Relevant bibliographies by topics / Instruments de musique – Conservation

Contents

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

Academic literature on the topic 'Instruments de musique – Conservation'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Instruments de musique – Conservation"

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Barclay, R. L. "La conservation des instruments de musique." Museum International (Edition Francaise) 48, no. 1 (April 24, 2009): 9–14. http://dx.doi.org/10.1111/j.1755-5825.1996.tb00713.x.

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RAMEL, SYLVIE. "Conservation and restoration of electroacoustic musical instruments at the Musée de la Musique, Paris." Organised Sound 9, no. 1 (April 2004): 87–90. http://dx.doi.org/10.1017/s1355771804000111.

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The Museum of Music in Paris possesses a collection of 280 instruments from the twentieth century. Most of them belong to the general families of electric and electronic musical instruments, which we will call ‘electrophones’, in deference to the name chosen by Curt Sachs (1940). The instruments are gathered in families so that the whole collection illustrates the milestones of the twentieth century; for instance, the museum has a large set of diverse Ondes Martenot. However, due to its scarcity, the Trautonium is represented by one of Oscar Sala's Mixtur-Trautonia.Like any museum, we have to encourage the conservation of this heritage. To maintain a large collection of electrophones like the one we have, a specific knowledge base has to be developed. We have been working on this aspect of the project for the past two years. From the onset, it was decided to start the collection with the Ondes Martenot. Our aim was to define a model approach that could also be applied to other electric and electronic instruments. This work involves organising the instruments, studying them in order to outline conditions of appropriate conservation, and determining which kind(s) of restoration should be undertaken.A first step has been to gather all information necessary to understanding the instrument and its mode of performance. With this goal in mind, we have taken a complete inventory of our collection with the aim of coming up with a first assessment of the state of the instruments and determining whether to allow performers to play them. Thanks to this work, we were able to start taking precautionary measures against degradation; we are now also able to answer many questions relevant to the restoration and conservation of this collection.
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Lemouton, Serge, Alain Bonardi, Laurent Pottier, and Jacques Warnier. "On the Documentation of Electronic Music." Computer Music Journal 42, no. 4 (May 2019): 41–58. http://dx.doi.org/10.1162/comj_a_00486.

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In a concert performance of musique mixte (i.e., music combining electronics with acoustic instruments), the documentation accompanying the score is of great importance. But this information is often missing or, at best, incomplete. Moreover, there has never been a systematic study of this subject. For these reasons, we decided to examine the documentation practices of the electroacoustic repertoire, with the goal of proposing a documentation model allowing for a better transmission and conservation of this repertoire.
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Dugot, Joel, Helene Charnasse, and Laurence Helleu. "Instruments et musique instrumentale." Galpin Society Journal 44 (March 1991): 161. http://dx.doi.org/10.2307/842220.

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Aubert, Laurent, and Lucie Rault. "Instruments de musique du monde." Cahiers de musiques traditionnelles 14 (2001): 277. http://dx.doi.org/10.2307/40240413.

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Siclen, Charles C. Van, and Christiane Ziegler. "Catalogue des Instruments de Musique Égyptiens." Journal of the American Research Center in Egypt 22 (1985): 228. http://dx.doi.org/10.2307/40000420.

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DUCHESNE-GUILLEMIN, Marcelle. "Les instruments de musique dans l'antiquité." Iranica Antiqua 31 (January 1, 1996): 213–38. http://dx.doi.org/10.2143/ia.31.0.519281.

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DUCHESNE-GUILLEMIN, Marcelle. "Les instruments de musique dans l'antiquit?" Iranica Antiqua 31, no. 1 (April 14, 2005): 213–38. http://dx.doi.org/10.2143/ia.31.1.519281.

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Gaël, Jean-François. "4. Petite salutation aux instruments de musique." Vibrations 2, no. 1 (1986): 177–86. http://dx.doi.org/10.3406/vibra.1986.910.

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Dugot, Joel, and Catherine Homo-Lechner. "Sons et instruments de musique au moyen age." Galpin Society Journal 51 (July 1998): 199. http://dx.doi.org/10.2307/842771.

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Dissertations / Theses on the topic "Instruments de musique – Conservation"

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Livshin, Arie. "IDENTIFICATION AUTOMATIQUE DES INSTRUMENTS DE MUSIQUE." Phd thesis, Université Pierre et Marie Curie - Paris VI, 2007. http://tel.archives-ouvertes.fr/tel-00810688.

