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Relevant bibliographies by topics / Discours muséal

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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 diversité de médiations et de textes. En nous situant dans le premier axe du congrès, nous articulons une perspective sémiotique aux perspectives de l’analyse des interactions et de l’analyse du discours pour étudier les enjeux socio-pragmatiques de ce discours en espace muséal. Nous nous focalisons sur l’interprétation d’une phrase qui tient presque le rôle de fronton dans cette exposition Prison : « C’est nous qui punissons. ». Nous nous attardons de manière privilégiée sur les formes d’engagement instaurées à travers cet énoncé, aussi bien pour les institutions que pour les publics.

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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 (August 27, 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 problématique lancée avec vigueur, voici près de cinquante ans, par Stanislas Adotevi dans un discours provoquant devant l’assemblée générale du Conseil International des Musées (Icom).

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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, l’espace autre, l’espace religieux et l’espace cosmologique). Cette étude sur les objets matériels vise à renouer avec la complexité des signes, des mythes et des symboles. On cherche à savoir ce que l’exposant raconte sur la société. La trace muséale sera considérée comme un univers de signes et un mode de signification qui relèvent de la sémiologie.

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Blanchet-Robitaille, Ariane. "Le mentefact au musée : la mémoire mise en scène." Muséologies 6, no. 1 (July 31, 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’acquisition, la documentation et la conservation des mentefacts. S’inspirant à la fois de la typologie du patrimoine immatériel élaborée par l’UNESCO et de la Grille des pratiques culturelles de Jean Du Berger qui classifie le patrimoine ethnologique, elle propose une typologie des mentefacts déclinée en cinq catégories, ainsi qu’une grille de sélection visant à encadrer leur intégration au sein des collections muséales. Son article fait également état de certaines mises en garde associées à l’intégration au musée des mentefacts, notamment en ce qui concerne le fait qu’ils doivent permettre la production d’un discours qui reflète la diversité caractéristique de notre réalité et qu’ils doivent aussi permettre de révéler le changement et le dynamisme inhérents à toute société, à travers le temps.

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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 (October 17, 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 help researchers pursue their investigation into visitors’ art appreciation for the purpose of building authentic dialogues between contemporary art and adult visitors.KEYWORDS: Museum education; Contemporary art; Adult visitors; Self-awareness; Conceptual framework.Résumé: Cet article entend proposer un cadre conceptuel polyvalent pour identifier les moments de prise de conscience de soi chez des adultes confrontés à l’art contemporain, par le biais d’une recherche menée en contexte muséal. Plus particulièrement, nous préconisons, sur la base de l’analyse du discours de soixante-dix visiteurs adultes, l’utilisation des différents niveaux de conscience de soi et du modèle d’auto-information de Morin pour identifier et décrire les moments qui sous-tendent la découverte de soi, susceptibles d’optimiser l’expérience muséale. La transposition du modèle de Morin à un cadre conceptuel aidera les chercheurs à poursuivre leur étude de l’appréciation artistique des visiteurs en vue d’établir un authentique dialogue entre l’art contemporain et les visiteurs adultes. MOTS CLES: Éducation muséale; Art contemporain; Visiteurs adultes; Conscience de soi; Cadre conceptual

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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 (December 17, 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 (2009).

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Farias Júnior, José Petrúcio. "Educação museal e produção de memórias." Revista Brasileira de História da Educação 21, no. 1 (December 17, 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 (2009).

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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 directement issues de l’expérience acquise dans les secteurs industriels et commerciaux classiques et qu’il s’agit d’adapter à de nouvelles tâches. Ainsi, à l’heure de ces multiples changements, l’idée de départ de recherche est basée sur l’interrogation : de quelle manière l’économie est-elle entrée dans le monde des musées ? La cristallisation de ces transformations peut être obtenue avec l’analyse d’un événement particulier dans le domaine muséal. Les discours médiatiques peuvent jouer un rôle important dans la construction d’un tel événement. Le travail de recherche effectué porte sur un corpus d’articles de la presse généraliste consacrés à la création du musée « Louvre Abou Dhabi » ainsi qu’à la polémique autour de ce projet afin de répondre à cette question
In general terms, a diminishment of hitherto non-commercial domains, the conception of which was so far not questioned can be observed in the contemporary French society. Thus a multiplication of reforms of the areas of education, the familial cell, health and particularly culture and its various components can be witnessed. Museums don’t escape this trend. As a matter of fact, they have known considerable developments and modernizations throughout the past forty years. This evolution is characterised by the recourse to experience acquired in traditionally industrial and commercial areas that have been converted to new functions. At a time of numerous changes, the starting point of the research therefore is the interrogation: how did the economy enter the realm of museums? The crystallisation of the changes can be obtained through the analysis of the particular event from the world of museums. The discourse of the medias can play a significant role in the construction of such an event. Hence the research was carried out on a corpus of articles of the general press dedicated to the creation of the museum “Louvre Abu Dhabi” as well as the polemic surrounding the project to respond to above mentioned interrogation

