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Journal articles on the topic 'Analyse de structures musicales'

Author: Grafiati

Published: 25 May 2024

Last updated: 19 July 2025

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1

Nattiez, Jean-Jacques. "Modèles linguistiques et analyse des structures musicales." Canadian University Music Review 23, no. 1-2 (2013): 10–61. http://dx.doi.org/10.7202/1014517ar.

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Au cours de la seconde moitié du XXesiècle, l’analyse musicale s’est tournée vers les modèles linguistiques d’inspiration structuraliste pour tenter de renouveler et de rendre plus explicites les méthodes traditionnelles. Dans cet article, qui est à la fois une bibliographie critique et un bilan épistémologique, Jean-Jacques Nattiez examine dans quel contexte musicologie et linguistique se sont rencontrées. Il présente tour à tour les applications du modèle phonologique, du modèle paradigmatique (avec une discussion des propositions et de la postérité de Ruwet) et les diverses grammaires music

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Andreatta, Moreno. "Une introduction musicologique à la recherche « mathémusicale » : aspects théoriques et enjeux épistémologiques." Circuit 24, no. 2 (2014): 51–66. http://dx.doi.org/10.7202/1026184ar.

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Cette contribution se propose de présenter certains aspects théoriques et discuter quelques enjeux épistémologiques des recherches menées par l’auteur dans le domaine des rapports entre mathématiques et musique. Après une introduction générale sur le contexte de la recherche « mathémusicale » à l’Ircam et la place du projet misa (Modélisation informatique des structures algébriques en musique) au sein des activités de recherche de l’équipe Représentations musicales, nous discutons le problème de la formalisation algébrique de la théorie des ensembles de classes de hauteurs (Set Theory) et de l

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Tack, Lieven, and Stephan Weytjens. "Tensions, parallèles et interférences entre texte et musique. Le cas de Pierrot lunaire d’Arnold Schoenberg." Hors dossier 29, no. 2 (2005): 115–23. http://dx.doi.org/10.7202/030631ar.

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Cet article vise un double objectif. Il propose d’abord un examen détaillé des interférences entre le texte (forme et sémantique) et les structures musicales dans Pierrot lunaire d’Arnold Schoenberg. Les résultats de cette analyse suggèrent que le rapport texte-musique de cette oeuvre ne se conçoit que sur un mode hétérogène et extrêmement ambigu. Le deuxième objectif est de montrer que l’examen des exemples doit être étayé par une réflexion théorique sur les conditions de possibilité des interférences musico-textuelles, et sur les outils de description dont l’analyste dispose pour les mettre

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Fréchette, Charles-Antoine. "L’Écomimétisme ou les reflets des manifestations sonores de l’environnement." Circuit 25, no. 2 (2015): 19–37. http://dx.doi.org/10.7202/1032933ar.

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Le compositeur Charles-Antoine Fréchette présente les enjeux reliés à sa méthode de composition dite écomimétique. Avec cette méthode, il est question d’analyser des prélèvements sonores de l’environnement au sonagramme pour en tirer des contenus fréquentiels, dynamiques et rythmiques. Ces données récoltées et classées à travers des axes typologiques multiples, différenciés et superposés, concourent à l’élaboration de processus formels qui permettent de relier progressivement les composantes des matériaux entre eux. Ainsi, toutes les structures et les procédés structurels découlent de la manip

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5

Adeola, Taiye Shola. "Forms and Compositional Devices in Nigerian Gospel Music: A Structural and Contextual Analysis." Journal of African Arts & Culture 8, no. 1 (2025): 49–74. https://doi.org/10.63102/jaac.v8i1.20253.

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Nigerian gospel music has evolved into a distinct genre within the Nigerian music scene, marked by a unique blend of African rhythmic elements, Western harmonic structures, and Christian theological themes. As a dynamic and expressive art form, it employs various musical forms and compositional devices to engage audiences, convey spiritual messages, evoke emotion, and inspire devotion. Although scholarly attention has been given to its historical, sociological, textual, and theological dimensions, its structural and compositional elements remain underexplored. This study applies musical semiot

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Guliyeva, Ilaha, and Liubov Kopanitsa. "Folklore in contemporary music: Revival of cultural traditions." Interdisciplinary Cultural and Humanities Review 3, no. 2 (2024): 24–34. https://doi.org/10.59214//cultural/2.2024.24.