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Cette thèse traite de divers aspects d'Identification Automatique d'Instruments de Musique (IAIM). L'IAIM signifie, d'une manière intuitive, que pour un enregistrement musical donné, l'ordinateur essaie d'identifier quels instruments de musique sont utilisés dans quelles parties de l'enregistrement. La recherche en IAIM s'est développée au cours des 10 dernières années en particulier grâce à son utilisation en tant que composant d'un moteur de recherche "intelligent" pour la musique. Ce moteur de recherche peut trouver la musique sur internet ou sur des lecteurs MP3 selon des critères "intelligents" comme par exemple le style ou le genre de musique alors que des moteurs de recherche classiques utilisent seulement l'information textuelle liée aux fichiers musicaux. D'autres utilisations de l'IAIM concernent d'autres algorithmes de recherche dans la musique, comme par exemple la transcription automatique et l'alignement de partition, ou encore les logiciels dédiés à la composition musicale ou à l'enregistrement en studio. L'IAIM est composée de plusieurs étapes qui constituent chacune un défi pour les chercheurs. Les différentes étapes, présentées dans cette thèse, sont les suivantes: obtenir et formater les bases de données de sons pour l'apprentissage et l'évaluation, calculer les descripteurs des sons, procéder au nettoyage automatique des bases de données, attribuer des poids aux descripteurs et réduire leur dimension, et, enfin, classer les sons selon leur appartenance aux différents instruments. Mener une évaluation correcte du déroulement de l'AMIR constitue aussi un travail fondamental. Ce travail traite en détail des différentes étapes du processus de l'IAIM et, tout en comblant des lacunes et des défaillances dans l'état de l'art, introduit de nouvelles techniques et de nouvelles méthodes pour le perfectionner: il permet d'identifier les instruments de musique à partir des tons séparés, des solos, de la musique polyphonique et multi-instrumentale.
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Doré, Cécile Hoornaert Alain. "Odontologie et instruments de musique à vent." [S.l.] : [s.n.], 2007. http://castore.univ-nantes.fr/castore/GetOAIRef?idDoc=16516.

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Hoppe, Georgia Charlotte. "Die instrumentale Revolution : Entwicklung, Anwendung und Ästhetik neuer Spieltechniken für Rohrblattinstrumente /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb35539429j.

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Vergez, Christophe. "Analyse du fonctionnement des instruments de musique à vent." Habilitation à diriger des recherches, Université de la Méditerranée - Aix-Marseille II, 2010. http://tel.archives-ouvertes.fr/tel-00535716.

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Les études présentées visent à mieux comprendre le fonctionnement des instruments de musique et en particulier leurs aspects non linéaires. Ces travaux sont motivés par la volonté d'explorer les liens entre les paramètres géométriques ou mécaniques de l'instrument (fixés par le facteur), les paramètres de contrôle (ajustés en temps réel par l'instrumentiste) et les caractéristiques du son produit. Ces travaux se concentrent sur les instruments à vent : à anche simple (ex: clarinette, saxophone), à anche double (ex: hautbois), cuivres (ex: trompette), à jet d'air oscillant (ex: flûtes). Les travaux, de nature expérimentale, numérique ou théorique, s'organisent selon trois directions : "Expérimentation/modélisation", "Réduction de modèle", "Régimes d'oscillation et bifurcations".
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Meurisse, Thibaut. "Contrôle actif appliqué aux instruments de musique à vent." Thesis, Paris 6, 2014. http://www.theses.fr/2014PA066527/document.

