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Статті в журналах з теми "Tempo musicale"
Mazzoni, Augusto. "Fenomenologia, coscienza del tempo e analisi musicale." Axiomathes 6, no. 2 (September 1995): 227–49. http://dx.doi.org/10.1007/bf02284703.
Повний текст джерелаCavallini, Ivano. "Alcune osservazioni sulla cultura musicale a Capodistria al tempo di Antonio Tarsia." Musicological Annual 30, no. 1 (December 1, 1994): 23–28. http://dx.doi.org/10.4312/mz.30.1.23-28.
Повний текст джерелаFubini, Enrico. "Esecuzione e interpretazione: la vita dell’opera musicale attraverso il tempo." Philosophy of Music 74, no. 4 (December 30, 2018): 1527–34. http://dx.doi.org/10.17990/rpf/2018_74_4_1527.
Повний текст джерелаLavinia Rizzo, Amalia, and Maristella Croppo. "La prova di accesso per le scuole secondarie ad indirizzo musicale (SMIM): una proposta inclusiva." EDUCATIONAL REFLECTIVE PRACTICES, no. 2 (December 2021): 211–21. http://dx.doi.org/10.3280/erp2-special-2021oa12951.
Повний текст джерелаNatanson, Mireille. "Vivre son tempo personnel. Une approche énergétique et musicale des rythmes de vie." Imaginaire & Inconscient 28, no. 2 (2011): 33. http://dx.doi.org/10.3917/imin.028.0033.
Повний текст джерелаBertoloni, Luca. "Commedia, mini-musical e flussi mediali: L’Inferno in sei minuti degli Oblivion." Dante e l'Arte 9 (December 22, 2022): 131–48. http://dx.doi.org/10.5565/rev/dea.172.
Повний текст джерелаAncona, Riccardo, and Alessandro Cipriani. "Agostino Di Scipio, Circuiti del Tempo - un percorso storico-critico nella creatività musicale elettroacustica e informatica. Lucca: LIM, Libreria Musicale Italiana, 2021. ISBN: 9788855430685." Organised Sound 27, no. 1 (April 2022): 100–101. http://dx.doi.org/10.1017/s1355771822000152.
Повний текст джерелаSilva, Rafael Alexandre da. "A dupla verdade na estética de Hanslick." Revista da Tulha 3, no. 1 (October 30, 2017): 219–48. http://dx.doi.org/10.11606/issn.2447-7117.rt.2017.139523.
Повний текст джерелаCont, Arshia, and Martine Rhéaume. "Synchronisme musical et musiques mixtes : du temps écrit au temps produit." Circuit 22, no. 1 (April 30, 2012): 9–24. http://dx.doi.org/10.7202/1008965ar.
Повний текст джерелаMATELLI, ELISABETTA. "MUSICOTERAPIA E CATARSI IN TEOFRASTO." Bulletin of the Institute of Classical Studies 47, no. 1 (December 1, 2004): 153–74. http://dx.doi.org/10.1111/j.2041-5370.2004.tb00249.x.
Повний текст джерелаДисертації з теми "Tempo musicale"
Nouno, Gilbert. "Suivi de tempo appliqué aux musiques improvisées, à la recherche du temps perdu. ." Paris 6, 2008. http://www.theses.fr/2008PA066644.
Повний текст джерелаBlachly, Alexander. "Mensuration and tempo in 15th-century music : cut signatures in theory and practice /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb400633697.
Повний текст джерелаGoudey, Alain. "Une approche non verbale de l’identité musicale de la marque : influence du « timbre » et du « tempo » sur l’image de marque évoquée." Paris 9, 2007. https://bu.dauphine.psl.eu/fileviewer/index.php?doc=2007PA090058.