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The purpose of the study was to comprehensively analyse and systematise the ways in which contemporary artists and musicians integrate folk motifs into their works. It was found that although modern interpretations of folklore retain the basic melodic structures of traditional compositions, they also introduce significant innovations in arrangement and instrumental design. The study showed that musicians attach new cultural and personal meanings to musical works, reinterpreting folklore narratives in accordance with modern realities. It was also found that thematic motifs and instrumental tech

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Guliyeva, Ilaha, and Liubov Kopanitsa. "Folklore in contemporary music: Revival of cultural traditions." Interdisciplinary Cultural and Humanities Review 3, no. 2 (2024): 24–34. https://doi.org/10.59214/cultural/2.2024.24.

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The purpose of the study was to comprehensively analyse and systematise the ways in which contemporary artists and musicians integrate folk motifs into their works. It was found that although modern interpretations of folklore retain the basic melodic structures of traditional compositions, they also introduce significant innovations in arrangement and instrumental design. The study showed that musicians attach new cultural and personal meanings to musical works, reinterpreting folklore narratives in accordance with modern realities. It was also found that thematic motifs and instrumental tech

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Shirieva, Nadezhda Velerovna. "Imagery and semantic dramaturgy in the cantata "Now always snow" ("Jetzt immer Schnee") by S. Gubaidulina." PHILHARMONICA. International Music Journal, no. 4 (April 2024): 13–29. https://doi.org/10.7256/2453-613x.2024.4.70181.

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Modern music research methods used for the analysis of the cantata "Now Always Snow" requires specific approaches to studying its external (formal) and internal (textural) structures. This paper proposes another approach to the analysis of "Now Always Snow" based on Helmut Lachenmann's classification of sound types for a holistic view on both imagery and content aspects of the composition. Lachenmann's system has been used to analyse the cantata's movements in terms of form making and dramaturgical development closely associated with the visual semantics of its means of musical expression. Thi

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Bell, Merri. "‘After All the Years of Separation’: Musically Representing Author L.M. Montgomery’s Suspended Romances." Humanities 13, no. 4 (2024): 104. http://dx.doi.org/10.3390/h13040104.

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Canadian author L.M. Montgomery did not set out to write stories about romance. As she indicated in her journals, she wrote character-driven stories of young girls navigating their way through girlhood. However, she understood that the public, and her publishers, expected these girls to experience romance that culminated in marriage, following the societal traditions of the time. Montgomery managed this dichotomy by having many characters experience a suspended romance, delaying the romantic aspect of the relationship for as long as possible. Arts-based practice is a mode of analysis and offer

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Meric, Renaud, and Makis Solomos. "Écosystèmes audibles et structures sonores émergentes dans la musique d'Agostino Di Scipio. Une collaboration entre philosophie de la musique et analyse musicale." Musurgia XVIII, no. 3 (2011): 39. http://dx.doi.org/10.3917/musur.113.0039.

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Maniez, François. "Traitement de l’ambiguïté syntaxique et sémantique en TA neuronale : analyse de la traduction de l’anglais vers le français, l’espagnol et l’italien." Traduction et Langues 21, no. 1 (2022): 10–27. http://dx.doi.org/10.52919/translang.v21i1.872.

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Syntactic and Semantic Ambiguity Processing in Neural MT from English to French, Spanish and Italian Despite recent advances in artificial intelligence, human translators outperform MT for at least three types of tasks: identifying referents in anaphora (especially of the interphrastic kind), resolving semantic ambiguity (which is mainly due to polysemy or homonymy), and resolving syntactic ambiguity (especially with poorly inflected source languages such as English). Using the results obtained by two freely available online machine translation programs, Google Translate and DeepL, we ex

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Rusu, Mihaela, and Ciprian Costin. "Discovering music cryptograms in the works of Viorel Munteanu through computer aided methods." Artes. Journal of Musicology 23, no. 1 (2021): 165–73. http://dx.doi.org/10.2478/ajm-2021-0008.