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Au début du 21ème siècle, l'innovation dans le domaine des instruments de musique se fait surtout par le biais de la synthèse sonore, via des synthétiseurs et des ordinateurs. Cependant, si ces instruments permettent une création presque infinie de sons nouveaux, l'interaction entre le musicien et son instrument est bien plus pauvre qu'avec un instrument mécanique, ce qui provoque une perte d'expressivité musicale et réduit l'utilité d'une grande maîtrise du geste instrumental. Dans le but d'innover tout en conservant ce geste musical, cette thèse propose d'appliquer le contrôle actif aux instruments à vent, en particulier, sur le trombone muni d'une sourdine active et sur la clarinette basse. Son objectif est de modifier les caractéristiques des résonances des instruments à vent afin d'en modifier le son produit (hauteur, timbre) et la jouabilité. Les effets des modifications apportées aux instruments, lors de l'utilisation de deux méthodes de contrôle actif, sont observés sur l'impédance d'entrée des instruments, sur leur fonction de transfert et sur le son rayonné. Un contrôle actif par feedback simple n'utilisant que des gains et des déphasages est appliqué à la sourdine. Cela permet de modifier la fréquence et l'amortissement de sa résonance, avec pour conséquence de modifier l'impédance d'entrée du trombone, et pour l'instrumentiste de faire varier sa jouabilité. Si ce premier contrôle est simple, il ne permet pas de contrôler efficacement un système à plusieurs degrés de liberté. Le deuxième contrôle implémenté est le contrôle actif modal. Il permet, à partir d'un modèle du système à contrôler, de modifier de manière ciblée les paramètres modaux de ses résonances (amortissement et fréquence). Il est appliqué en simulation à un modèle de clarinette puis validé expérimentalement sur une "clarinette basse simplifiée". Il permet d'importantes modifications des résonances, entrainant des changements notables dans le son et l'impédance d'entrée
The main focus of innovation in musical instrument making in the early 21st century has been sound synthesis using computers or stand-alone electronic synthesisers. However, while these tools enable the creation of a near-infinite range of new sounds, the interaction between the musician and their instrument is much weaker than with a conventional acoustical instrument. This results in a loss of musical expression and reduces the use of musical gesture. With the aim of innovating while keeping the influence of musical gesture, this thesis proposes to apply active control to musical wind instruments. In particular, active control is applied to a trombone equipped with a specially designed mute and to a bass clarinet. The aim of this work is to modify each instrument's resonance characteristics in order to change its radiated sound (pitch, timbre) and playability. The effects of two control methods on the input impedance, transfer function and radiated sound of the instruments are studied. First, a feedback control involving gains and phase shifting is applied to the trombone mute. It allows significant modification of both the frequency and the damping factor of the mute's resonance. The effects of the mute on the trombone's input impedance and playability are studied. This control is simple, but it is not efficient with more complex systems. Second, a modal control is implemented. Using a model of the system, modal active control allows the modal parameters (frequency, damping) of the system's resonances to be modified in a targeted manner. It is first applied to a modelled clarinet, then experimentally validated with a "simplified bass clarinet". Significant independent modifications of the resonances are obtained, as well as noticeable alterations of the sound and input impedance of the instrument
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Eitschberger, Astrid. "Musikinstrumente in höfischen Romanen des deutschen Mittelalters /." Wiesbaden : Reichert, 1999. http://catalogue.bnf.fr/ark:/12148/cb39049241r.

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Restle, Konstantin. "Bartolomeo Cristofori und die Anfänge des Hammerclaviers : Quellen, Dokumente und Instrumente des 15. bis 18. Jahrhunderts /." München : Editio Maris, 1991. http://catalogue.bnf.fr/ark:/12148/cb35463799j.

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Chabrier, Jean-Claude C. "Analyses de musiques traditionnelles : identification de systèmes acoustiques, scalaires, modaux & instrumentaux : représentation morpho-mélodique, structuro-modale & du langage instrumental." Paris (213 Av. de Versailles, 75016) : Arabesques, 1996. http://catalogue.bnf.fr/ark:/12148/cb371718879.

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Pin, Bernard. "Recherches sur les instruments de musique mécaniques et les automates." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE4002.

