Дисертації з теми "Musique de chambre – 20e siècle"
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Militaru, Alexandra-Corina. "Les allures improvisées dans les oeuvres pour piano et de musique de chambre de Georges Enesco." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20036.
The starting point lies in the act of listening and the impression of improvisation left by Enesco's musical works on us, subjective listeners. We shall place the musical experience - and not just the mere musical text - at the core of our analysis. By what means and through what terminology can the impression of improvisation be accounted for in a written and theoretically composed musical work ? The seemingly improvised airs provide an answer to this question and will be considered as aesthetic fiction, in the sense that they exist only for the listener. Two categories emerge from the creation of a typical perception of the seemingly improvised airs, linked to specific writing techniques : written improvisation - as a potentially noted improvisation, and improvisatory writing - as a false improvisation. Written improvisation is defined as the potential avatar of improvisation, a change, a modification which implies writing. Improvisatory writing is defined as false improvisation ; consequently, it is nothing but an imitation, by means of composition, of improvisation
Lotiron, Claire. "Le Quintette Instrumental de Paris et la pratique chambriste en France dans l'entre-deux guerres : carrière et répertoire (flûte, harpe et trio à cordes)." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL020.
In 1922, the flutist René Le Roy had the idea of creating a chamber ensemble with an atypical combination of instruments (flute, harp and string trio) which recalls Debussy's Sonate pour flute, alto et harpe that he was particularly fond of. The Quintette Instrumental de Paris had a well-filled musical career until 1940, thanks to the dedication and rigour of its founder members: Marcel Grandjany, and then Pierre Jamet on the harp, René Bas on the violin, Pierre Grout on the viola and Roger Boulmé on the cello. The ensemble was disbanded during the war, when René le Roy left for America, and Roger Boulmé was killed in action. In 1944, the harpist Pierre Jamet re- formed the quintet, which now bears his name. When the group finally split up in 1958, the Pierre Jamet Quintet was given a new lease of life by Marie-Claire Jamet, Pierre Jamet's daughter, and her husband, the flutist Christian Lardé. This thesis, which focusses on the ensemble's first period of activity (1922-1940), sets out to examine how the group managed to get established and sustain its activity, even though it did not belong to any chamber music tradition and had no pre-existing repertoire. The players turned to contemporary composers in order to gradually enrich their repertoire. The first part sets out to reconstruct the musical trajectory of the ensemble, in the light of documentary evidence scarcely used until now., and to assess its place in the musical life of its time. The ensemble benefited from a favourable historical context for the practice of chamber music, and it attracted composers who were interested in the expressive potential of this new combination of instruments. The second part looks at the career strategies implemented by the ensemble itself to promote its activities in France and abroad. This provides an opportunity to reconsider the figure of the impresario who, like Marcel de Valmalète, exerted an ever-growing influence on French musical life. In this period of great geopolitical upheaval, the Association Française d'Action Artistique (A.F.A.A.), which promoted French music abroad, greatly encouraged the Quintet's career in Europe and America. This is perfectly illustrated by the two American tours in 1934 and 1935. Nadia Boulanger, who was close to René Le Roy and more particularly to Pierre Jamet, acted as an intermediary to facilitate the Quintet's introduction into the New York musical milieu. The concert programme, which had also been restructured, was based on the principle of alternating pieces for different sized groups, endeavouring to give pride of place to little-known pages from the Baroque repertoire and to present the latest works by contemporary composers.In order to assess the particular nature of the Quintet's interpretative repertoire, it is compared with that of other groups from the same period, in particular the Trio Cortot-Thibaud-Casals, the Trio Pasquier and the Quatuor Calvet, which were also popular at the time. Finally, the third part deals specifically with the aesthetics of the quintet as it progressed between 1923 and 1938, including some thirty works composed for the Quintette Instrumental de Paris. A more restricted corpus comprising the ten quintets which best exemplify their repertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero and Françaix) is the focus of an in-depth analysis of the writing and management of this particular combination of instruments. We can hereby tackle the questions of sound homogeneity, exploration of timbre and instrumental configuration
Bruzaud, Radosveta. "Le mot dans la partition au vingtième siècle." Paris 4, 2004. http://www.theses.fr/2004PA040225.
Apart from the context of vocal works, the contemporary musical literature testifies to a multiplicity of forms of dialogue and exchange between the verbal expression and the sound phenomenon, no assumption of interaction and osmosis between these two modes of expression being excluded a priori, while it contributes to stimulate the creativity of the performer, to make easy the perception of work, to promote, finally, the communication of the composer's project. Whereas, in certain cases, the recourse to the words aims to favour the access to work, by revealing its sources of inspiration and by specifying its aesthetic objectives, in others, the verbal expression joins the sound phenomenon closely, forming with him a musico-poetic complex, whose various components act simultaneously on the perception of the performer. In others again, beyond its poetic qualities, the word can constitute one of the essential elements of the notational system, conceived by the composer, or to be put in charge of a metalinguistic function, contributing to transmit the methods according to which the musical project should be carried out. Lastly, with the appearance of the verbal notation, at the beginning of the years 1960, the musical idea is concretized only through the linguistic signs, the musical score being elaborate exclusively by means of the words of the current language. After having analyzed several cases of presence of the word, in the musical score at the 20th century, this research work develops the problems of verbal notation, suggesting a taxonomy of the artistic manifestations lying within this field of experimental notation
Douat, Étienne. "La chambre régionale des comptes et l'ordre juridictionnel administratif." Bordeaux 1, 1991. http://www.theses.fr/1991BOR1D014.