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Abstract This analytical approach aims to demonstrate the connection between music and technology in the creation of composer Viorel Munteanu. The purpose of this paper is to identify and analyse the music cryptograms in Symphony No. 1 “Glossa” using digital analysis tools. Viorel Munteanu is a modern composer characterised by avangardist tendencies, but with a desire to revive the past. In his creations, the composer uses folkloric themes and byzantine chant, while evoking important personalities of Romanian culture. In Symphony No. 1 “Glossa”, Munteanu uses the music cryptogram of poet Mihai

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13

Leicester, H. Marshall. "Discourse and the film text: Four readings of Carmen." Cambridge Opera Journal 6, no. 3 (1994): 245–82. http://dx.doi.org/10.1017/s0954586700004328.

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‘Quoi du reste’, to paraphrase Derrida on Hegel in Glas, ‘ici, maintenant, d'une Carmen?’ What's left of Carmen here and now? Aside from its intrinsic interest, the question seems worth asking in light of a bias that recent treatments of opera – particularly those influenced by poststrucuralist theory – seem to betray. The most prominent, Catherine Clément's Opera, or The Undoing of Women, Michel Poizat's The Angel's Cry and Jeremy Tambling's Opera, Ideology, and Film, regard opera as an institution rather than as a body of texts. Each of the authors, to my mind at least, allows a prior struct

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YANG, PEIHONG. "Neo-Folklore Motifs in a Chen Yi’s Piano Work." Revista de etnografie și folclor / Journal of Ethnography and Folklore 2023, no. 1-2 (2023): 184–97. http://dx.doi.org/10.59277/jef.2023.1-2.11.

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"The blending of traditional and cross-cultural musical elements improves musical compositions and piano playing techniques. The research purpose is to investigate the main features of neo-folklore motifs in the piano work of Chen Yi and analyse the specifics of piano art in the work To E. The research used different methods of analysis, comparison, and calculation for the Socio-Metric Rating Index and the Efficiency Ratio. The analysis revealed that the main indicator was a novelty in music that was evident in the development of different cultures, the new artistic ideas, and the use of a mod

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Neary, Clara. "‘Please could you stop the noise’: The grammar of multimodal meaning-making in Radiohead’s ‘Paranoid Android’." Language and Literature: International Journal of Stylistics 28, no. 1 (2019): 41–60. http://dx.doi.org/10.1177/0963947019827073.

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This article uses Zbikowski’s theory of ‘musical grammar’ to analyse Radiohead’s song ‘Paranoid Android’ from their 1997 album OK Computer. Invoking the close structural and compositional parallels between language and music, Zbikowski’s approach appropriates some of the core elements of cognitive linguistics to provide a means of ‘translating’ music into meaning-bearing conceptual structures via the construction of ‘sonic analogues’, which are a type of conceptual construct formed when incoming perceptual information is compared to existing cognitive knowledge stored as image schemas. The res

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Cohen, Paul. "“Zouk Is the Only Medicine We Need”." French Historical Studies 45, no. 2 (2022): 319–53. http://dx.doi.org/10.1215/00161071-9532010.

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Abstract This article demonstrates how the history of Kassav, the French Caribbean music group founded in 1979, sheds light on the cultural politics of French Caribbean music and the history of “global France.” It argues that Kassav's music represents an inventive cultural and commercial response to patterns of neocolonial and capitalist exclusion in the French Caribbean, one that drew on the islands' own cultural resources to fashion a new musical form, called zouk, that has had lasting influence. Kassav owes its commercial success in part to a global music industry hungry for new musics from

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17

Parvin Banu, S., SP Veena, and G. Surya. "Representation of the Self and the Surrounding: An Ethnomusicological Analysis of the Songs of Singer Arivu." Shanlax International Journal of Arts, Science and Humanities 12, S3-Apr (2025): 97–100. https://doi.org/10.34293/sijash.v12is3-apr.9064.

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Music has always been the nuanced form of human emotions and expressions. Musicology deals with the nature and origin of sounds closely interlinked with natural surroundings. Ethnomusicology is an interdisciplinary approach that links the social and historical factors of the musical rendition. It is the observation of cultural aspects reflected through music by analysis, observation and immersive approaches. Ethnomusicology draws its tenets majorly from anthropology and comparative musicology. This area dominantly focuses on non western music and gradually incorporates scientific methods to de

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18

Noreau, Denyse. "Le Stabat Mater II, un oratorio de la douleur." Dossier 25, no. 3 (2006): 471–85. http://dx.doi.org/10.7202/201498ar.