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Le sujet de la présente thèse, intitulée « Recherches sur les instruments de musique mécaniques et les automates », comprend, quant à son principal, des travaux biographiques inédits sur Pierre Honoré Davrainville (1784-1866), ainsi que sur ses successeurs Jean Kelsen (1795-1844) et Pierre Ernest (1826-1910), le fils de ce dernier. Ces trois facteurs d’orgues mécaniques constituèrent, à la suite de Jacques Honoré Davrainville (1753-?), son fondateur, une lignée de praticiens qui, de Louis XVI à la IIIe République, représentèrent l’excellence française de cette discipline. Nous avons établi chacune de leurs biographies à partir d’un corpus d’informations puisées dans les fonds d’archives, et que nous avons commentées sous forme de notes. Afin de mettre en perspective ces repères historiques, nous les avons accompagnés de différentes études dédiées, par exemple, aux origines géographiques et familiales des intéressés ; à leur environnement social ; à la place qu’ils occupèrent parmi leurs confrères, tant français qu’étrangers ; aux techniques qu’ils employèrent, ou encore, à l’importance de leurs moyens de production. Pour ce qui est des réalisations de Pierre Honoré Davrainville, nous avons établi un catalogue largement illustré, réalisé à partir de la cinquantaine d’instruments dont nous avons trouvé mention ou que nous avons pu examiner. Ce travail nous a permis, entre autres, de tracer un graphisme de la progression de ses fabrications, ainsi que l’adaptation de celles-ci à l’évolution de la demande. En complément, nous avons dressé une liste des airs que ce facteur a notés sur ses cylindres, dans l’espoir que celle-ci puisse être utile aux musicologues. La seconde partie de cette thèse est constituée par trois de nos travaux ou recherches, aussi inédits. Le premier est notre rapport exhaustif sur l’automate La Nef, dite « de Charles Quint », datée vers 1585 et attribuée à l’orfèvre et automaticien Hans Schlottheim d’Augsbourg. Le deuxième rend compte de notre étude sur le « Flûteur automate » que Jacques Vaucanson présenta en 1738, et enfin, le troisième, résume les différentes étapes de notre création d’un nouveau cylindre destiné à un jeu de flûtes construit vers 1795 par Jacques Honoré Davrainville
The subject of this thesis, entitled “Research on the mechanical music instruments and automats”, has for his main topic a completely new biographical work on Pierre Honoré Davrainville (1784-1866), as well as on his successors Jean Kelsen (1795-1844) and his son Pierre Ernest (1826-1910). These three mechanical organ-builders constituted, as successors of Jacques Honoré Davrainville (1753-?), his founder, a line of experts who, from the time of Louis XVI to the 3rd Republic, represented the French excellence of this discipline. We established each of their biographies starting from a corpus of information drawn from archival documents, and which we commented on in the form of notes. In order to put in prospect these historical reference marks, we accompanied them by various studies dedicated, for example, to geographic origins and family of these instruments makers, to their social environment; to the place they occupied among their fellow-members, French and foreign; to the techniques they employed, or, to the importance of their means of production. As regards the achievements of Pierre Honoré Davrainville, we established a catalogue largely illustrated, carried out by starting from about fifty instruments of which we found mention or which we were able to examine. This work allowed us, inter alia, to trace a graphics of the progression of its manufacturing, as well as the adaptation of those to the evolution of demand. In complement, we drew up a list of the airs that this factor noted on its cylinders, in the hope that this one will be useful for the musicologists. The second part of this thesis includes three of our works of research. The first is our exhaustive report on the automat the Nave, known as “of Charles Quint”, gone back around 1585 and considered as the work of the goldsmith and mechanician Hans Schlottheim from Augsburg. The second gives an account of our study on the “Flûteur automate” that Jacques Vaucanson presented in 1738, and finally, the third, summarizes the various stages of our creation of a new cylinder intended for a mechanical organ builds around 1795 by Jacques Honoré Davrainville
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Benacchio, Simon. "Contrôle actif modal appliqué aux instruments de musique à cordes." Thesis, Paris 6, 2014. http://www.theses.fr/2014PA066537/document.