1982 decentralization act created 24 regional count chambers so as to control public regional funds in france. Many reviews published reports concerning these new institutions but there was a need of a general study. Since 1807 there is a challenge between the revenue court and the state council. The main points concerns the independance of a separated system within the administrative judicial organization. The regional revenue chambers complement the activity of the revenue court of paris which can level criticisms towards its daughters. But the existence of an appeal to the state council weakens the auutonomy of revenue juridictions. Above all, revenue chambers are directly controlled by administrative judges. New procedures of budgetary control involves revenue chambers in prefectoral decisions. Regional revenue chambers are mainly judicial institutions acting in the administrative sphere
Tissier, Eric. "Le champ de la musique contemporaine." Paris 4, 2008. https://www-vlebooks-com.ressources.univ-poitiers.fr/Vleweb/Search/Keyword?keyword=9782296246119.
Trough this research we apprehend the place of music in contemporary French society at the turn of the 21st century. It is part of a comprehensive approach. The question posed in the first part engages the status of the composer over the centuries and analyses the conditions for the formation of a contemporary music's field after the Second World War and, in same way, the growing role of the State in its funding through various forms of assistance to composers. A rigourous methodology we also considered various experiments throughout a 26 composers' survey (men and women). In other words, the composer in its social context regarding the different stages of his career implications and consequences of his creative activity through the compartmentalized orientation that has taken over the contemporary music’s field. Thus, our research has highlighted the consequences of strong competition, successive adjustements based on objective possibilities, hopes and disappointments often arising. In this context of State, which through the committee for awarding orders greatly modified hierarchies of musical genres despite neutrality displayed, plays a central role that we analyse in detail. The issues of this research bring to light the relevant facts of creativity into the center of musical education while accentuating the decentralization policy necessary to a better diffusion of musical creation throughout the territory
Hakima, Fakher. "Les aérophones dans la musique populaire égyptienne : tradition et évolution." Paris 4, 2005. http://www.theses.fr/2005PA040237.
This work reveals the principal mutations of the Egyptian popular music, right from the start of the twentieth century. Our essential interrogations will focus on the use of the woodwind instruments in both: the popular rural and urban music and around their role in the evolution of the style of interpretation. The transfer of the rural music of the Egyptian countryside towards the urban environment of the city of Cairo brought about important mutations. In order to expose those mutations we have studied peculiarly two mains groups of woodwind instruments: the authentic instruments (al-‘arghûl, al-mizmâr et al-kawalah) which interpret popular rural music and the occidental woodwind instruments (the accordion and the saxophone) which themselves interpret the popular urban music of Cairo. The research displays also a study of the Arabic military music. The vulgarization of this musical genre had been the consequence of the apparition of a new popular musical genre: popular brass-band hassab allh. The following research paper deals with the contribution of organology, as well as the instrumental technique, on the evolution of the Egyptian popular music
Lévy, Fabien. "Complexité grammatologique et complexité aperceptive en musique : étude esthétique et scientifique du décalage entre la pensée de l'écriture et la perception cognitive des processus musicaux sous l'angle des théories de l'information et de la complexité." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0123.
Two categories can be distinguished for the notion of musical complexity : the grammatological complexities, which mean the complexity of the thought of a writting, and the apperceptive complexities, designating cognitive difficulties of perception. Their mechanisms are distinct : two procedures with identical grammatological complexity can result in dissimilar apperceptive complexities, and inversely. However, the musical writting also carries a way of thinking the music. Hence, studying the musical grammatological complexity requires a study of our analytical perception of the music. Conversely, the perception of the music is a mental writting, and studying the apperceptive complexity requires a study of the analytical complexity of the algorithm reprocessed by the listener. This research uses concrete musical applications (concerning rythms, motivic transformations, consonance, etc. ), and the elaboration of theoretical concepts and paradoxes on writting and perception
Decarsin, François. "La recherche du nouveau en musique au XXe siècle." Paris 1, 1989. http://www.theses.fr/1989PA010565.
What does modernity in art consist of? Is it obliged to involve the creation of something new or can it be a repetition of the past, but in a re-appropriated form? It can be defined, firstly, in term of the different historical perspectives in relation to which a work is situated, depending on whether it reflects the idea of continuous progress or, on the contrary, demonstrates indifference towards the whole principe of cumulative evolution. By determining the collective dimension in creation, it is in turn possible to situate the latter within a network of antagonistic forces : those of historical conditioning, of the fashions of the day, of the possible presence of invariant structures confronting the individual. The synthesis presented in this research is the result of analyses particularly related to the aesthetic specificity of the present century : the mutations in tonal writing and thematic conception, the role of technological evolution, the emphasis placed on the diversity of experience, the manipulative techniques relating to duration, the relationship between theory and composition. Furthermore, references to the past make it possible to shed light on certain particular points of convergence
Allain, Aurélie. "Musique et ritualité funéraire au XXe siècle." Rouen, 2004. http://www.theses.fr/2004ROUEL481.