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Résumé Cet article se veut une introduction à l'étude de l'emploi des formes musicales comme procédé architectonique dans l'oeuvre de Normand Chaurette. Une présentation historique du thème du Stabat Mater, l'image de la mère douloureuse dans la chrétienté, suivie d'une analyse d'oeuvres musicales construites à partir de ce même thème (Palestrina, Pergolese, Schubert, Pärt) permettront de démontrer la parenté qui existe entre les procédés de composition présents dans ces oeuvres musicales et ceux utilisés par Chaurette dans Stabat Mater II.

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Stahrenberg, Carolin. "‘Meine Heimat ist der Wagen’: Negotiation of mobility and settledness in two German post-war musicals." Studies in Musical Theatre 16, no. 3 (2022): 237–43. http://dx.doi.org/10.1386/smt_00106_1.

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Persecution and expulsion due to Nazi terror and the Second World War led to massive population shifts within Europe. First was the mass exodus from the German Reich, as a result of racist and political persecution. Then, after the end of the war, millions of German refugees and up to 12 million displaced persons – former forced labourers and foreign concentration camp prisoners – had to find new homes or be repatriated. These movements led to the discursive negotiation of wandering, mobility and settledness in German language musical theatre of the 1950s. This article analyses such relations

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Clemente, Miguel, Joaquim Mendes, André Moreira, Ricardo Vardasca, Afonso Ferreira, and José Amarante. "Wind Instrumentalists and Temporomandibular Disorder: From Diagnosis to Treatment." Dentistry Journal 6, no. 3 (2018): 41. http://dx.doi.org/10.3390/dj6030041.

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Introduction: Temporomandibular disorders (TMD) involve the presence of pain or dysfunction on certain areas of the Cranio-Cervico-Mandibular Complex (CCMC), such as the masticatory muscles, the temporomandibular joint (TMJ) and associated structures like the postural muscles of the cervical region, can be considered as a sub-group of musculoskeletal disorders. Wind instrument players, as a consequence of their musical performance and its relation with the CCMC, can develop a TMD associated to muscle hyperactivity of certain elevator muscles, or even an increase of the intra-articular pressure

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Imberty, Michel. "Formes de la répétition et formes des affects du temps dans l'expression musicale." Musicae Scientiae 1, no. 1 (1997): 33–62. http://dx.doi.org/10.1177/102986499700100104.

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Cet article se propose de montrer ce que la psychologie récente du développement peut apporter pour la compréhension des phénomènes affectifs de nature temporelle qui sous-tendent l'écoute musicale et ses effets sur l'auditeur. L'article part de l'analyse du phénomène de répétition, tant dans les situations interactives chez le nourrisson que dans les structures les plus élémentaires des langages musicaux. La répétition, dans un cas comme dans l'autre, engendre le temps, la durée, mais y introduit une régularité qui permet au sujet l'anticipation et la maîtrise du futur. Cette régulatité et ce

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Tarte, Kendall. "Quelle musique pour La Puce de Madame des-Roches ?" Albineana, Cahiers d'Aubigné 33, no. 1 (2021): 85–98. http://dx.doi.org/10.3406/albin.2021.1671.

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Cet article se propose de montrer les dimensions musicales du recueil La Puce de Madame Des-Roches (1582) et du contexte de sa genèse : le salon des Dames Des Roches à Poitiers à la fin des années 1570, au cours des guerres de religion. Après avoir montré l’intérêt que Catherine Des Roches portait à la musique, il analyse des poèmes d’Estienne Pasquier et d’Odet de Turnèbe qui illustrent les qualités musicales de La Puce.

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Hougaard, Anna Katrine. "Architectural Drawing - An Animate Field." Open House International 40, no. 2 (2015): 44–53. http://dx.doi.org/10.1108/ohi-02-2015-b0007.

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Architectural drawing is changing because architects today draw with computers. Due to this change digital diagrams employed by computational architectural practices are often emphasized as powerful structures of control and organisation in the design process. But there are also diagrams, which do not follow computational logic worth paying attention to. In the following I will investigate one such other kind of diagram, a sketch diagram, which has a play-like capacity where rules can be invented and changed as you go. In that way, sketch diagrams are related to steered indeterminacy and autho

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Stráner, Zsófia. "Formes Musicales Dans le Texte Littéraire—Analyse desNouvelles Orientalesde Marguerite Yourcenar." Verbum 10, no. 2 (2008): 413–36. http://dx.doi.org/10.1556/verb.10.2008.2.10.

