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Статті в журналах з теми "Musique électroacoustique mixte (accordéon)":
Guérin, François. "Aperçu du genre électroacoustique au Québec." Circuit 4, no. 1-2 (February 4, 2010): 9–32. http://dx.doi.org/10.7202/902061ar.
Emmerson, Simon. "La poétique du « live » en musique électroacoustique." Revue Francophone Informatique et Musique 1, no. 1 (2022). http://dx.doi.org/10.56698/rfim.215.
Дисертації з теми "Musique électroacoustique mixte (accordéon)":
Sotty, Jean-Étienne. "Ressemblance, imitation, hybridation : vers une symbiose entre accordéon et électronique." Electronic Thesis or Diss., Sorbonne université, 2022. http://www.theses.fr/2022SORUL152.
This research is situated in the disciplinary field of instrumental interpretation: it concerns very precisely the playing of the accordion. Many composers are currently playing on a form of resemblance between the sound of the accordion and electronic sounds. Indeed, the accordion is an instrument that can modulate complex sounds, almost like a synthesizer. This resemblance is even more significant with the XAMP microtonal accordion. From this observation, it is possible to take a model from electronic sound in order to formalize a style of instrumental playing that imitates electronics. This model is founded on a study of the principle of imitation, and on analyzes of works for accordion referring or employing electronics. Applying this electronic style makes it possible to combine the instrumental sounds even more with the electronic sounds in the case of mixed music, even to give the illusion of electronic sounds with the instrument. The instrumentalist acquires techniques and a new type of virtuosity which allows him to achieve a com-plete fusion between instrumental and electronic sounds. This fusion project is also realized by the creation of a new instrument: the hybrid accordion. A XAMP microtonal accordi-on is equipped with a system of four loudspeakers: acoustic accordion and electronic system then become the materials of a single instrument, open to future musical creations
Naón, Luis. "Un cycle d'oeuvres en réseau : Urbana 24." Paris 8, 2007. http://www.theses.fr/2007PA083571.
The theorical work and the reflexion of this thesis takes places in a paralel manner to the writting of most of the works composing the Urbana Cycle. Sometimes, the detailed analysis of the procedures of composition and the tangential themes of the creation of works, as for exemple, the writting and the notation of the electroacoustic music or the deepening of the synthesis by physical models in Modalys whitch occupy an important part of this work, has been pretexts to many reflexions on the creative act and on the social and political meaning of the general projet. The main theme remains centered on the new context in which the creative work takes part of. Finally it is throuth the web problem and it’s aesthetics and sociological involvments that such step suposes, that I wonder about the futur of music. Starting from a first stage and represented by the musical work of such, the vision becomes more global bringing a more objectif look, I hope, on the cycle Urbana. The questionning re-emerges then on a more general and universal problematic which transcenders the particular framework of my creations. Besides an individual goal, this reflexion on creation takes part within the vast framework of the claim of utopies
Macías, Andere Gonzalo. "Convergence de la pensée instrumentale et de la pensée électroacoustique : techniques d'écriture mixte, à partir de l'analyse de pièces de quatre compositeurs mexicains : Manuel Enríquez, Héctor Quintanar, Javier ́Alvarez et Gonzalo Macías." Lille 3, 2004. http://www.theses.fr/2004LIL30028.
Gulluni, Sébastien. "Un système interactif pour l’analyse des musiques électroacoustiques." Paris, Télécom ParisTech, 2011. https://pastel.hal.science/pastel-00676691.
Electro-acoustic music is still hardly studied in the field of Music Information Retrieval. Most research on this type of music focuses on composition tools, pedagogy and music analysis. In this thesis, we focus on scientific issues related to the analysis of electro-acoustic music. After placing this music into historical context, a study of the practices of three professional musicologist allows us to obtain guidelines for building an analysis system. Thus, we propose an interactive system for helping the analysis of electro-acoustic music that allows one to find the various instances of the sound objects of a polyphonic piece. The proposed system first performs a segmentation to identify the initial instances of the main sound objects. Then, the user can select the target sound objects before entering an interactive loop that uses active learning and relevance feedback provided by the user. The feedback of the user is then used by the system to perform a multilabel classification of sound segments based on the selected ones sound objects. An evaluation of the system is performed by user simulation using a synthetic corpus. The evaluation shows that our approach achieves satisfying results in a reasonable number of interactions
Fernández, José Miguel. "Vers un système unifié d’interaction et de synchronisation en composition électroacoustique et mixte : partitions électroniques centralisées." Electronic Thesis or Diss., Sorbonne université, 2021. http://www.theses.fr/2021SORUS420.
With the advent of computers, new avenues of compositional and sound research have opened up. But if we have seen witnessing for years a plethora of sound generators and new synthesis techniques, there are few proposals for tools that address the control and formal construction of electronic music at several levels and that allow a fine integration of electronic writing. The work initiated in this thesis aims to develop, in the context of interactive mixed electroacoustic and audiovisual music in real time, a notion of centralised electronic score allowing within the same environment the definition, composition and general control of all electronic processes, their interactions and their synchronisations with musical, gestural and visual events. Using new, more expressive languages for writing electronics such as Antescofo and powerful synthesis and signal processing systems such as SuperCollider, this work has resulted in the development of a dedicated library: AntesCollider. This library allows to experiment with new approaches to the writing of electronics through the organisation and composition of sound structures, multitemporal, multiscale and interaction. By taking advantage of the computer notions of agents, processes and real-time algorithms, these sound structures can be combined dynamically and polyphonically in relation to external events, opening up new compositional paradigms and renewing the freedom and plasticity of musical creation
Caires, Carlos Miguel Marques da Costa. "Algorithmes de composition : exemples d'outils informatiques de génération et manipulation du matériau musical : parcours entre l'instrumental et l'électroacoustique." Paris 8, 2006. http://octaviana.fr/document/143284983#?c=0&m=0&s=0&cv=0.