Genesis and fundament of the funeral art, the rite appears in the twentieth century as the infinite expression of a loneliness of heart. Understood as the dissolving of being, death invite to meditation and indicates an innermost recess out of the real world. Therefore, a study of the links between the funeral ritual and music will be based on the categories of aesthetics of death. These ones (immanent and transcendental) emphasize the intimate links between the funeral ritual and the music of the twentieth century. Formal body built for the real death of a person, the funeral rite structures the field of the signication of music. How the rite and music do interpenetrate? What are there different ways to unit? How the ritual structure may correspond to the musical structure? Is it possible to distinguish invariants? Some questions punctuating our intention
Roblin, Catherine. "La littérature pour violoncelle seul au XXème siècle : entre tradition et modernité." Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/roblin_c.
Robert, Martial. "Communication et musique en France entre 1936 et 1986." Aix-Marseille 1, 1996. http://www.theses.fr/1997AIX10006.
Gervasoni, Arturo. "Directionnalités dans la musique d'Ivan Fedele." Phd thesis, Université Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00196059.
Li, Zheng. "Évolution de l'esthétique musicale chinoise après les rencontres entre les musiques chnoise et occidentale (fin du XIXe siècle à nos jours)." Paris 1, 2008. http://www.theses.fr/2008PA010646.
Carayol, Cécile. "Un langage musical spécifique au cinéma : du modèle américain à l'émergence d'une nouvelle forme de symphonisme dans le cinéma français contemporain." Rennes 2, 2011. http://www.theses.fr/2011REN20002.
The existence of a specific musical language in the cinema is put in perspective by the study of two forms of symphonisms – the rehabilitation of the American model and the « intimist symphonism » in the French contemporary features films since the end of the 1990s. The analysis of the scores composed for Angel and Huit femmes shows a return to the tradition of the American melodramas of the 1930s, 1940s and 1950s. Through the dimensions – epic, lyric and fantastic – present in movies such as Les rivières pourpres, Nid de guêpes, Joyeux Noël or Jeux d’enfants, we notice an assimilation of the musical characteristics of neo-hollywoodism. Besides, the emergence of a new form of symphonism observed in scores such as Swimming Pool, Sous le sable, Sur mes lèvres, De battre mon cœur s’est arrêté, Confidences trop intimes or Hell expresses itself by a symphonic orchestration that privileges the “transparency” of the instrumental color, a restrained lyricism and develops an emotional empathy with the action of the movie by avoiding a descriptive synchronization. The appropriation of the characteristics coming from the minimalism and impressionism intensifies the concision and the working drawing of this symphonism. This musicological approach allows to clarify the way the original symphonic music is outlined in the beginning of twenty-first century and how, in the eyes of what preexist in the history of the French cinema, it distinguishes itself
Langlois, Philippe. "Les procédés électroacoustiques dans les différents genres cinématographiques : une étude transversale au XXe siècle." Paris 4, 2004. http://www.theses.fr/2004PA040092.
With the end of the twenties, some avant-garde cineasts and composers began to use the potentialities of the newly invented opiticaltrack, wich permitted many sound manipulations. Changes of speed in sound reading, reversion, "retrograde score", new electronic instruments, optical synthesis, transformations and edition of noise, so many techniques that spread out along with the revolution of sounded cinema. These devices, although not always used by the whole cinematographic production, are no less a new way of composing sound, regardles of cinematographic categories: fiction, documentaries, animation, experimental movies. After 1950, this electroacoustic processes become more and more common, particulary in the "Service de la Recherche de l'ORTF" (French Radio Television Office) under the direction of Pierre Schaeffer. There are also used by the most prominent artistic scholls such as synesthesist movement, author films, structural cinema, Found Footage, and deconstructivism. This study unfolds a new historic vision of the birth and developpement of electroacoustic medias in cinema, along with an examination of their signifying function
Michel, Philippe. "Problèmes de perception formelle dans la musique occidentale du XXe siècle." Paris 8, 1997. http://www.theses.fr/1997PA081309.
In the XX century, innovative works in western music in the written tradition (W. M. W. T. ) have met with serious difficulties of acceptance, thus revealing the identity problem of this artistic discipline in modern western society. This problem presents a privileged explanatory axis in the question of formal perception. Indeed, it is to be noted that in xx century innovative works, the observation of the development of temporal form no longer goes by the observation of the destiny of an emerging formal level -the melodic and rhythmic axis- as is the case in W. M. W. T. . The synchronic hierarchy of diachronically oriented strata is not even the "forme a priori" (P. Boulez) of the musical work of art any longer. Meanwhile, the historical development of the notion of musical art has made this morphological ancestral model obsolete, although the morphological traditionalism of the present media panorama as well as that of musical training systems keep it valid. They thus day after day lay the emphasis on the gap between the restricted circle of contemporary composers and the crowd of individuals that cultural immersion only has made musically knowledgeable
Ayari, Mondher. "Esquisse d'écoute et de pensée musicales arabes : essai de psychologie cognitive de l'audition." Paris 8, 2000. http://www.theses.fr/2000PA081705.