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JOHNSON, JAKE. "The Music Room: Betty Freeman's Musical Soirées." Twentieth-Century Music 14, no. 3 (2017): 391–409. http://dx.doi.org/10.1017/s1478572217000330.

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AbstractFor over ten years, Los Angeles arts patron Betty Freeman (1921–2009) welcomed composers, performers, scholars, patrons, and invited guests into her home for a series of monthly musicales that were known as ‘Salotto’. In this article, I analyse Freeman's musicales within a sociological framework of gender and what Randall Collins calls ‘interaction rituals’. I contextualize these events, which took place in a space in her Beverly Hills home known as the Music Room, within a broader history of salon culture in Los Angeles in the twentieth century – a history that shaped the city's relat

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Theodosopoulou, Irene. "Semiotic approaches to “traditional music”, musical/poetic structures, and ethnographic research." Semiotica 2019, no. 229 (2019): 123–50. http://dx.doi.org/10.1515/sem-2017-0123.

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AbstractThis text is a first attempt of approaching traditional music, musical/poetic structures and ethnographic research semiotically. The basic elements of traditional music (motives, rhythms, phonetics, performance speeds, modal systems, musical instruments, repertoire), the musical/poetic structures with morphological types and formulas (musical and poetic), musical and non-musical codes (verbal and nonverbal) during a musical performance (nods, movements, etc.) as well as the ethnographic research itself with its own “performances” (discussions with musicians, recordings, transcriptions,

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Bardoux Lovén, Cécile. "Théorie et analyse musicales à Stockholm : inventaire des contenus et pratiques pédagogiques." Musurgia XXIV, no. 1 (2017): 65. http://dx.doi.org/10.3917/musur.171.0065.

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Filiatrault, André. "Analyse des structures." Canadian Journal of Civil Engineering 20, no. 6 (1993): 1081–82. http://dx.doi.org/10.1139/l93-145.

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Nattiez, Jean-Jacques. "La recherche des universaux est-elle incompatible avec l’étude des spécificités culturelles ?" Anthropologie et Sociétés 38, no. 1 (2014): 217–43. http://dx.doi.org/10.7202/1025815ar.

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Après avoir rappelé les arguments avancés par certains auteurs contre la légitimité des recherches sur les universaux de la musique, l’auteur souligne que l’un d’entre eux repose sur l’affirmation que, chaque culture présentant des caractéristiques spécifiques, les cultures ne sont pas comparables. Empruntant aux deux ouvrages fondateurs de l’approche anthropologique de la musique,The Anthropology of Musicd’Alan Merriam (1964) etHow Musical is Man ?de John Blacking (1973), il rappelle que, chez eux, les structures musicales sont conçues comme le produit de la culture. Conséquence méthodologiqu

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Rea, John. "Ite, Symphonia est." Circuit 11, no. 3 (2002): 21–31. http://dx.doi.org/10.7202/004694ar.

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Résumé Lisant la Symphonie du millénaire sous l'angle d'une analyse des éléments crypto-religieux et musicoreligieux, John Rea propose que l'oeuvre, dans sa forme et dans son contenu, se révélât au public telle une action liturgique, à la fois sacrée et profane. À travers un encadrement binaire qui réunit les catégories de l'espace et du temps, la discussion identifie certains traits communs avec le judaïsme biblique, le christianisme médiéval, et avec des oeuvres musicales antérieures.

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Galluzzo, Anthony. "Au-delà de la musique." Revue Française de Gestion 47, no. 294 (2021): 99–113. http://dx.doi.org/10.3166/rfg.2021.00501.

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Cette recherche analyse la façon dont les communautés de fans de stars musicales réalisent un travail narratif, en co-écrivant le récit de leur idole. Les résultats portent sur trois communautés de fans, qui ont fait l’objet d’une enquête ethnographique et netnographique. L’article détaille six étapes par lesquelles se déploie le processus de co-construction narrative de la star par ses fans. Il examine selon quelles politiques les managers peuvent orienter ce travail.

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Pecheranskyi, Ihor. "Digital Technologies and Audio-Visual Innovations in the Modern Music Industry." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 7, no. 1 (2024): 51–63. http://dx.doi.org/10.31866/2617-2674.7.1.2024.302762.

