Relevant bibliographies by topics / Discours muséal

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Discours muséal'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Discours muséal"

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Basso Fossali, Pierluigi, and Julien Thiburce. "« C’est nous qui punissons. ». Quels enjeux d’un discours muséal sur les prisons ?" SHS Web of Conferences 78 (2020): 01023. http://dx.doi.org/10.1051/shsconf/20207801023.

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Dans le cadre de l’exposition internationale et itinérante Prison, co-produite par le Musée International de la Croix-Rouge et du Croissant- Rouge de Genève, le musée des Confluences de Lyon et le Deutsches Hygiene-Museum de Dresde, des institutions muséales élaborent un discours sur les pratiques carcérales dans l’espace occidental contemporain, à l’attention d’un large public. Pour ces institutions, il s’agit de gérer les connaissances et les sensibilités des publics auxquels elles s’adressent, à travers la constitution d’un parcours d’exposition selon une trame narrative tissée par une dive
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Nzoyihera, Edouard. "LE MUSÉE NATIONAL DE L’OUGANDA, UN HÉRITAGE COLONIAL À REPENSER." Revista Habitus - Revista do Instituto Goiano de Pré-História e Antropologia 17, no. 1 (2019): 185. http://dx.doi.org/10.18224/hab.v17i1.7104.

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Cet article décrit et analyse l’état actuel du Musée national de l’Ouganda. Il s’attache essentiellement à ses approches muséographiques. Avec un regard critique, il analyse également comment ce musée met en scène l’histoire et la culture nationale. L’article dont il est question ici est le résultat d’une visite dudit musée dans un contexte de recherche pour une thèse de doctorat. Ces recherches portent sur la transformation du système muséal en Afrique orientale. Il s’agit d’une "africanisation" de l’institution muséale, éminemment européenne. Je compte apporter des éléments originaux à cette
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Dupont, Luc. "L’Objet matériel, moyen de communication en muséologie." Articles 4 (April 6, 2010): 15–37. http://dx.doi.org/10.7202/201760ar.

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La présente étude vient jeter un regard sur la muséologie à travers l’objet matériel. Plus spécifiquement, on cherche à identifier les thèmes et les symboles qui composent le discours muséal. Pour cette analyse, nos relevés auprès d’expositions diverses ont permis de procéder à la description de la trace de la culture matérielle reconstituée. Nos observations nous font découvrir deux figures du temps (le temps biographique et le temps historique) ainsi que sept types de configurations spatiales (l’espace interstellaire, l’espace national, l’espace régional ou communautaire, l’espace domestique
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Blanchet-Robitaille, Ariane. "Le mentefact au musée : la mémoire mise en scène." Muséologies 6, no. 1 (2012): 55–75. http://dx.doi.org/10.7202/1011532ar.

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Considérant la préoccupation grandissante qui existe quant au lien entre l’individu et son patrimoine immatériel en nouvelle muséologie, Ariane Blanchet-Robitaille précise la notion de mentefact et révèle comment l’intégration progressive de ce nouvel « objet muséal » au sein des collections énonce le rapport qui existe entre la mémoire et le musée. Envisageant les possibilités multiples qu’instaure cette nouvelle réalité pour le musée, dont la mise en valeur des contenus d’exposition, l’auteure souligne la nécessité pour l’institution muséale de se doter d’outils visant à faciliter l’acquisit
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Émond, Anne-Marie. "Identifying a Conceptual Framework for the Study of Visitors’ Verbalizations of Self-Awareness while Exploring Contemporary Art in a Museum Context." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (2016): 153. http://dx.doi.org/10.26443/crae.v43i1.23.

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Abstract: Within the context of a research project in a museum setting where adults are engaged with contemporary art, the purpose of the article is to outline a comprehensive conceptual framework for the identification of moments of self-awareness. In particular, based on the analysis of 70 adult visitors’ discourses, we advocate the use of Morin’s model of self-information and levels of self-awareness to identify and articulate moments underlying the discovery of self that could contribute to an optimal museum experience. The transposition of Morin’s model into a conceptual framework will he
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Atondi, Ibea. "La violence muséale : aux origines d'un discours ambigu." Cahiers d’études africaines 39, no. 155 (1999): 905–21. http://dx.doi.org/10.3406/cea.1999.1785.