Fléchet, Anaïs. "Aux rythmes du Brésil : exotisme, transferts culturels et appropriations : la musique populaire brésilienne en France au XXe siècle." Paris 1, 2007. http://www.theses.fr/2007PA010698.
Vandenheede, Jan. "Contributions à la musique contemporaine : idées, textes, partitions." Paris 1, 2004. http://www.theses.fr/2004PA010707.
Korzilius, Pierre. "Soutien public et programmation de musique contemporaine en France, en Allemagne, au Royaume-Uni et aux Etats-Unis." Paris, EHESS, 2001. http://www.theses.fr/2001EHES0100.
Beuvain, Catherine. "L'expérience de l'absolu à travers la musique dans la littérature française." Nice, 1995. http://www.theses.fr/1995NICE2003.
This thesis analyses the way in which classical music has been lived and translated since romanticism in several french novelists and poets of the two last centuries. Considered in the light of others approaches of music (textual criticism, musicians' opinions, pictorial references, etc), the literary extracts reveal the quest and the experience of an absolute apprehended in and through music. As music is obiously inexpressible, its circumstances of appearence and perception are emphasized through constant interrogation and exploitation of limits : interspace and silence, personality and reactions of the musician, favoured states of consciousness, space and time thresholds. As for the hero, who lives through music in the herafter (fantastic atmospheres, travels and metamorphosises), for the writer, the mastery of the musical mystery is based on contiguity associations and similes : synaesthesias and metaphors are, like the , transfer and surpassing. So, the expresses the peculiarity of music, the sound experience, its literary translation and the moving forward the absolute. Correlatively, music invomves aesthetic and ethical values, brings intellectual and moral riches. It supposes the search of the essentials : purity, simplicity, interiority are the qualities of the , a typically romanticist notion. By this way, music leads to the sacred, to the mystic and to the absolute. The oxymorons seem to be the privilegied translation of them. They suggest the transcendance by which heroes and writers can pass beyond the limits of the ways to reach the deep truth and take advantage of the contingent to have access to the essence
Rimbot, Emmanuelle. "L'articulation entre discours sur l'identité et idéologie politique dans la nouvelle chanson chilienne de l'Unité populaire à la transition démocratique." Paris 3, 2006. http://www.theses.fr/2006PA030138.
Nueva Canción Chilena (Chilean New Song) and subsequent Canto Nuevo (songs critical of the Pinochet regime produced within Chile during the military dictatorship) constitute two successive processes of artistic and militant commitment in the fields of popular culture and political action. This dissertation examines a broad corpus of songs written and performed over a period of 25 years: from the “Revolution in Liberty” undertaken by Christian Democrat President Eduardo Frei (1964-1970) to the democratic transition ushered by the Concertation of Parties for Democracy through the 1989 referendum. The time period covered by this study thus includes the one thousand days of Salvador Allende’s popular government (1970-1973), during which the “Chilean Way to Socialism” was initiated, as well as the seventeen-year-long military regime headed by General Augusto Pinochet (1973-1989). Through an analysis of the songs written and performed during this period of upheavals, this study attempts to elucidate the meaning of texts as it is produced by the interaction of the artist’s creative project with the forms of reception of that project. This analysis is based on interviews with the artists and on press archives from the period. I propose a reflection that focuses, on one hand, on the specificities of Nueva Canción Chilena and Canto Nuevo and, on the other hand, on the social function of popular song, construed both as a discourse on national identity and as the process of formation of a collective political front of action through culture. The palimpsest of a still vital memory, these songs contributed to the crystallization of an opposition to the military regime. Chilean popular song partook in the conscious and intuitive construction of memory, against a political apparatus that strove to neutralize it
Arfouilloux, Sébastien. "La musique, entre pratiques et théorie littéraire, de Dada au surréalisme." Paris 4, 2007. http://www.theses.fr/2007PA040061.
This study puts to the test facts the theoretical declarations of Dada and surrealism about music, proposing to read them again in their historical and cultural context. It is about to know in what music has a role to play into surrealism, taking into account the texts that announce a refusal, and to measure the difference between the announced theory and the achievements concluded. Taking as starting point the spectacles and the musical theories of the avant-garde of the time of Dada, which carry in germ what will be surrealism, it examines then the whole of the declarations of Andre Breton on the music. It finally questions the idea that there was no musical surrealism. Far from the postromantism, well off the return to the classicism of France at the beginning of the twentieth century, new musics are worked out. Certain news musical tendencies will be able to hold the attention of the surrealist poets and to constitute an inspiration. Others will be impelled by composers having dependent part with the surrealist movement
Simon, Agathe. "Le plaisir dans la littérature et la musique françaises au XXe siècle." Paris 4, 2005. http://www.theses.fr/2005PA040205.
The paradoxical nature of Pleasure is part of immanence and contingency (the sensations and consciousness of human beings) on the one hand, and of transcendence on the other, whether it be erotic or intellectual, aesthetic, memorial, mystic or hallucinatory. Pleasure is therefore boundless, transcending both time and space, and undetermined, as it also transcends meaning. But how can one solve the paradox of pleasure — which transcends space, time, and meaning simultaneously — and the arts which are simultaneously grounded in space, time and meaning? In other words, how is Pleasure expressed in literature and music in the 20th century? Cross-analysis of the two art forms shows that the ontological gap that is inherent in pleasure can be the occasion for both expressive questioning and disruption in the work concerned, and that such questioning and disruption are the very means by which creators try to take up the challenge
Castillo, Fadic Gabriel. "Identité et altérité dans la musique américaine du XXe siècle au sud du Rio Bravo." Paris 1, 1997. http://www.theses.fr/1998PA010511.