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The purpose of the research is to analyse digital technologies and audiovisual tools and innovations that are actively used in the contemporary music industry, the example of the VR video Family by Icelandic singer Björk and the audiovisual instrument AirSticks by A. Ilsar). Research methodology. The article conducts scientific research within the paradigm of new audiovisual aesthetics and with the help of the techno-determinism principle, which made it possible to reveal the features and outline the impact of digital innovations and technological solutions on pop drama, creative musical impro

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Zhou, Yuxuan. "On the western myth of Takarazuka fantasy: japanese women playing men and westerners on stage." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 38 (August 1, 2023): 158–76. http://dx.doi.org/10.26563/dobras.i38.1572.

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This work investigates the female performers from Takarazuka Revue in Japan, who play the role of Westerners and men in several musicals and which challenges the traditional power orientation of Orientalism. The construction of the Western identity is analysed through the outer shell of the body, the costumes, stage props and musical plots, and the body presented on the stage with make-up and other bodily techniques. The visual elements are analysed following a semiotical approach, investigating how the layered up meanings express the romanticised Occident distant from the image of the West in

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Rosiński, Adam. "Variable Properties of Auditory Scene Analysis in Music." Arts 14, no. 1 (2025): 19. https://doi.org/10.3390/arts14010019.

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This article explores the variable properties of auditory image analysis during the perception of musical works, which are influenced by the specific elements to which the listener directs their attention. Traditional analyses of musical compositions typically involve brief comparisons with auditory phenomena described in scientific studies, such as those by A.S. Bregman. However, these analyses are often limited, offering only a narrow perspective on the works. In contrast, the approach presented in this article extends the theories and experiments developed by Bregman and others, providing a

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Guerpin, Martin. "L’exotisme en question." Revue musicale OICRM 3, no. 1 (2019): 1–15. http://dx.doi.org/10.7202/1060119ar.

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L’introduction du jazz en France et son utilisation dans la musique savante sont souvent assimilées à l’émergence d’un nouvel exotisme, compris au sens large de rapport fasciné à l’Autre. Ainsi utilisée, cette catégorie tend à masquer la diversité bien réelle, et remarquable pour l’époque, de la réception du jazz dans la musique française de l’entre-deux-guerres. Afin de mettre en évidence cette diversité, deux œuvres représentatives de Darius Milhaud et de Jean Wiéner font l’objet d’une analyse qui, s’appuyant sur des définitions de l’exotisme en vigueur dans les décennies 1920 et 1930, prend

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Borshuliak, Alona. "Semantics of the Musical Language of J. S. Bach's Spiritual Cantatas of the Passion Type." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 89–96. https://doi.org/10.31866/2410-1176.42.2020.207637.

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The purpose of the article is to analyse the semantic aspects of J. S. Bach’s passion cantatas, identify and reveal their semantic depth, philosophical and religious inspiration. The research methodology is based on the application of fundamental general scientific methods of cognition, as well as special musicological methods, in particular, analytical in the study of scientific literature; genre and style, historical and cultural methods, which contribute to the establishment of patterns of development and particularity of the cantata genre as a complete artistic object; hermeneutic me

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Savage, Patrick E., Steven Brown, Emi Sakai, and Thomas E. Currie. "Statistical universals reveal the structures and functions of human music." Proceedings of the National Academy of Sciences 112, no. 29 (2015): 8987–92. http://dx.doi.org/10.1073/pnas.1414495112.

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Music has been called “the universal language of mankind.” Although contemporary theories of music evolution often invoke various musical universals, the existence of such universals has been disputed for decades and has never been empirically demonstrated. Here we combine a music-classification scheme with statistical analyses, including phylogenetic comparative methods, to examine a well-sampled global set of 304 music recordings. Our analyses reveal no absolute universals but strong support for many statistical universals that are consistent across all nine geographic regions sampled. These

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Ojanen, Mikko. "Jukka Ruohomäen ensimmäisen sävellyskauden elektroakustinen musiikki." Musiikki 44, no. 1-2 (2014): 146–83. https://doi.org/10.5281/zenodo.267971.