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Cette thèse se propose d’appliquer un contrôle actif modal aux instruments de musique de la famille des cordes. Les objectifs principaux sont de proposer une démarche et des méthodes adaptées permettant l’application de ce type de contrôle, d’explorer les possibilités qu’il offre et d’en étudier les effets sur les instruments. Tout d’abord, les types de contrôle existants et leurs applications aux instruments de musique sont rapidement présentés. Le constat que les paramètres modaux des instruments sont de bons descripteurs de ses attributs perceptifs mène à choisir la méthode de contrôle actif modal dont le formalisme est présenté. Afin de répondre à des problématiques propres aux instruments de musique, comme par exemple modifier l’amplitude de vibration des modes de la structure, des méthodes dérivées d’un contrôle d’état modal sont proposées. Une méthode d’adimensionnement en temps du modèle utilisé dans le système de contrôle ainsi qu’une méthode de contrôle des états dérivé et proportionnel sont présentées. Le contrôle est ensuite appliqué expérimentalement sur un monocorde, une guitare et un violoncelle. Pour cela, un système de contrôle temps réel fonctionnant grâce à un environnement libre est développé. Les possibilités offertes par ce type de contrôle ainsi que ses limites sont explorées grâce à ces montages expérimentaux. Enfin, un cas particulier de phénomène régissant le fonctionnement des instruments de musique à cordes est étudié à l’aide du dispositif de contrôle proposé. Le couplage corde/table d’harmonie est observé, étudié analytiquement puis contrôlé. Afin de confronter le contrôle actif à d’autres méthodes d’investigation, les résultats du contrôle sont comparés à ceux obtenus à l’aide d’une méthode de synthèse sonore
This PhD thesis deals with modal active control applied to string musical instruments. Its main goals are to propose an approach and adapted methods to apply this kind of control, to investigate its possibilities and to study its effects on musical instruments. First, a short presentation of the different methods of active control and their applications to musical intruments is done. While the modal parameters of musical instruments are believed to be good descriptors of their perceptual attributs, the modal active control method is chosen for this work. Adapted methods from modal state control are used to answer to specific issues related to musical instruments. To modify the amplitude of the vibration modes, a time-dimensionless model and a derivative and proportionnal modal state method are proposed. Then, these control methods are experimentally applied to a single string instrument, a guitar and a cello. A real time control system based on a free and opensource framework is developped. The possibilities and the limits of modal state control are studied using this experimental setup. Finally, a case of a complex phenomenon contributing to the sound production in string instruments is studied thanks to the developped control system. The coupling between the string and the soundboard is observed, analytically studied and controlled. The results obtained with control and with a synthesis method are studied to compare this two investigation methods
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Books on the topic "Instruments de musique – Conservation"

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Journées d'études de la S.F.I.I.C. (9th 2000 Limoges, France). Instruments pour demain: Conservation & restauration des instruments de musique : 9es Journées d'études de la Section française de l'Institut international de conservation, Limoges, 15-16 juin 2000. Champs-sur-Marne: SFIIC, 2000.

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Juliette, Barbet, ed. Un musée aux rayons X: Dix ans de recherche au service de la musique. Paris: Musée de la musique, Cité de la musique, 2001.

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Salvador-Daniel, Francisco. Musique et instruments de musique du Maghreb. Paris: La Boîte à documents, 1986.

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Hen, Ferdinand J. de. Instruments de musique indiens: = Indische muziekinstrumenten = Indian musical instruments. Sprimont: Mardaga, 2001.

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1942-, Sabatier Roland, ed. Le livre des instruments de musique. [Paris]: Gallimard, 1988.

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Gandjodjo, Hippolyte. Instruments traditionnels de musique au Benin. [Cotonou]: Projet d'appui à la valorisation du patrimoine musical et choregraphique du Benin, 2005.

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Fatḥī, Zighundah, Centre des Musiques Arabes et Méditerranéennes (Tunisie), and Tunisia Wizārat al-Shuʼūn al-Thaqāfīyah, eds. Les Instruments de musique en Tunisie. [Tunis]: Centre des Musiques arabes et méditerranéennes, 1992.

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Yue qi: Les instruments de musique. Taibei Shi: San min shu ju gu fen you xian gong si, 1997.

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Hsü, Chʻang-hui. Musique de Taiwan. Paris: G. Trédaniel, 1992.

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Hen, Ferdinand J. de. Instruments de musique indonésiens =: Muziekinstrumenten uit Indonesië = Indonesian musical instruments. Sprimont: Mardaga, 2001.

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Book chapters on the topic "Instruments de musique – Conservation"

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Barrett, Christopher B., Erwin H. Bulte, Paul Ferraro, and Sven Wunder. "Economic instruments for nature conservation." In Key Topics in Conservation Biology 2, 59–73. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118520178.ch4.

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Bucur, Voichita. "Preservative Conservation of Musical Instruments." In Handbook of Materials for String Musical Instruments, 737–91. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32080-9_16.

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Kossida, Maggie, Anastasia Tekidou, and Maria A. Mimikou. "Subsidies for Drinking Water Conservation in Cyprus." In Use of Economic Instruments in Water Policy, 89–103. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-18287-2_7.

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Bucur, Voichita. "Restoration and Conservation of Metallic Wind Musical Instruments." In Handbook of Materials for Wind Musical Instruments, 679–706. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_19.

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Kuemlangan, B., J. Sanders, P. Deupmann, and C. De Young. "Integrative policy and legal instruments, approaches and tools." In Governance of Marine Fisheries and Biodiversity Conservation, 166–80. Chichester, UK: John Wiley & Sons, Ltd., 2014. http://dx.doi.org/10.1002/9781118392607.ch12.

