens when the object of our musicological enquiry is examined by someone from outside the discipline? Such has happened in the case of the twelfth-century nun, mystic, early scientific observer, preacher, theologian, poet, and composer Hildegard of Bingen, a historical figure in her own right long before she took her place among the early great composers. Her achievements in other fields have traditionally overshadowed her musical accomplishments, which means we come to her in a way that differs dramatically from our approach to virtually any other composer. Her privileged canonical position is due in many respects to the scrutiny she received initially from other fields, while the story of her entry into the modern musical canon begins with other disciplines and cannot be separated from them. This paper demonstrated how this intensive study of Hildegard by our sister disciplines significantly shaped our reception and understanding of her in musicology.
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Dell’Antonio, Andrew. "Statement." In Musicology And Sister Disciplines Past,Present,Future, 179–84. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0018.
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Abstract The spectre of a ‘New Musicology’ has recently been haunting musicological discourse, making its way from the USA to Europe and beyond. ‘New Musicology’ may or may not be a peculiarly North American phenomenon; it certainly draws upon both European and local hermeneutical traditions, following developments in ‘sister disciplines’ such as philosophy, anthropology, ‘New History’, cultural studies, sociology, lesbian/gay/queer studies, and feminism. In the last decade musicologists have drawn freely from such developments, and their readings (and wilful misreadings) have yielded interpretative strategies that seek to redefine our field. While such approaches have been disparate in scope and in some cases explicitly contradictory, both proponents and critics have seen fit to invoke the umbrella term ‘New Musicology’ to describe this phenomenon.
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Locke, Ralph P. "Response." In Musicology And Sister Disciplines Past,Present,Future, 209–17. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0023.
Повний текст джерелаАнотація:
Abstract The two position papers, for all their obvious differences, have in common the working assumption that we should be focusing in this Round Table on a certain set of approaches that have been actively pursued in recent musicology, especially in the USA, and exploring its relationship to more traditional or normative work.1 Stefano Castelvecchi names only one representative (Lawrence Kramer) of this supposed ‘New Musicology’ (or ‘Critical Musicology’, as some of its proponents have dubbed it in the UK), while Andrew Dell’Antonio names none at all.2 But both clearly are thinking also of such widely published scholars as Susan McClary, Suzanne Cusick, Philip Brett, Richard Leppert, Eva Rieger (to mention one prominent non-Anglo-American), Robert Fink, and Tricia Rose.3
Тези доповідей конференцій з теми "Musicologie (discipline)"
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Bressan, Federica. "Philology in the preservation of audio documents." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.2.10.
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Sound recordings have proven to be irreplaceable primary sources for disciplines like linguistics, musicology, ethnomusicology and sociology. Their fragile physical nature has activated a number of counter-actions aimed at prolonging the life expectancy of their content. Methodological issues have been raised in the past three decades, considering the relationship between the physical object and its (digitized) intangible content, which is not only complex but develops over time. This article re ects on the role of the emerging discipline known as ‘digital philology’ in the long- term preservation of audio documents, pointing out how some concepts (such as authenticity, reliability and accuracy) may require a ‘customized’ (as opposed to a ‘ready-made’) approach in the preservation work ow – mainly depending on the type of the archive: unique copies, eld recordings, electronic music, oral history, to name some representative cases. The set-up of the laboratory for sound preservation at the Centro di Sonologia Computazionale (CSC) of the University of Padova, Italy, represents one customized approach in which conscious methodological decisions support philologically informed digitization e orts. The methods affect the results, and ultimately the consequences are not merely technological but cultural.
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Keil, Reinhard. "Der Computer als Denkzeug für hermeneutische Arbeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.89.
Повний текст джерелаАнотація:
Computer science and the humanities seem to belong to two opposite sides within the spectrum of scientific methods and research. In the domain of digital humanities, however, formalization and hermeneutic interpretation have to be integrated. As will be argued in this article, this integration provides a fundamentally new challenge to both disciplines. In particular, researchers from the humanities want to be sure that using the tools provided by computer science (big data, machine learning, etc.) do not change insights in any non-expected way. However, even if this could be partially secured, it cannot be achieved in general for most of the research practices. As will be demonstrated in the context of digital editions in musicology, it is impossible to design technology in a neutral or context-free manner. Due to the interests of different actors and institutions, numerous design conflicts arise where the implementation of requirements violates other, equally valid demands. To balance these conflicting requirements invariably brings some bias to the overall design. Thus, it is important to develop a strategy for identifying potential influences as well as the impact of design decisions throughout the whole process of developing tools and infrastructures. The paper presents an approach for hypotheses driven design of digital tools and infrastructures from a computer science point of view, placing great emphasis on supporting mutual understanding and ensuring a transparent design process.