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Jukka Ruohomäki’s electroacoustic music of his first compositional period Composer Jukka Ruohomäki (b. 1947) was an active figure of the second phase of Finnish electroacoustic music which started in the late 1960’s. As a composer Ruohomäki is an autodidact, and his early works demonstrated skilled craft with the analogue media, i.e. tape recorders, synthesizers and sound processing equipment. During his first compositional period, 1970–78, Ruohomäki produced a wide variety of electronic music. In his electroacoustic compositions, narrative features are dominant and musical texture is often a

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Ballester, Manon, Jean-Pierre Moreau, and Pascal Terrien. "L’orchestre à l’école : des pratiques musicales au développement de l’esprit critique." Nouveaux cahiers de la recherche en éducation 26, no. 1 (2024): 100–120. http://dx.doi.org/10.7202/1113235ar.

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Cet article étudie l’influence des pratiques de la musique instrumentale sur les performances de raisonnement des élèves de l’école élémentaire (9‑11 ans) en France. Croisant plusieurs approches en sciences humaines et sociales – la phénoménologie, la psychologie cognitive et la didactique de la musique –, cette étude cherche à observer si la capacité d’autorégulation, un des aspects du raisonnement et de l’esprit critique, est plus développée chez les élèves pratiquant un instrument de musique au sein d’un orchestre à l’école (OAE) que chez leurs camarades qui n’en jouent pas. Elle repose sur

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Kiš Žuvela, Sanja, and Ana Ostroški Anić. "The embodied and the cultural in the conceptualization of pitch space in Croatian." Jezikoslovlje 20, no. 2 (2019): 199–219. http://dx.doi.org/10.29162/jez.2019.7.

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Most conceptual metaphors that conceptualize musical pitch rely heavily on human perception, images and experience structured through spatial and orientation image schemas such as the schema of verticality. The paper analyses conceptual metaphors that structure pitch relations in terms of vertical space, thickness and size as they appear in the Croatian musical terminology. The image schemas of verticality and size are analysed within the conceptual metaphors pitch relations are relations in vertical space and pitch relations are relations in size in order to define to what extent their motiva

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Jedrzejewski, Franck. "Nœuds Polychromes et Entrelacs Sonores : Vers de Nouvelles Catégories Musicales." Musicae Scientiae 7, no. 1_suppl (2003): 73–83. http://dx.doi.org/10.1177/10298649040070s104.

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L'article présente deux applications de la théorie des nceuds et des entrelacs à l'univers musical. La première application est une classification des séries de douze sons selon des structures particulières appelées diagrammes de cordes. Cette taxinomie conduit à une nouvelle hiérarchie des structures profondes du lexique dodécaphonique. La chiralité et les degrés de symétrie des formes sérlelles sont directement accessibles sur ces diagrammes qui rŕsument les propriétés intrinsèques de la série, La forme schématique nodale remplit ainsi la double fonction d'integration méronymique et de contr

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Wong, Anna, and Koji Matsunobu. "DOES MUSICKING IMPROVE WELL-BEING IN LATER LIFE? USING BASIC PSYCHOLOGICAL NEEDS THEORY TO EXPLORE THE QUESTION." Innovation in Aging 3, Supplement_1 (2019): S312—S313. http://dx.doi.org/10.1093/geroni/igz038.1144.

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Abstract Older adults are vulnerable to developing poor mental health as they experience significant life changes such as retirement, widowhood, living alone, institutionalisation, physical and/or cognitive deterioration in oneself or one’s partner, which are associated with increased depression and loneliness. Understanding the mechanisms and identifying effective measures that strengthen their capacities to cope are therefore very important. Extensive research has suggested that active music-making with others has many psychosocial benefits for older adults. This study explored in detail the

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Olivier Baudon. "Simbals : analyse et traitement de données musicales. Entretien avec Pierre Hanna et Matthias Robine." Bulletin 1024, no. 9 (November 2016): 111–14. http://dx.doi.org/10.48556/sif.1024.9.111.

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Pecheranskyi, Ihor. "Digital Technologies and Audio-Visual Innovations in the Modern Music Industry (on the Example of VR-Video Family from Björk and AirSticks by A. Ilsar)." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 7, no. 1 (2024): 51–63. https://doi.org/10.31866/2617-2674.7.1.2024.302762.