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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 - Friedrich Nietzsche (1844-1900) and Christian von Ehrenfels (1859-1932). Finally, the experiences of music achieved by Wagner at his Bayreuth festivals created greater sensitivity toward psychology, especially among the more sympathetic participants. In tracing a narrative from Wagner's first conception of a festival in 1849 to the premiere of Parsifal in 1882, one can also see several arcs in the evolution of Wagner's musical discourse. These include the shift from mnemonic to hypnotic techniques for giving music a voice, as well as the transition from a socially critical festival to one of personal affirmation. Connected to both of these augmentations of musical discourse was the volatile relationship between music and text in Wagner's compositions. Important in facilitating these transformations was not only Wagner's discovery of Schopenhauer's philosophy, but also the larger contingencies of instituting a festival in the Griinderzeit. In looking at the reception side of theatrical productions, in addition to their staging, this thesis has been able to identify psychologically-related links important to the history of music, science, and culture.

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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 sacrés aux genres profanes, des genres sérieux et savants aux formes légères –, elles se déclinent en des modalités discursives et opératoires diverses. Cette variété témoigne de la nécessité d’étendre le discours moral qu’elles portent à tous les secteurs sociaux : les Vanités, fussent-elles picturales, littéraires ou musicales, semblent matérialiser, dans leur condensé de significations, le code moral de l’époque. Donnant forme à celui-là elles l’affirment et le diffusent, sans doute, ne contribuant pas moins, pourtant, à l’abolir
The theme of vanity underlies the entire episteme of the sixteenth and seventeenth centuries: veritable discourse on the transience of life, on the ephemeral and vain character of all earthly things, it affects all the domains of artistic expression - literature, the visual arts, but also music. The musical representations on the theme of vanity abound in Post-Tridentine Italy, where they constitute an autonomous category within the ensemble of devotional music. Through the appropriation of almost every musical genre of the time - the sacred and the secular, the serious and learned but also the lighter forms - they take various discursive and operational paths. This variety testifies of the necessity to extend the moral discourse to all parts of society: the Vanities - be they pictorial, literal or musical - seem to materialize, in their condensation of meaning, the moral code of the time. Giving form to it, they affirm it and spread it, but can't, nevertheless, avoid to exhaust it

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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’est pourquoi nous avons analysé des compositions et des arrangements de Jobim, ce qui nous a servi à élucider son style, tout comme les diverses influences qu’il a reçues. En tant que compositeur et auteur, nous avons choisi une optique interdisciplinaire pour analyser son langage et son discours musical. Les principales sources d’intérêt de cette recherche sont d’abord, qu’elle traite de la musique savante européenne et brésilienne de la fin du 19e et du début du 20e siècle, de certaines musiques populaires, et de la façon dont elles s’incorporent dans la musique « moderne » brésilienne de Jobim. En effet, le manque de travaux universitaires sur le sujet, en tous cas dans cette optique musicologique, a motivé notre recherche. D’autre part, l’impact de ce compositeur à l’échelle internationale est important car, au-delà de synthétiser une partie de la musique populaire à travers son langage, il va s’inscrire comme un compositeur charnière qui aura marqué son époque
The subject of my research pertains to the Brazilian composer Antônio Carlos Jobim. As composer and author, I have chosen an interdisciplinary approach, between music and musicology. There is an analysis of his musical language and his musical speech. He was born in Rio de Janeiro in the 1920s, during the period of the big cultural transformations in Brazil, and also in Europe. The main issue is connected to the brazilian popular music and the "modernity" of which Jobim is a representative. He is a composer bound to the brazilian popular music, and will be one of the main actors responsible for the profound evolutionary transformations of this music. My topic is connected with modernity, a specific feature of Jobim, and its impact over popular music. I have therefore analysed Jobim original themes, as well as its arrangements. From this, we have been able to characterize its style, and its influences. I have also chosen an interdisciplinary approach to analyse its musical language. The main interest of this research is that it deals with the erudite music from Europe and Brazil at the end of 19th century and beginning of 20th century, with some popular music and the way that they get intertwined. Indeed, the lack of university research work in this direction has motivated my research. Eventually, this musician appears as a key composer of its time, with a large international impact, in addition to his large synthesis capacity