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Klipatska, Yuliia. "Functioning of borrowed vocabulary in the musical subculture discourse." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 184–89. http://dx.doi.org/10.34079/2226-3055-2020-13-22-184-189.

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The article reveals musical discourse as a communicative sphere of activity from a linguistic point of view. The aim of thе study is to consider lexical borrowings in the modern Russian-language musical subculture discourse and determine their functions: nominative, caused by globalization, as well as functions concerning the goals, social characteristics, addresser’ intentions and addressee’s position.
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Farias Júnior, José Petrúcio. "Educação museal e produção de memórias." Revista Brasileira de História da Educação 21, no. 1 (2020): e148. http://dx.doi.org/10.4025/10.4025/rbhe.v21.2021.e148.

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O artigo discorre sobre a construção de memórias construídas pelo público-visitante a partir da narrativa museal, produzida pelo Museu Ozildo Albano (Picos/Piauí) e seus possíveis usos para o ensino de história. Para isso, faremos uso, de um lado, das representações sobre o passado veiculadas por essa instituição cultural; de outro, analisaremos as percepções de estudantes universitários que o visitaram. Sob esta ótica, relacionaremos o papel do museu ao âmbito da memória cultural, por meio da qual enfatizaremos a constituição da ‘memória protética’, tal como idealizada por Alison Landsberg (2
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Farias Júnior, José Petrúcio. "Educação museal e produção de memórias." Revista Brasileira de História da Educação 21, no. 1 (2020): e148. http://dx.doi.org/10.4025/rbhe.v21.2021.e148.

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O artigo discorre sobre a construção de memórias construídas pelo público-visitante a partir da narrativa museal, produzida pelo Museu Ozildo Albano (Picos/Piauí) e seus possíveis usos para o ensino de história. Para isso, faremos uso, de um lado, das representações sobre o passado veiculadas por essa instituição cultural; de outro, analisaremos as percepções de estudantes universitários que o visitaram. Sob esta ótica, relacionaremos o papel do museu ao âmbito da memória cultural, por meio da qual enfatizaremos a constituição da ‘memória protética’, tal como idealizada por Alison Landsberg (2
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Code, David J. "Debussy, Discourse, Time: Listening for “la modernité” in the Nocturnes." Musical Quarterly 100, no. 3-4 (2017): 340–98. http://dx.doi.org/10.1093/musqtl/gdy006.

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Dissertations / Theses on the topic "Discours muséal"

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Kramer, Emily Hope. "Musical Discourse Coherence." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1336857806.

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Davies, Alison. "Conceptions of 'talent' in official and student discourses within a music conservatoire : a critical discourse analysis." Thesis, Birmingham City University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272089.

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Shcherbina, Ekaterina. "Le discours économique à propos des musées : l'évènement de la création du musée "Louvre Abou Dhabi" dans les médias généralistes." Lyon, Ecole normale supérieure, 2010. http://www.theses.fr/2010ENSL0084.

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De façon générale, dans la société française contemporaine on constate que des domaines jusqu’à présent non-marchands dont les conceptions échappaient à une remise en cause se raréfient sans cesse. On observe ainsi la multiplication des réformes touchant les champs de l’éducation, de la famille, de la santé et singulièrement de la culture dans ses diverses composantes. Les musées n’échappent pas à cette tendance. En effet, au cours des quarante dernières années, ils ont connu un développement et une modernisation considérables. Cette évolution se traduit par l’émergence de nouvelles pratiques
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Gentry, Jonathan C. "Memory and hypnotism in Wagner's musical discourse." PDXScholar, 2007. https://pdxscholar.library.pdx.edu/open_access_etds/3660.