Повний текст джерелаThe literature on how consumer reacts to music exposure at the point of sales, in adverts, over the phone and on the Internet is rich. However there is a little convergence in the results. We propose a new conceptual framework based on the concept of synesthesia and specifically study the influence of timbre and tempo. We also examine the mediating impact of pleasantness of music and the moderating influence of sex, personality traits and musical expertise. Using nonverbal projective methods and a new protocol, we collected 1,100 drawings from 220 individuals. Our results confirm the existence of semantic-coding of weak synesthesiae. Timbre and tempo are strongly contributing to the evocation of brand image associated values. However, a timbre too crystalline or a tempo too fast call for the heavy use of cognitive resources that can disturb the overall comprehension of the brand message. The major management application of our doctoral work is that a brand manager should take into account all these multi-factor aspects to guarantee an efficient brand musical identity
Copini, Guilherme de Cesaro 1985. "Musica espectral = o tempo musical conforme Gerard Grisey." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283993.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grisey, compositor e cofundador de uma das mais importantes escolas de composição da segunda metade do século XX (a Música Espectral), apresenta uma singular visão do fenômeno musical, particularmente diante do seu desenvolvimento no tempo. Seu pensamento é fundamentado principalmente em pesquisas no campo da acústica e psicoacústica, ou seja, na estrutura física do som e na maneira como o som é percebido, respectivamente. O objetivo principal desta pesquisa é expor as reflexões de Grisey em relação ao tempo musical. Outro objetivo é a composição de uma peça original baseada nestas reflexões. Justifica-se tal recorte pela evidente atenção dada ao tema 'tempo em música' por importantes compositores do século XX (como por exemplo, Messiaen, Boulez e Grisey). Tal importância pode ser verificada tanto na obra musical, quanto teórica destes compositores. Inicialmente foi realizado aprofundamento teórico por meio do estudo dos textos produzidos pelos principais representantes e estudiosos da Música Espectral. Em seguida iniciou-se a redação da dissertação, que teve como foco a filosofia composicional de Grisey, e a composição da peça original, baseadas nas características e técnicas identificadas na primeira etapa da pesquisa
Abstract: Music is a temporal art, and its primary object, the sound, can only exist and be noticed when the dimension time is considered. Then, one believes that the discussion about sound-time relation in music is important for the contemporary composer.Gérard Grisey, composer and cofounder of one of the most important schools of composition of the second half of the 20th century (the Spectral Music), shows a singular understanding toward the musical phenomenon, especially about its development over time. His understanding is mainly based in researches in the field of acoustics and psychoacoustics, in other words, in the physical structure of sound and how it is perceived, respectively. The main objective of this research is to expose the thinking about musical time by Grisey. Another objective is to compose an original musical piece based on this thinking. This outline is justified by the evident attention that important composers of the 20th century (as Messiaen, Boulez and Grisey) gave to the subject "time in music". Such importance can be verified either in their musical and theoretical works. Initially, a study of the main bibliography produced by the leading composers and experts in Spectral Music was accomplished. Then the writing process of the thesis began, which was focused on the compositional philosophy of Grisey, and the composition of the original musical piece, based on the characteristics and techniques identified in the first part of this research
Mestrado
Musica
Mestre em Música
Larrieu, Maxence. "Analyse des musiques d'informatique, vers une intégration de l'artefact : propositions théoriques et application sur Jupiter (1987) de Philippe Manoury." Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC0007/document.
Повний текст джерелаThis thesis question the musical analysis of computer music works. These works are particular insofar as they exist with a wholly singular medium, a digital medium, which we name artifact. Our reflection starts from the ascertainment that the means needed to understand the artifact are new for the theory of musical analysis. Thereby our work begins with the following question : « how does computer music works can be analyzed with the help of their artifact ? ». Our thesis intends to answer to this question through a pioneer work from the 1980s, Jupiter, composed by Philippe Manoury at Ircam with Miller Puckette. Our answer is built in three parts. At first, we enlighten artifact by defining five points of singularity which characterize them. In the same line we identify a key system in the study of artifact, the Man Artifact Sound system. The second part is dedicated to our answer. One of the main difficulties in studying artifact is that they are structured in different levels of abstraction, and each one has its own structure. Consequently, the understanding of artifact had to be done inside a highly dynamic process, where the computational, sound and musical significations overlap as much as necessary. A conceptual framework is then suggested by which artifacts can be described, taking into account the different levels of abstraction. In the last part we put into practice those last propositions in analyzing Jupiter. His artifact is entirely dismantled and then an analysis is carried out, section by section, in confronting the listening and the knowledge we get from the artifact
Demarchi, Paulo Cesar. "Fases da preparação da obra Nih Nik do compositor Chico Mello." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/22335.
Повний текст джерелаBagés, i. Rubí Joan. "Systèmes musicaux interactifs et création sonore musicale." Paris 8, 2012. http://www.theses.fr/2012PA084188.