The complex status of American art results from the fact that it represents both a projection of the occident and the scene of all its othernesses. The duality of the social, historical, political and economical plans that it implies shows itself in modalities of unstable compositions because of its submission to a double particularity. On the one hand, they express a tendency to adhere to european writing styles reproduced in local versions which are dissociated from the original contexts and their historic contigency. On the other hand, they prove to be incapable of dealing with the permanent contact with musical systems that stand outside the legitimacy parameters of the learned speech. This double conflict underscores the incomplete character of the aesthetic specification process within the society
François-Sappey, Brigitte. "Au temps du romantisme : le cas Boëly (1785-1858) : contribution à l'étude de la musique de clavier et de la musique de chambre en France." Paris 4, 1987. http://www.theses.fr/1987PA040477.
Alexandre Boëly occupies a unique and paradoxical position in the French music of the first half of the 19th century. This descendant of cantors belonging to the Royal chapel took the opposite course to his time by taking up an incessant fight in favor of instrumental music and virtues of counterpoint and by becoming one of the first discoverers in France of Beethoven and Bach in addition to Haydn, Mozart and Clementi. This shrewdness combined with some exemplary talents of organist in Saint-Germain l'Auxerrois brought him the approbation of elite. Lonely, modest, Boëly is an artist whose his contemporaries didn't speak much about. His singular position acquires meaning and relief when it is integrated in its time. It is the reason why as the approach of his life, the approach of his work (piano, organ, chamber music) in which he uses the fusion of European aesthetics, is made in the double light of his own culture and of the production of his contemporaries. The spirit of his little pieces, his tormented harmonic language announce, from his start, romantism but the construction of his sonatas, the economy of utilized means show his attachment to the mastery of the classics. The work and the action of his independent man, really irreplaceable in the French music at a problematic time of its history, amply deserve rehabilitation
Alcazar, Marc. "150 années de musique à Lodève : 1831-1981." Aix-Marseille 1, 1986. http://www.theses.fr/1987AIX10004.
Grenesche, Céline. "La modernité artistique du XXe siècle : critique et argumentation subjective." Paris 1, 2005. http://www.theses.fr/2005PA010515.
Bridoux-Michel, Séverine-Alice. "Architecture et musique : croisements de pensées après 1950 : la collaboration de l'architecte et du musicien, de la conception à l'œuvre." Lille 3, 2006. http://www.theses.fr/2006LIL30020.
After 1950, the western artistic world is becoming the scene of profound mutations. By rejecting academic traditions or by attracting the phenomena of modernisation, artists and creators allow the frontiers of the different disciplines to become more permeable, thus multiplying poly-artistic experiences. Studying the new problems resulting from inter-disciplines constitutes our first approach to this phenomena. From this approach, we present multiple manifestations of the architectural musical relationship and we try to work out, through this, a typology of the forms of relation. Three "monuments" distinguish themselves and later become the object of more in-depth analysis : the first, "The Philips Pavilion" at the Brussels International Exhibition 1958, for which architects and musicians together, Le Corbusier, E. Varèse and I. Xenakis, collaborate in a project, whereby the idea of "diathesis" seems to emanate from the confrontation of independent creation. From our second subject, it is the reflexion led by K. Stockhausen on the notion of "music in space" which dominates. This results in the realisation of the "Spherical Auditorium" at the German Pavilion of the Universal Exhibition in Osaka in 1970, in collaboration with the architect F. Bornemann. Finally, conception and work carried out for Prometeo by L. Nono and for its associated spatial structure, work of R. Piano, solidifies a third major collaboration. These three examples share a similar purpose in renewing the space of traditional scenic representation. By studying such projects we are trying to show how the encounter between the architect and the musician can in this way witness a new conception of the world
Criton, Pascale. "Total chromatique et continuums sonores : une problématique de la musique du XXe siècle vers une pensée des multiplicités." Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10070.
Andreatta, Moreno. "Méthodes algébriques en musique et musicologie du XXe siècle : aspects théoriques, analytiques et compositionnels." Paris, EHESS, 2003. https://tel.archives-ouvertes.fr/tel-00004074.
The application of algebraic mtehods to music is a relatively new approach in musical research. We analyse the problem of the emergence of algebraic structures in music by looking at three main figures of twentieth-century theorists/composers : Milton Babbit, Iannis Xenakis and Anatol Vieru. Some of their music-theoretic contructions are the starting point for a discussion on the notion of music theory in some analytical as well ax compositional applications. This work discusses an algebraic formalisation of Set Theory and its transformational developments from a perspective which includes an analysis of the relationships between American tradition and a formalised European approach. The concepts elaborated in this work lead to a definition of the place of a computational approach in musicology and open several philosophical questions on the relationships between mathematics and music
Anakesa, Kululuka Apollinaire. "L'Afrique noire dans la musique savante occidentale au XXe siècle." Paris 4, 2000. http://www.theses.fr/2000PA040126.