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A rich relationship unites the composer Richard Wagner (1813-1883) and the history of psychology, especially if one considers his attempt to make music speak with the clarity of verbal language. Wagner's musical discourse participated in the development of psychology in the nineteenth century in three distinct areas. First, Wagner shared in the non-reductive materialist discourse on mind that characterized many of the thinkers who made psychology into an autonomous intellectual pursuit. Second, Wagner's theories and theatrical productions directly influenced two important psychologists - Fried
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Lemos, Maya Suemi. "Du discours moral au discours musical : le thème de la vanité dans la musique italienne post-tridentine." Paris 4, 2006. http://www.theses.fr/2006PA040103.

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Le thème de la vanité est sous-jacent à toute l’épistémè des XVIe et XVIIe siècles : véritable discours sur la fugacité de la vie, sur le caractère éphémère et vain de toute chose terrestre, il affecte alors tous les domaines représentatifs – les arts plastiques, la littérature, mais aussi la musique. En effet, les représentations musicales du thème de la vanité foisonnent dans l’Italie post-tridentine, où elles nous apparaissent comme une catégorie à part entière à l’intérieur de l’ensemble de la musique dévotionnelle. S’appropriant à peu près tous les genres musicaux en usage – des genres sa
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Rodrigues, Dias de Camargo Joandre. "Analyse du discours musical d’Antônio Carlos Jobim : les spécificités d’une modernité." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20129/document.

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Notre sujet de recherche est le compositeur brésilien Antônio Carlos Jobim. Il est né à Rio de Janeiro dans les années 1920, époque de grandes transformations socioculturelles au Brésil, mais aussi en Europe. Il est un compositeur issu de la musique populaire brésilienne, qui sera l’un de principaux acteurs responsables de transformations de cette musique. Son essence est sa caractéristique savante/populaire qui s’illustre symboliquement dans le concept de « l’anthropophagie ». Notre problématique est liée à la «modernité » dont fait partie Jobim, et à ses effets sur la musique populaire. C’es
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Melani, Pascale. "Les oeuvres d'A. S. Pouchkine dans les opéras de P. I. Tchai͏̈kovski : adaptation dramaturgique, discours poétique et discours musical." Lille 3, 1998. http://www.theses.fr/1998LIL30015.

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Par trois fois (Eugène Onéguine, Mazepa, la Dame de pique), Tchai͏̈kovski s'est inspiré des oeuvres de Pouchkine pour écrire des oopéras qui marquent un renouvellement sensible de la thématique du théâtre lyrique russe. Afin de transformer ces oeuvres en llivrets, Tchäikovski a procédé à un montage des textes originaux, ajoutant des intrigues secondaires et récrivant les sujets sous l'influence de sa propre culture littéraire. Adaptés par Tchai͏̈kovski, les sujets de Pouchkine ont subi des transformations diverses. Glissements stylistiques liés au passage d'un contexte narratif à un contexte s
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Berlinghi, Francescu. "Le discours musical populaire de l'île de Corse : pour une philologie musicologique." Corte, 2010. http://www.theses.fr/2010CORT0026.

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Muir, Pauline E. "Sounds mega : musical discourse in Black majority churches in London." Thesis, Birkbeck (University of London), 2018. http://bbktheses.da.ulcc.ac.uk/363/.

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This thesis explores congregational singing through the lens of the local and global in Black Majority Churches (BMCs) in the Royal London Borough of Greenwich, UK. The phenomenal growth of modern-day Pentecostalism is its ability to negotiate the local and the global, and a number of scholars agree that up-tempo, lively music is integral to the Black religious experience. However, there is a paucity of literature in the UK that analyses this area in a detailed and systematic manner. Methodologically, Nattiez's model of musical discourse is employed within a framework of critical discourse ana
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Kanno, Mieko. "Timbre as discourse : contemporary performance practice on the violin." Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/2512/.

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Books on the topic "Discours muséal"

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Dusapin, Pascal. Fragment d'un discours musical: Dialogue. Ars Nova, 1995.

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Gurumurthy, Premeela. Kathaakaalakshepa (musical discourse): A study. University of Madras, 2009.

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Gurumurthy, Premeela. Kathaakaalakshepa (musical discourse): A study. University of Madras, 2009.