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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 scénique, à l'évolution de l'esthétique littéraire prédominante, à la rhétorique propre au genre opéra. Si l'agencement général des fables respecte l'esthétique traditionnelle de l'opéra italien, la fidélité au texte pouchkinien conduit parfois Tchai͏̈kovski à dépasser l'opposition entre air et récitatif. Les personnages ont été réinterprétés par Tchai͏̈kokvski de façon personnelle, mais aussi en fonction de codes spécifiques au genre opéra. Enfin, Tchai͏̈kovski développe un mode de narration duel, combinant les effets de rapprochement et de distanciation par rapport à la sphère subjective des personnages. Envisagée sur le plan sonore, la confrontation entre les oeuvres originales et leur adaptation à l'opéra démontre que, tout en préservant l'autonomie du chant, la réalisation musicale entre rarement en conflit avec le texte poétique dont elle met en relief le sens par des procédés spécifiques

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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 analysis to interrogate his 'esthesic', 'immanent' and 'poietic' elements, - that is the experience by the receivers, the music itself and the perspective of the producers - at New Wine Church, (NWC), Woolwich as the primary case study. The perspective of a multimodal analysis has uncovered multiple meaning-making processes within the context of a neo- Pentecostal megachurch with an emphasis on prosperity gospel. Firstly, the esthesic perspective found that the songs popular in the global Christian music industry fulfilled their role as Pentecostal liturgy, whilst simultaneously supporting and reinforcing the tenets of a prosperity gospel. Secondly, the immanent (musicological) analysis revealed simple, easy songs that had been altered through a process of African American 'Blackenizing'. Thirdly, the poietic, from the point of view of the producers, told the story of music in the church, signalling a shift in the musical identity. Further fieldwork confirmed the findings at NWC and similar processes in regard to an undermining and a silencing of African and Caribbean musical identities. The research concludes that the global Christian music industry and its supporting systems are not reflective of UK BMC congregations although these sounds dominated both the large and small churches in the research. These findings make problematic an understanding of the local and the global in congregational singing in BMCs and the privileging of white music forms with its concomitant economic benefits.

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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. La Rochelle: Ars Nova, 1995.

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

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

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Gurumurthy, Premeela. Kathaakaalakshepa (musical discourse): A study. Chennai: 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. Toulouse: Slavica occitania, 2005.

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Music as discourse. New York: Oxford University Press, 2008.

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

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

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

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Basso, Ellen B. A musical view of the universe: Kalapalo myth and ritual performances. Philadelphia: 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, 31–60. Hoboken, NJ, USA: 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, 303–28. Amsterdam: 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, 100–114. Amsterdam: 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, 403–19. Amsterdam: 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, 105–42. Dordrecht: 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, 211–40. Dordrecht: 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, 145–71. Psychology Press, 2014. http://dx.doi.org/10.4324/9781315802107-13.

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Myrick, Nathan. "Discourse." In Music for Others, 25–49. 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, 172–88. Routledge, 2015. http://dx.doi.org/10.4324/9781315695495-11.

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"Musical Development." In A Developing Discourse in Music Education, 99–127. 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 structure of Khmer melodic percussion orchestras. The analysis of some graphic details, related to other frescoes and bas-reliefs of Angkor Wat, also makes it possible to propose a dating. The study embodies one of an anthropological ethnomusicology, while also incorporating a discourse analysis, so to frame the uncovering of new historiographers of music and instrumentation, so to re describe musical discourses, more so to shed new light on melodic percussion of Angkorian music.

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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 history only, because despite a relatively strong national and regional self-centredness of the musical life of the GDR, it can hardly be understood without the political and cultural references to the Soviet Union, the Federal Republic of Germany and the neighbouring European states.

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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). Paris, France: 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, January 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, August 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 certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.

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