Falc'her-Poyroux, Erick. "L'identité musicale irlandaise." Rennes 2, 1996. http://www.theses.fr/1996REN20024.
Opinions about Irish traditional music today differ greatly, and its actors are to be met all over the world : one should undoubtedly see in these facts a confirmation of the incredible cultural renewal at work in Ireland today. The international recognition that music is thus granted establishes an actual mirror offered to a young nation in search of an identity : any traditional music is a deeply rooted phenomenon and, though they should not be held responsible, its main detractors are to be found among the anonymous crowds, whether uprooted or rejecting their roots. Traditional, folk, popular, even nationalist and 'world music' : all this, and much more, is to be found in this universe. The polysemic value of the terms "traditional Irish music" is then living proof of the vitality of this cultural phenomenon. In this perspective, traditional Irish music finds itself at the outpost of a new Irish identity, manifold and pluralistic, a symbol of maturity, far from the dreams of cultural purity sometimes proposed. Considered not so long ago as deeply conservative, if not backward, this county is now moving at a stunning pace. Mentalities change and laws are passed. The phenomenal development of Irish music since the seventies can then be regarded as the forerunner of this ever-growing phenomenon. It would then not be such a surprise to see this young and underrated country show an original path and act as an example for other occidental countries in the decades to come
Bertrand, Daniel. "Musique carnatique et facture instrumentale : analyse et évolution du jeu de la vīnā et de sa lutherie au XXème siècle en Inde du Sud." Paris 4, 1997. http://www.theses.fr/1997PA040061.
The aim of this work is to study the relation between the various styles of playing the vina, the big long-necked lute in south Indian classical music (Carnatic music), and the schools of instrument-making corresponding to them. After two general introduction chapters to this music and to the conditions for its learning and its practice, the methods of musical analysis used in the course of this thesis are exposed, as well as a particular system of transcription simultaneously using Indian and western notations, a graphic transcription and a notation of the instrumental techniques that are used. Four chapters are then devoted to the analysis and the characterization of the four great regional schools of playing and of the bani-s (specific traditions passed on from master to disciple) that compose them. Twenty-three musicians' styles are examined, using bibliographical testimonies about them, their discography and often original recordings of improvisation in the kalyani raga realized for the needs of this study. The more or less pronounced adhesion to an aesthetics trying to imitate the vocal model, or freeing itself from it by making the most of the specificities of the instrument, is particularly looked for. The second part of this work carefully studies the making of the vina. After first describing its most universal shape, an analysis of all its regional variations is set about, as well as a study of some more or less recent innovations or experiences trying to remedy some of its weaknesses. The conclusion sums up the main parallels between the schools of playing and the bani-s on the one hand, and the regional instrument-makings on the other hand. A directory of the makers and an important discography are included in an annex
Bonnet, Antoine. "Conditions et possibilités actuelles de la composition musicale." Tours, 1991. http://www.theses.fr/1991TOUR2027.
Le, Gall Vincent. "La Musique savante pour guitare flamenca de 1956 à nos jours." Rouen, 2005. http://www.theses.fr/2005ROUEL512.
The art of Flamenco was born in Andalusia in the 19th century from mixed cultural origins dating back centuries. The term Flamenco appeared in 1841 and specifically designated the Andalusian song. Since 1850, these songs which had originally been transmitted orally within the family, evolved to be accompanied by the guitar on stage. This instrument developed from its role as a harmonic and rhythmic support, to a true soloist role. 1956 marked the end of the tendency of “opera” Flamenco, and the first Flamenco competition as an art in Cordoba. The guitar became the dominant element in Flamenco. It developed rapidly, thanks to new artists who used the traditional basis, but integrated into it personal elements which have stayed. This evolution explains the richness of this music today. The playing techniques, the styles of Flamenco will also be used by certain contemporary composers. This in turn will permit a stylistic evolution of the Flamenco guitar repertory
Steinegger, Catherine. "La musique à la comédie-Française de 1921 à 1964 : Aspects de l'évolution d'un genre." Paris 4, 2003. http://www.theses.fr/2003PA040095.
A study on stage music as a musical genre based on a corpus of non indexed scores, most of them hand-written, discovered in the Comédie-Française museum library archives. The first part is devoted to the study of sources so as to draw out the specific use of music in theatre. The second part then deals with the historical context in which those scores were written. The works of composers belonging to different aesthetic movements of the 20th century seen through the prism of the stage music performed at "La Comédie-Française" ; the "Ecole d'Arcueil", giving prominence to Roger Désormière and Henri Sauguet ; the "Groupe des Six", with Germaine Tailleferre, Arthur Honegger, Darius Milhaud; the "Groupe Jeune France" with André Jolivet ; the "Indépendants", with Jacques Ibert, Roland Manuel, Henri Dutilleux et Marcel Landowski
Madurell, François. "L'ensemble Ars nova : une contribution au pluralisme esthétique dans la musique du XXe siècle." Paris 4, 2000. http://www.theses.fr/1999PA040250.
Cohen, John. "Connaître et juger l'œuvre musicale : une pensée de la communauté esthétique à l'horizon des momnets beethovénien et kantien." Lille 3, 2002. http://www.theses.fr/2002LIL30035.