Повний текст джерелаLe présent travail de thèse propose un examen de la notion de système musical interactif et fait la description d’une approche personnelle pour la conception de tels systèmes. La première partie expose un état de l’art des nouvelles technologies musicales. Dans cette même partie, est présentée une approche basée sur la construction d'un réseau d’éléments ou l’artiste est l’acteur principal. C'est l'artiste, face aux multiples interactions exploratoires et devant s’approprier une technologie prégnante, doit faire une nécessaire critique de ces outils qui excitent son propre imaginaire. Je défends que c'est l’attitude expérimentale qui se veut la plus en phase avec une utilisation de ces technologies dans le champ artistique. Roberto Barbanti oppose à la conception traditionnelle la notion de l’Ultramédia. Cette notion est confrontée aux théories musicales du compositeur Horacio Vaggione, qui se fondent sur le concept de réseaux d'objets informatiques. Dans la deuxième partie, je présente plusieurs travaux personnels qui ont été réalisés à l’aide de systèmes musicaux interactifs. Dans la troisième partie, je présente un projet très particulier autour les systèmes musicaux interactifs et du handicap médicalisé, au sein de l’APPC de Tarragone (Espagne). Le projet consiste en la création et au développement d’applications et d’activités interactives pour des personnes atteintes d’un fort et sévère handicap cérébral. L’ensemble du présent document s’achève avec une proposition d’un modèle pour la conception et l’élaboration de systèmes musicaux interactifs
Herrlein, Julio Cesar da Silva. "Uma forma de sentir o tempo : investigação sobre temporalidades em um portfolio de composições." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/88683.
Повний текст джерела“A way of feeling the time" is a cycle of compositions and is also the title of the recital in which these compositions were performed. This work, besides the music and audiovisual records, is a first investigation about the time, its importance in the compositional process of the selected portfolio and its philosophical and musical characterization. From the investigation of time’s nature, there is a distiction between two forms of temporality: the subjective temporality, concerning the personal and heterogeneous “way of feeling the time”; and the objective temporality, that deals with the quantitative, generalized and homogeneous aspects of the time. The compositions are presented under this scope of investigation: time, listening and memory. Algorithmic composition, computer assisted composition and intuition modelling are also discussed herein.
Mata, Hosana Rodrigues Ferreira da. "Ter tempo para aprender música: experiências vividas e compartilhadas por aposentados." Universidade Federal de Uberlândia, 2014. https://repositorio.ufu.br/handle/123456789/12350.
Повний текст джерелаEsta dissertação tem como foco a aposentadoria como um momento de aprendizagem musical. Os objetivos deste estudo são compreender a aprendizagem musical no momento da aposentadoria, bem como entender de que maneira as experiências musicais são vividas e compartilhadas com/por essas pessoas aposentadas em espaços de ensino/aprendizagem, coletivos ou não, como nos casos da prática coral, ou a aprendizagem de um instrumento, individual ou coletivamente. Em uma abordagem qualitativa, o método de pesquisa adotado foi o estudo de caso, utilizando como procedimento de coleta de dados a entrevista. A educação musical como prática social (SOUZA, 2004), o pensamento da aposentadoria associada ao lazer (DUMAZEDIER, 1994; 1999), e um lazer relacionado com as potencialidades da educação na aposentadoria (MARCELLINO, 1987; 1995; 2000; 2002; 2007) foram o suporte teórico para a reflexão sobre todo o material levantado a partir das entrevistas. As considerações finais desta pesquisa estão associadas ao processo pelo qual as pessoas que se aposentam vivenciam, à forma com que a aprendizagem musical passa a ser importante na vida dessas pessoas, e também como essas pessoas experienciam música em suas vidas e as compartilham em espaços de ensino/aprendizagem coletivos ou individuais.
Mestre em Artes
Socha, Eduardo. "Tempo musical em Theodor W. Adorno." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-12012016-125616/.