The development of computer assisted composition environments, intended for data-processing and formalization of musical structures, as been an important contribution for the contemporary musical writing, during second half of the 20th Century. Starting from a reflection on the influence that such environments brought to the musical composition, this study will propose a set of tools CAC which will try to give a new approach concerning these issues. This research will be based mainly on my personal experience as a composer, and will be based upon three fundamental aspects: 1 - Processes of composition - Creation of a corpus of processes of composition aiming its algorithmic formalization. 2 - Representation of the musical data - creation of a unit of visualization and listening tools for sound data and musical structures. 3 - Interaction Composer-Computer. Creation, experimentation and development of graphic user interfaces (ergonomic research) for each type of function or tool
Sousa, Dias António de. "L'objet sonore : situation, évaluation et potentialités : un paradigme pour la création d'outils de composition musicale." Paris 8, 2005. http://www.theses.fr/2005PA082612.
We propose a study on the composition potentialities resulting from the conjunction of the object sound concept and the progressive transfer of musical technologies to the digital media. Beginning with the sound object of Schaeffer, through the writings of other authors (Bayle, Smalley, Wishart), we arrive at the concept of digital sound object of Vaggione, which articulates this conjunction. Two consequences result: the statement of the enlargement of musical writing and a compositional attitude based upon the idea of a work as the result of an interface to a musical database (adapted from Manovich). Finally we describe the software and the works which guided us to two concrete results: a software for external patches management (KITTy) and the music for the “found footage” documentary Nature Morte which would not have been possible without the reflection and consequences presented here
Blondeau, Julia. "Espaces compositionnels et temps multiples : de la relation forme/matériau." Electronic Thesis or Diss., Paris 6, 2017. http://www.theses.fr/2017PA066292.
If the problematic of time, material, form, and their relationships is longstanding question in musical composition, the old dichotomy between form and material should be reshaped in view of the technological opportunities making possible a finer and more global apprehension in the handling of time in the scope of mixed music.In this context, the question addressed is to which extent the existence of a continuum between the notions of form and material is linked to the explicit design of temporal interlacing? This question involves new paradigms to understand the many components that determine the identity and the mutual relationships of material and form.Our research unfolds in two complementary axes to develop a compositional framework addressing the specification and the management of heterogeneous intertwined temporal processes at different time scales. The first axis works out an explicit topological representation of compositional spaces (based on simplicial complexes) that smoothes the boundaries between form and material. The second one spells out the various kinds of writing and the new temporal paradigms allowed by the Antescofo synchronous real-time programming language. The specification of multiple times during the composition phase and their management during the performance is developed through a strong relational standpoint.The theoretical and practical propositions investigated in this research works are illustrated on several pieces written during the thesis
Dias, Correia Filipe Elsa. "Les tendances de la musique mixte en France depuis 1981." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL005.
Western scholarly music has always benefited from the technological advancements available in each era. The influence such has proved to be, at the instrumental level, resulting initially in the broadening of the musical and compositional language and, subsequently, requiring the instrumentalist to adapt to new playing and interpretation techniques. The rapid technological development which marked the twentieth century pushed this situation to limits previously inconceivable. This is the origins of mixed music, which is a new kind of music that combining electro-acousitc music and acoustic instruments. Our thesis proposes a study on the trends of mixed music in France since 1981. First, we will analyze the main concepts inherent to the subject as well as their issues. Then, we will head towards the organization of the social, economic, political, cultural and musical environment existing in France which allowed the development of this musical genre. Lastly, we will focus on the idea of musical research to trace the main lines of mixed music trends in France since 1981. To do so, we will use musical works that are representative of this multidisciplinary work wich characterizing musical research
Maestri, Eric. "Geste et texture / homme et machine : une étude comparative sur la production et la réception de la musique mixte." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC047/document.
The study of mixed music is characterized by a dualist approach: on the one hand, an analysis that merely focuses on technical meansand, on the other hand, research resorting to perceptive strategies in the analysis of electroacoustic music. In order to overcome thistraditional dualism, this work sketches a perceptive typology of the interaction between instrumental and electronic components, mixedmusic works are considered juxtapositionals, synthetics and transformationals. In doing so, the thesis advances an analytical holisticapproach in order to combine the concepts of perception and prescription in mixed music, where the notions of gesture and texture areparticularly relevant. The definition of a specific objet, i.e. the “mixed sound”, allows for an original interpretation of Denis Smalley’sspectromorphology and its epistemological framework. As a result, the typological perceptive criteria here proposed are based on thefunctional distribution of the attacks, sustains and decays of “mixed sounds” between the instrumental and the electronic parts. Thishypothesis is illustrated through the detailed analysis of five case studies: François-Bernard Mâche’s Sopiana and Aulodie, PhilippeManoury’s Pluton, Marco Stroppa’s Traiettoria and Karlheinz Stockhausen’s Mixtur