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Cooke, Benjamin, and Ruth Lane. "Market-Based Instruments and Conservation Practices on Private Land." In Making Ecologies on Private Land, 93–110. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-31218-3_6.

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Scovazzi, Tullio. "International Legal Instruments as a Means for the Protection of Cultural Heritage." In Transcultural Diplomacy and International Law in Heritage Conservation, 155–67. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0309-9_11.

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Couvreur, Aurélie. "Entre sceptres divins et instruments de musique cérémoniels: le symbolisme des bâtons de sonnailles aztèques." In La quête du serpent à plumes, 235–50. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.behe-eb.4.00265.

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Kassim, Wahab. "Land Conservation in the Albertine Graben Region of Uganda: A Critical Analysis of the Legal Regimes." In Legal Instruments for Sustainable Soil Management in Africa, 79–99. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36004-7_5.

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Patil, Sheetal, Seema Purushothaman, and Elisabeth Gsottbauer. "Economic Instruments to Reconcile Conservation and Livelihoods: Analysing the Potential for Bamboo in Karnataka." In Livelihood Strategies in Southern India, 175–87. New Delhi: Springer India, 2013. http://dx.doi.org/10.1007/978-81-322-1626-1_10.

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Conference papers on the topic "Instruments de musique – Conservation"

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Willeart, Saskia. "Digitizing collections of musical instruments in Africa." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.05.

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In 2013–2014 the Musical Instruments Museum (mim) in Brussels worked with Musée de la Musique (MMO) in Ouagadougou, Burkina Faso, and the Musée Panafricain de la Musique (MPM) in Brazzaville, the Republic of the Congo to build digital inventories of their musical instrument collections. The purpose of this digitization campaign has been to provide a more complete view of musical world heritage by incorporating not only African instruments but also the African terminology that describes these instruments, into international research databases. The cooperative digitization work has helped bring attention to valuable but not easily accessible collections. Both the musical patrimony held in African museums and the metadata they provide are proving to be valuable sources for understanding musical world heritage.
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Haitjema, Han, Bas W. van Dorp, M. Morel, and Piet H. J. Schellekens. "Uncertainty estimation by the concept of virtual instruments." In Lasers in Metrology and Art Conservation, edited by Jennifer E. Decker and Nicholas Brown. SPIE, 2001. http://dx.doi.org/10.1117/12.445615.

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Forde, Lucy C., and Eleanor F. Howick. "Development of a calibration system for electronic distance measuring instruments." In Lasers in Metrology and Art Conservation, edited by Jennifer E. Decker and Nicholas Brown. SPIE, 2001. http://dx.doi.org/10.1117/12.445609.

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Frascaroli, Fabrizio, and Thora Fjeldsted. "CANCELLED: Grassroots economics for conservation: instruments and alliances for a new economic order." In 5th European Congress of Conservation Biology. Jyväskylä: Jyvaskyla University Open Science Centre, 2018. http://dx.doi.org/10.17011/conference/eccb2018/108184.

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Dupont, Valérie. "The role of soft law vs hard law instruments in the enforcement of biodiversity offsets and their impacts on stakeholders." In 5th European Congress of Conservation Biology. Jyväskylä: Jyvaskyla University Open Science Centre, 2018. http://dx.doi.org/10.17011/conference/eccb2018/107565.

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Nieuwoudt, W. L., and G. R. Backeberg. "Application of economic instruments, tradable licenses and good governance for sustainable water conservation." In SUSTAINABLE IRRIGATION 2008. Southampton, UK: WIT Press, 2008. http://dx.doi.org/10.2495/si080021.

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Fioretto, Elena, Nora Lombardini, Cristiana Achille, and Cinzia Tommasi. "ENHANCING AND MANAGING DATA AND DIGITAL COMPETENCIES FOR ARCHITECTURE TEACHING AND TRAINING IN THE FIELD OF PROTECTION OF HERITAGE." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12139.