Benabdeljalil, Nabil. "L'hétérophonie dans la musique du 20ème siècle : autour de Stravinsky, Boulez et Berio : approche théorique générale et étude systématique." Université Marc Bloch (Strasbourg) (1971-2008), 2007. https://publication-theses.unistra.fr/restreint/theses_doctorat/2007/BENABDELJALIL_Nabil_2007.pdf.
This study of « Heterophony in the 20th century music » is composed by three books. The first book is theoretical: his aim is to give a definition and a typology of heterophony, then to elaborate an exact and valid analytic system in order to make analysis in the parts 2 and 3. A special attention is given to the book Penser la musique aujourd’hui of Pierre Boulez (born in 1925) and to the study “Russian popular polyphonies” from the colloquium of Royaumont in 1991. The second book is focused on the heterephony in Stravinsky’s music (1882-1971): Petrouchka, le Sacre du printemps, Renard and les Noces. The third book studies the heterophony in Coro of Luciano Berio (1925-2003), and in Improvisation III selon Mallarmé of Boulez. At last, the conclusion compares the writing of the three compositors, giving a general survey of heterophony in the 20th century
Benzi, Carlo. "Stratégies rhétoriques et communication dans la musique contemporaine européenne : (1960-1980)." Paris 4, 2002. http://www.theses.fr/2002PA040103.
Does contemporary music allow communication ? From the 1960s till the 1980s, in Italy and in France the interaction of linguistics, semiotics, psychology of perception with music enhanced an "interpretative cooperation" (Eco) between the composer and the listener. Can rhetoric provide a means for understanding contemporary music? The increasing interest of some composers (Boulez, Donatoni, Sciarrino, Ferneyhough) towards the figure seems to suggest a positive answer. Their position reminds of the "object-figure" and "relation-figure" of the baroque rhetoric, without refusing contemporary semiotic theory (figure as "deviation" of a regularity, Groupm). The analysis of four works (Eclat by Boulez, 1965; Spiri by Donatoni, 1977; Quintettino n. 2 by Sciarrino, 1977; Second String Quartet by Ferneyhough, 1979-80) was carried on through the acknowledgement of the hypothetical questions of a self-conscious listener, who tries to recover the constructive strategies of the piece. The coincidence of test-of-perception results and of rhetoric-analysis tests provide evidence of the hypothesis plausibility
Guillot, Matthieu. "Epiphanie de l'imperceptible." Paris 8, 1997. http://www.theses.fr/1997PA081256.
Among the many modes of musical expression that the xxth century offers, there is one dimension that is particularly fascinating to listen to but whose approach is anything but easy. We mean a range of sounds that tend to be scarcely audible and are buried in the deep bosom of the perception field. But the word scarcely brings a nuance that heralds and amplifies the presence of the sensitive world within which another world, hitherto unheard -of and unexplored seems to quiver to life. Thanks to the former, there emerges a world so intently tenuous that the listener's subjectivity, as if mesmerized, pervades the space left vacant by the fading sound. Thus, this troubling poetics of subdued sounds seems to form a very specific, aesthetic and musical category, typical of a true philosophy of music seen as the philosophy of sound which reintroduces the fundamental importance of listening when one concentrates on sound as a phenomenon and on its repercussions on the personal experience of the listener. Here is a baffling challenge to the overstrained ear but also to the listener's receptive skills and aesthetics awareness as well. For the three are simultaneously, patiently and relentlesly in quest of the musics of the imperceptible which demand of the listener "to go through the looking glass" to discover the world that dwells in their ethereal vibrations, a universe which they reveal unto him after long-suffering explorations which take him on the fringe of the "after sound". The presens thesis - it is hoped - may help to lift a corner of the veil behind which is lurking the frail whisper of this peculiar musical property. For, like all veils, it is obviously an enigma for the researcher and it stirs his desire to understand what it is that - behind the dropped curtain - plays tricks upon him
Petty-Cording, Margaret. "La musique chorale d'après les textes bibliques en français de 1890 à nos jours." Paris 4, 1996. http://www.theses.fr/1996PA040214.
Does there exist a repertoire of choral music in French based on biblical texts ? This thesis presents works from France, Switzerland, and Belgium written between 1890 to 1995, taking into consideration the historical and liturgical elements that have influenced their development. The corpus is examined from the standpoint of the literary genre of the biblical text, the musical esthetic, and the motivation of the composer. A synthetic approach permits quantitative and qualitative comparisons. In addition, certain related problems of religious music are discussed, and solutions are proposed. This vast corpus of 900 oeuvres, of which the amplitude has been sorely under-estimated, has allowed the discovery of its musical, literary, and ethical value and the appreciation the composers' intentions. The biblical inspiration of this repertoire gives it an unsuspected vigor; it is a wealth for choirs as well as a model for composers
Saidani, Maya. "La musique du Constantinois : contexte, nature, transmission et définition." Paris 4, 2001. http://www.theses.fr/2001PA040014.
The present study is devoted to examining the content of urban music of the Constantinian as from the beginning of the nineteenth century. The study of his repertory is carried out in several stages. .
Miyakawa, Wataru. "L'écriture chez Toru Takemitsu : situation, héritage, culture." Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10117.