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<strong>The purpose of the research </strong>is to analyse digital technologies and audiovisual tools and innovations that are actively used in the contemporary music industry, the example of the VR video <em>Family </em>by Icelandic singer Björk and the audiovisual instrument AirSticks by A. Ilsar). <strong>Research methodology. </strong>The article conducts scientific research within the paradigm of new audiovisual aesthetics and with the help of the techno-determinism principle, which made it possible to reveal the features and outline the impact of digital inn

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Bolduc, Jonathan. "La musique dans la vie des jeunes enfants : recension, analyse et critique de quelques théories du développement musical." Articles 27, no. 2 (2012): 19–35. http://dx.doi.org/10.7202/1013111ar.

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Les recherches concernant le développement des capacités musicales chez les jeunes enfants sont en plein essor. Inspirés par différentes théories constructivistes et socioconstructivistes, quelques psychologues de la musique ont, depuis les 30 dernières années, élaboré différents modèles afin d’éclairer les savoirs musicaux présents à la période préscolaire. Cet article recense, analyse et critique cinq des principaux modèles qui ont été développés au cours de ces trois décennies. Il réitère également l’importance qui doit être accordée à l’éducation musicale au cours de la petite enfance, et

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Lefebvre, Marie-Thérèse. "La musique de Wagner au Québec au tournant du XXe siècle." Canadian University Music Review, no. 14 (February 22, 2013): 60–76. http://dx.doi.org/10.7202/1014311ar.

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Résumé Cette étude présente une série de faits mettant en évidence la présence de la musique de Wagner au Québec au tournant du siècle grâce aux échanges culturels entre les États-Unis, la France et le Canada et grâce à deux personnalités musicales importantes de cette période : le chef d’orchestre américain Theodore Thomas et le compositeur canadien Guillaume Couture. L’auteure étudie d’abord les premiers contacts entre l’Amérique et la musique de Wagner avant 1883, puis analyse les événements musicaux de la période 1884–1914 et termine par un survol des concerts de l’Orchestre symphonique de

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Robinson, Georgina, and Dennis Nigbur. "Experiences of musical performance anxiety in final-year undergraduate music students: An interpretative phenomenological analysis." Social Psychological Review 20, no. 1 (2018): 18–32. http://dx.doi.org/10.53841/bpsspr.2018.20.1.18.

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Musical performance anxiety (MPA) is a common problem for musicians. However, the majority of work in this area is quantitative in nature, meaning that analyses of musicians’ individual experiences are lacking. This study therefore explored the subjective experiences of performance anxiety in undergraduate music students through the use of semi-structured interviews. Interpretative phenomenological analysis (IPA) was used to analyse the experiences of four undergraduate music students, including how MPA feels, how it is dealt with, and what causes it. Three themes emerged from the analysis: th

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Jin, Ding, Chiew Hwa Poon, and Feng-Hsu Lee. "Pianists’ Interpretive Insights: Exploring Hunt, Military, and Pastoral Motifs through Monelle’s Topic Theory." Malaysian Journal of Music 13, no. 2 (2024): 22–43. http://dx.doi.org/10.37134//mjm.vol13.2.2.2024.

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Topic theory in musicology examines how musical elements and structures convey emotions or topics in music. Despite its potential to provide a framework for understanding musical expression, topic theory has rarely been applied to piano pedagogy. This study aimed to explore participants’ perceptions of Raymond Monelle’s topic theory, specifically the hunt, military, and pastoral topics, in piano interpretation and teaching. Participants included six music lecturers from Chinese universities and nine university music students from Bulgaria, China, France, Germany, and the United States. Data wa

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Phan, Chantal. "Structures poético-musicales du chant mélismatique chez Guiraut Riquier et Alphonse le Sage." Tenso 11, no. 2 (1996): 163–78. http://dx.doi.org/10.1353/ten.1986.0003.

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Janata, Petr, and Hellmuth Petsche. "Spectral Analysis of the EEG as a Tool for Evaluating Expectancy Violations of Musical Contexts." Music Perception 10, no. 3 (1993): 281–304. http://dx.doi.org/10.2307/40285571.

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The generation and updating of expectancies is a crucial process for our understanding and appreciation of music. We present evidence that the dynamic process of musical expectancy can be studied by using several electroencephalographic (EEG) parameters such as amplitude or coherence in various frequency bands between 1.5 and 31.5 Hz. At specific electrodes (amplitude parameter) or electrode pairs (coherence parameter), values of these parameters depend on how an established musical context is completed, that is, if the expectancy generated by the context is violated, the pattern of the brain'

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