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Given the growing relevance, at national and international levels, of restoration and conservation interventions on existing buildings, the Universities have developed degree courses with specific addresses in “Conservation of Architectural and Environmental Heritage”. The students that attend this course become a graduate with specific, extensive, and updated skills in the field of knowledge, protection, conservation, reuse, and enhancement of architectural and environmental heritage. The complexity of the intervention is faced through the contribution of the various disciplines that contribute to the training of the architect, at the same time they studied modern instruments and tools for collecting and managing data, from on-field survey to sharing projects and ideas. The goal is to learn to manage, in its entirety, the project and the range of possible interventions with deep conservative sensitivity, with skills ranging from maintenance to restoration and redevelopment, both in the dimension of the single building and at the urban and landscape scale.
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Romeo, Emanuele. "Conservazione e valorizzazione dei sistemi fortificati ridotti allo stato di rudere in Val Tanaro (Piemonte)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11435.

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Conservation and enhancement of ruined fortified systems in Tanaro Valley (Piedmont)The contribution reports on a research concerning the preparatory investigation of some fortified systems of Tanaro Valley (Piedmont) in view of their restoration. The research highlighted the strong connection between the castles and the memory of events and characters that were linked to these architectures; the relationship between landscape and ruins that, today, represents a potential resource for the territory; the willingness of local authorities to improve knowledge, protection and enhancement of this heritage; the need to investigate theoretical and methodological issues and define the proper procedures for the conservation, restoration, safeguard, maintenance and management of a widespread and vulnerable heritage. The study, taking advantage of interdisciplinary contributions, used innovative instruments for the survey and monitoring of this heritage, as well as graphic and digital restitution techniques to propose to the scientific community –and communicate to the native population– the interventions of restoration, conservation, enhancement and management of these fortified systems. The research demonstrates that particular attention has to be paid to these less-known historical architectures that can however contribute, as effectively as the most famous and eye-catching fortification systems, to the political and social development and to the historical identity whose recognition, preservation and valorization are strongly hoped for.
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Colomo, Carlos Manuel, José Luis Pérez, José Miguel Gómez, and Francisco Javier Rosales. "METODOLOGÍA Y APLICACION PRÁCTICA PARA LA DIGITALIZACIÓN DE PATRIMONIO COFRADE MEDIANTE LA FUSION DE DATOS DE LÁSER ESCANER Y FOTOGRAMÉTRICOS." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3517.

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results obtained in using free software and fusion of data from laser scanner and photographs. In this sense, one of the problems that can occur when Heritage documentation is made, is the impossibility of move the object of study from other places with appropriates environment conditions to capture data. This problem is especially important in the case of sculptures found upright with certain height, where many upper portions are hidden by the inability to locate safely locate the instruments. This paper show a case of study with this problem and provides the solution to capture data in cenital position with laser scanner. Finally, the overall results are showed and some considerations in terms of conservation and diffusion of the cultural heritage.
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Sorbo, Emanuela, and Gianluca Spironelli. "INFORMATIVE MODELS OF CULTURAL HERITAGE. THE “UNFINISHED” CHURCH OF BRENDOLA." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12097.

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The paper is an initial form of dissemination of the research activities carried out by the IUAV University of Venice working group which, on behalf of the Municipal administration of Brendola, seeks to delineate the application of a methodology for the study and analysis of the architectural and landscape heritage of significant cultural interest that is in a state of abandonment. The case study application is the church of San Michele Arcangelo in Brendola (Vicenza), known as the “Incompiuta” (“Unfinished”). The case study proposed is an interesting exemplar of ecclesiastical architecture, designed by engineer-architect Fausto Franco, in which its characteristics of being unfinished and in a state of ruin contribute to redefining the image of a work that fits in a historical context of architectural and technical experimentation, where the reference to historical architecture is mediated by contemporary forms and by the use of modern building materials, among which, the use of reinforced bricks is noteworthy. The research activity, which is taking place in the context of the COVID-19 health emergency, aims at putting a series of strategies and operational practices based on the digitisation of data to the test, so as to allow increased interoperability and sharing through the building of an online open data repository addressed to the actors involved in the conservation process and to the community. In the processes of conservation and valorisation, in-depth knowledge and documentation of the materials and construction techniques involves multidisciplinary areas; effectively organising them in a system that regulates their collection, cataloguing, processing and archiving according to shared procedures, therefore becomes a fundamental prerequisite for the development of operational planning of the valorisation strategies. All the instruments that make it possible to collect data and reach a true knowledge of the object therefore become indispensable. From this point of view, the push towards the digitisation of the data that emerged during the pandemic phase plays a fundamental role in the range of application possibilities, from the survey to the mechanisms for the conservation and management of the cultural heritage.
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