Mazerolle, Valérie. "Les voix de l'espace occitan : les chansons occitanes : identités et représentations : 1965-1997." Clermont-Ferrand 2, 2005. http://www.theses.fr/2005CLF20017.
Lafond, Natacha. "La poésie moderne à l'écoute des musiques dans les oeuvres d'Yves Bonnefoy, Louis-René des Forêts, Philippe Jaccottet, Pierre Jean Jouve et Salah Stétié : pour un lyrisme baroque." Université Marc Bloch (Strasbourg) (1971-2008), 2006. http://www.theses.fr/2006STR20007.
It is thanks to the opera by Mozart, that I first studied in a DEA the link between modern poetry and music which exists in the work of four contemporary poets (Pierre Jean Jouve, Salah Stétié, Louis-René des Forêts and Yves Bonnefoy). My thesis goes further, and analyses all the musical forms which can be found in the work of those four authors, and also in the work of Philippe Jaccottet (either romantic, modern or baroque pieces, through different musical genres such as lied or opera). This research studies the different musical works listened, in order to try to define the modernity at stake in the essential link between writing and arts. It is also oriented towards pictorial and architectural art, arts which carry some metaphysical, sacred, ethical and historical values. But it also listens to the “return” of the lyricism which is specific to these 20th century's authors, to the shared choices and basements of their musical poetics, in order to draw a definition of a “new” modern lyricism: the “baroque or barosso lyricism”, which stands for committed values. This notion holds on the definition by Yves Bonnefoy, who considers that baroque is a “passionate realism”, a quest for unity in this current world and through this current world (studied in his artistic approaches). It is an open notion, non limited to its first definition, linked to the 17th century. On the contrary, it has to be confronted with the inheritance of romanticism and modernity. As a dialectical notion, it permits to study in a different way the meaning of poetical modernity, through a dialogue with the memory of the assumed culture in the world. Rejecting any form of formalism, as much as a literature reduced to carry ideas instead of creating some meaning, these poets develop opened and committed ethics, thanks to their listening of other arts. Thus, this lyricism, filled with baroque music, is no longer a way of expressing the self, but the path towards the other -whether it is the beloved woman, the sacred (more often profane) or the others (in the name of freedom and spiritual crossbreeding). The self no longer exists but through the “you” and the anchorage in the world of the referents of the presence
Dratwicki, Benoît. "François Colin de Blamont (1690-1760). Une carrière officielle au cœur des institutions musicales françaises du Grand Siècle au Siècle des Lumières." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040043.
François Colin de Blamont started his career during the last years of the reign of Louis XIV under the aegis of Michel-Richard de Lalande. During the Regency, he was mostly known through his arias and cantatas. In 1719, he was appointed ‘Surintendant de la Musique de la Chambre’ of the young Louis XV. He became one of the main personalities involved in the evolution of the tastes and the musical practices at the Court. In Paris, his music was successfully played at the ‘Concert Spirituel’, at the ‘Académie royale de musique’ and in the most famous literary sets, even if the rising star of Jean-Philippe Rameau was to overshadow him. His style shows the musical ambiguity typical of French music of the 18th century, which associated the respect of the tradition with the aspiration to modernity. This study aims to bring to light the career and the works of this composer by considering them in their historical, social and political context. The first part sums up his youth, his training and his first works. The second part is devoted to his career at the Court. The third part explores the Parisian musical environment and the involvement of Colin de Blamont in the main institutions of the city. Finally, the last part will consider the author in a new way, as a man of court, as an esthete and as a musician
Mallet, Maurice. "Etude de la correspondance des sons et des couleurs dans la musique d'Olivier Messiaen." Paris 8, 1992. http://www.theses.fr/1992PA080727.
According to messiaen, every one could be able to see colours manifesting themselves during the hearing. His surprise, in front of the miss of such a phenomenon, with most of the hearers, messiaen described it to claude samuel, and it's in a work that this last one has intitled : music and color, that the words of the composer are found again : "i said it to the public, i repeat it to the cristicism, i have explained it to my students, but nobody believes me. I have in vain set colours in my music, in my harmonics, in my building of sounds and in my scoring, the hearers are hearing, but they are not seing anything". The study purposed about the correspondance of sounds and colours in the music of olivier messiaen, don't want to prove the necessity of seing colours by hearing music. No. More modestly, with the help of notes about the correspondance of sounds and colours, then the correspondance of sound and the colour, it will be the question to proceed with the "defence and immustration" of the messiaen's intent, which seems be connected to a very old tradition
Dal, Molin Paolo. "Introduction à la famille d'œuvres…Explosante-Fixe… de Pierre Boulez : Etude philologique." Nice, 2007. http://www.theses.fr/2007NICE2019.
The …explosante-fixe… family is a group of works in progress that are connected through the same initial material, conceived by Pierre Boulez in the early 1970s. The dissertation first presents the family genealogy reconstructed from the extant sources (musical manuscripts, editions, recordings, correspondence, and other documents). Three of the works are then studied in detail: „…explosante-fixe. . . " (1971) – the founder –, explosante-fixe for chamber ensemble and live-electronics (1972-1974), and rituel. In memoriam Bruno Maderna for orchestra in eight groups and percussion ([1972]-1975). The study advances two approaches which are considered to be interdependent : critical investigation of sources and theory-based analysis