Повний текст джерелаThis dissertation concerns the concept of musical time in Adornos philosophy and emphasizes his critique of post-Webern serialism, noticeable in his frequent interventions in the context of the Kranichstein-Darmstadt Summer Courses and the radio debates during the 1950s and 60s. These include controversial essays like Das Altern der neuen Musik, Die Funktion des Kontrapunkts in der neuen Musik, Kriterien der neuen Musik as well as his later related programmatic notion of informal music presented in the Darmstadt lecture Vers une musique informelle (1961). In these interventions, Adorno insists whether explicitly or not on the conservancy of a specific way of structuring inner temporal relationships between musical events. This type of formalization and perception of time became eluded with the advance of avant-garde compositional procedures. The dissertation has two parts and a dual purpose. First, it examines the references to the specific notion of time that Adorno develops in his musical thought, contemplating the reciprocity between philosophical and musical categories held by his historical-materialist approach. This philosophical framework ascribes a progressive rationalization or detemporalization of time in Western culture through the advance of Enlightenment, which would also be recognizable in the history of musical forms. Hence, for Adorno, detemporalization of time (title of an important sub-chapter of Negative Dialektik) in philosophy resulted from a symmetrical thrust that imposed a progressive spatialization of musical time (a central claim from Philosophie der neuen Musik). The late published Beethoven-Fragmente offers a great deal of elucidation about his concept of musical time; whereas his Stravinsky critique and the essays on the relationship between music and painting clearly shape the critical singularity of the concept. Secondly, this dissertation describes, as a counterpoint to Adornos concept, the theoretical approaches proposed by Pierre Boulez and Karlheinz Stockhausen on musical time. It is shown why the notion of informal music can be considered the epitome of Adornos musical reflection after Philosophie der neuen Musik (1949), considering his ambivalent criticism of these post-war avant-garde orientations. In short, one observes that Adornos regular attendance of the Darmstadt Summer Courses, from 1950 until 1966, is closely linked to his publications and thoughts on music aesthetics of the same period. We argue that these reflections on the directions of the avant-garde provided him the opportunity to better present and confront the elements of his concept of musical time.
Книги з теми "Tempo musicale"
Profezia e disincanto: Il tempo a venire nella tradizione letteraria e musicale. Messina: Mesogea, 2013.
Знайти повний текст джерелаScipio, Agostino Di. Circuiti del tempo: Un percorso storico-critico nella creatività musicale elettroacustica e informatica. Lucca: Libreria musicale italiana, 2021.
Знайти повний текст джерелаGazzara, Francesco. Acid jazz: I gruppi, gli ambienti e gli stili del movimento che ha cambiato l'immaginario musicale del nostro tempo. Roma: Castelvecchi, 1996.
Знайти повний текст джерелаCarla, Bianco, and Istituto per i beni musicali in Piemonte., eds. Il tempio armonico: Giovanni Giovenale Ancina e le musiche devozionali nel contesto internazionale del suo tempo : convegno internazionale di studi, organizzato dall'Istituto per i beni musicali in Piemonte, Saluzzo, Scuola di alto perfezionamento musicale, 8-10 ottobre 2004. Lucca: Libreria musicale italiana, 2006.
Знайти повний текст джерелаReibel, Emmanuel. L' écriture de la critique musicale au temps de Berlioz. Paris: H. Champion, 2005.
Знайти повний текст джерелаChang, Leiling. Dialogues, temps musical, temps social. Paris: Harmattan, 2012.
Знайти повний текст джерелаLe temps musical. Paris: Desclée De Brouwer, 2001.
Знайти повний текст джерелаCazaban, Costin. Temps musical, espace musical comme fonctions logiques. Paris: L'Harmattan, 2000.
Знайти повний текст джерелаRepresenting musical time: A temporal-logic approach. Exton, (PA): Swets & Zeitlinger Publishers, 2000.
Знайти повний текст джерелаAnesa, Marino. Il tempo, le bande: Itinerari musicali bergamaschi. [Bergamo]: Anbima, 1989.
Знайти повний текст джерелаЧастини книг з теми "Tempo musicale"
Desmond, Karen. "24. Tempus, Tempo, and Insular Semibreves." In Epitome musical, 499–538. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.em-eb.5.132717.
Повний текст джерелаMurakami, Masashi, Takashi Sakamoto, and Toshikazu Kato. "Music Retrieval and Recommendation Based on Musical Tempo." In Advances in Intelligent Systems and Computing, 362–67. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94944-4_39.
Повний текст джерелаGrachten, Maarten, Josep Lluís Arcos, and Ramon López de Mántaras. "TempoExpress, a CBR Approach to Musical Tempo Transformations." In Lecture Notes in Computer Science, 601–15. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-28631-8_44.