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Gurumurthy, Premeela. Kathaakaalakshepa (musical discourse): A study. University of Madras, 2009.

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Melani, Pascale. Les opéras de Piotr Tchaïkovski: D'après les oeuvres de Pouchkine : adaptation dramaturgique, discours poétique et discours musical. Slavica occitania, 2005.

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Music as discourse. Oxford University Press, 2008.

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Music and discourse: Toward a semiology of music. Princeton University Press, 1990.

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Music and discourse: Toward a semiology of music. Princeton University Press, 1990.

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A musical view of the Universe. University of Pennsylvania Press, 1985.

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Basso, Ellen B. A musical view of the universe: Kalapalo myth and ritual performances. University of Pennsylvania Press, 1985.

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Book chapters on the topic "Discours muséal"

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Saint-Dizier, Patrick. "Language, Music and the Rhetoric Discourse." In Musical Rhetoric. John Wiley & Sons, Inc., 2014. http://dx.doi.org/10.1002/9781119004998.ch2.

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Antović, Mihailo. "Chapter 13. Persuasion in musical multimedia." In Persuasion in Public Discourse. John Benjamins Publishing Company, 2018. http://dx.doi.org/10.1075/dapsac.79.14ant.

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Kiš Žuvela, Sanja. "Body part terms in musical discourse." In Body Part Terms in Conceptualization and Language Usage. John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/clscc.12.c05kis.

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Sondrup, Steven P. "Aspects of German Romantic Musical Discourse." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2004. http://dx.doi.org/10.1075/chlel.xviii.31son.

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Lipten, David. "Semiotics and Musical Choice: “Beyond Analysis” Revisited." In The Aesthetic Discourse of the Arts. Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4263-2_7.

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Gangi, Robyn. "Musical and Visual Encounters: An Investigation of the Aesthetic Experience." In The Aesthetic Discourse of the Arts. Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4263-2_13.

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"Musical Discourse." In The Perception of Music. Psychology Press, 2014. http://dx.doi.org/10.4324/9781315802107-13.

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Myrick, Nathan. "Discourse." In Music for Others. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197550625.003.0002.

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This chapter engages the discursive problem of music in both popular and academic literature, and, using ethnographic evidence, shows that musical meaning is partially determined and simultaneously configured via linguistic and generic means. One of the ways communities may form is around shared understanding of musical meaning, and musical meaning may be determined largely by generic understandings—musical genres often function discursively for North American evangelicals. The chapter argues that generic musical meaning is imbued with values and convictions, claiming that these are negotiated as a kind of discourse ethics. However, these generic understandings of meaning are unstable, being troubled by the competing claims of authenticity and control. This instability precludes ethical theorization on the premise of discourse alone, yet it indicates that the discourse that takes place both around and through musical activity is ethically important and should be taken into account in any ethical theory that gives an account of music.
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"Musical Value." In A Developing Discourse in Music Education. Routledge, 2015. http://dx.doi.org/10.4324/9781315695495-11.

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"Musical Development." In A Developing Discourse in Music Education. Routledge, 2015. http://dx.doi.org/10.4324/9781315695495-7.

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Conference papers on the topic "Discours muséal"

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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the str
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Tischer, Matthias. "Musikgeschichte der DDR: Ein Pilotprojekt zur digitalen Musikvermittlung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.106.

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Thirty years after the so-called ‚Wende‘, a fundamental and comprehensive study of the musical history of the GDR - encompassing both the music itself and the political and cultural contexts (i.e. the musical relations) - still represents a desideratum. The same is true for a long-term comparative music history of the divided Germany, for which the our project develops some essential prerequisites. The research project presented here is an informed cultural-historical analysis of the musical discourse of the GDR under the auspices of the Cold War. It is not about a revised version of national
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Hong, Sihui. "Innovation of Narrative Discourse in the Musical “Into the Woods”." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.015.

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Reports on the topic "Discours muséal"

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Gentry, Jonathan. Memory and hypnotism in Wagner's musical discourse. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.5544.

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of ce
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