Повний текст джерелаBosi, Carlo. "Caught in the Web of Texts: The Chanson Family Bon vin/Bon temps and the Disputed Identity of ‘Gaspart’." In Epitome musical, 255–80. Turnhout: Brepols Publishers, 2019. http://dx.doi.org/10.1484/m.em-eb.4.2019036.
Повний текст джерелаArcos, Josep Lluís, Maarten Grachten, and Ramon López de Mántaras. "Extracting Performers’ Behaviors to Annotate Cases in a CBR System for Musical Tempo Transformations." In Case-Based Reasoning Research and Development, 20–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/3-540-45006-8_5.
Повний текст джерелаBerti, Michela. "La musica a S. Ivo dei Bretoni in età moderna : uno studio archivistico." In Catholicisme, culture et société aux Temps modernes, 231–44. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.elsem-eb.5.115085.
Повний текст джерелаNakahara, Naoto, Koji Miyazaki, Hajime Sakamoto, Takashi X. Fujisawa, Noriko Nagata, and Ryohei Nakatsu. "Dance Motion Control of a Humanoid Robot Based on Real-Time Tempo Tracking from Musical Audio Signals." In Lecture Notes in Computer Science, 36–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04052-8_4.
Повний текст джерела"Tempo." In New Musical Resources, 90–98. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511597329.011.
Повний текст джерела"Tempo rubato." In Early Recordings and Musical Style, 37–69. Cambridge University Press, 1992. http://dx.doi.org/10.1017/cbo9780511470271.004.
Повний текст джерела"Flexibility of tempo." In Early Recordings and Musical Style, 7–36. Cambridge University Press, 1992. http://dx.doi.org/10.1017/cbo9780511470271.003.
Повний текст джерелаТези доповідей конференцій з теми "Tempo musicale"
Souza, Mila Soares de Oliveira de, Pedro Nuno de Souza Moura, and Jean-Pierre Briot. "Tempo estimation via neural networks - a comparative analysis." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19420.
Повний текст джерелаPaulo, Avner Maximiliano de, Luiz Gustavo Colzani Monti Sousa, José Mauro da Silva, and Flávio Luiz Schiavoni. "Web Art em tempos de HTML5." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19455.
Повний текст джерелаAline, Hufschmitt, Cardon Stephane, and Jacopin Eric. "Can Musical Tempo Makes Tetris Game Harder?" In 2020 IEEE Conference on Games (CoG). IEEE, 2020. http://dx.doi.org/10.1109/cog47356.2020.9231593.
Повний текст джерелаNavarro, Jordan, and Emanuelle Reynaud. "Impact of Music Tempo on Simulated Driving Performance." In Applied Human Factors and Ergonomics Conference. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe100706.
Повний текст джерелаSilva, Douglas, Lucas Zampar, Felipe Rodrigues, and Cláudio Gomes. "COUT-e e práticas itinerantes durante 2020 e 2021." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19464.
Повний текст джерелаF. Paiva, Lucas, Hugo G. Lopes, Leonardo B. Felix, and Rodolpho V. A. Neves. "Estimação do compasso musical do forró utilizando rede perceptron multicamadas." In Congresso Brasileiro de Automática - 2020. sbabra, 2020. http://dx.doi.org/10.48011/asba.v2i1.1331.
Повний текст джерелаPadyana, Mahesha, and Bindu A. Thomas. "Musical metronome with tempo detection, synchronizer and gesture processing." In 2014 International Conference on Information Communication and Embedded Systems (ICICES). IEEE, 2014. http://dx.doi.org/10.1109/icices.2014.7034155.
Повний текст джерелаGomes, Cláudio. "Acalma-te: resultados de composição automática e iterativa para relaxamento." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19446.
Повний текст джерелаRibas, Rafael. "CONTRACULTURA MUSICAL BRASILEIRA EM TEMPOS DE DITADURA." In VIII World Congress on Communication and Arts. Science and Education Research Council (COPEC), 2015. http://dx.doi.org/10.14684/wcca.8.2015.360-363.
Повний текст джерелаWu, Fu-Hai Frank, and Jyh-Shing Roger Jang. "A supervised learning method for tempo estimation of musical audio." In 2014 22nd Mediterranean Conference of Control and Automation (MED). IEEE, 2014. http://dx.doi.org/10.1109/med.2014.6961438.
Повний текст джерела