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Books on the topic 'Modes musicaux'

Author: Grafiati

Published: 26 April 2025

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1

Sillamy, Jean-Claude. Histoire des modes musicaux: (de Sumer à l'Orient du XVIe siècle). Paris: J.C. Sillamy, 1986.

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2

Austin, Larry. Learning to compose: Modes, materials, and models of musical invention. Dubuque, Iowa: W.C. Brown, 1989.

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3

Hartley, Sean. Holy Moses!: A musical comedy. Woodstock, Ill: Dramatic Publishing, 1998.

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4

David, Cope. Computer models of musical creativity. Cambridge, MA: MIT Press, 2006.

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5

Kowalczyk, John. Modes for the guitarist. Milford, MA: Beaner Pub. Co., 1991.

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6

Rechberger, Herman. Scales and modes around the world. [Helsinki]: Fennica-Gehrman, 2008.

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7

M, Schwanauer Stephan, and Levitt David A, eds. Machine models of music. Cambridge, Mass: MIT Press, 1993.

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8

Joe, Harris. Guitar scales & modes: The escalator system. Kent, WA: Joseph Publications, 1991.

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9

Reynolds, Roger. Mind models: New forms of musical experience. 2nd ed. New York, NY: Routledge, 2005.

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10

Aubert, Laurent. Mondes en musique. Genève: Musée d'ethnographie, 1991.

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11

Lindley, Mark. Mathematical models of musical scales: A new approach. Bonn: Verlag für Systematische Musikwissenschaft, 1993.

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12

DeGraf, Galen Philip. Navigating Musical Periodicities: Modes of Perception and Types of Temporal Knowledge. [New York, N.Y.?]: [publisher not identified], 2018.

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13

Grecu, Andrei. Musical instrument sound separation: Extracting instruments from musical performances : theory and algorithms. Saarbrücken: VDM Verlag Dr. Müller, 2008.

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14

Hutchinson, Herb. Finally-- the basics!: Harmony, scales, modes : a guitar method. Northfield, NJ: Hutchinson's Sound of Music Pub., 1992.

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15

Dubois, Vincent. Les mondes de l'harmonie: Enquête sur une pratique musicale amateur. Paris: Dispute, 2009.

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16

Dubois, Vincent. Les mondes de l'harmonie: Enquête sur une pratique musicale amateur. Paris: Dispute, 2009.

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17

Fripertinger, Harald. Enumeration in musical theory. 3rd ed. Graz: Institut für Elektronische Musik an der Hochschule für Musik und Darstellende Kunst, 1993.

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18

Charupakorn, Joe. Ultimate guitar scale decoder: Essential scales and modes for guitar. Milwaukee, WI: Hal Leonard, 2014.

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19

Sillamy, Jean-Claude. Une antique methode babylonienne pour comprendre la genese des modes maqām iraniens: Programme scientifique. Paris: J.-C. Sillamy, 1987.

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20

Hackett, Patricia. The musical classroom: Backgrounds, models, and skills for elementary teaching. 7th ed. Upper Saddle River, N.J: Pearson Prentice Hall, 2006.

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21

Hackett, Patricia. The musical classroom: Backgrounds, models, and skills for elementary teaching. 5th ed. Upper Saddle River, N.J: Prentice Hall, 2001.

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22

Hackett, Patricia. The musical classroom: Backgrounds, models, and skills for elementary teaching. 2nd ed. Englewood Cliffs, NJ: Prentice Hall, 1988.

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23

Gerbi, Elizabeth Anne. A 21st Century Model for Two-year Musical Theatre Curricula. [New York, N.Y.?]: [publisher not identified], 2021.

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24

1940-, Lindeman Carolynn A., ed. The musical classroom: Backgrounds, models, and skills for elementary teaching. 3rd ed. Englewood Cliffs, N.J: Prentice Hall, 1995.

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25

1932-, Hackett Patricia, ed. The musical classroom: Backgrounds, models, and skills for elementary teaching. 8th ed. Upper Saddle River, N.J: Pearson Education, 2010.

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26

1940-, Lindeman Carolynn A., ed. The musical classroom: Backgrounds, models, and skills for elementary teaching. 4th ed. Upper Saddle River, N.J: Prentice Hall, 1997.

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27

APPENDICE A L' HISTOIRE DES MODES MUSICAUX .: La cithare et ses perspectives d avenir en composition musicale. IN AJACCIO CORSICA .: CORINNE MATTEI LE SICILE E RESIDENCE DES ILES 20000 AJACCIO FRANCE., 1988.

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28

Whitesell, Lloyd. Style Modes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0001.

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This chapter introduces a new index for the analysis of individual musical numbers, specifically in the genre of film musicals: “style mode,” which refers to background orientations of stylistic treatment in both sonic and visual design. It defines the genre’s primary style modes—ordinary, children’s, burlesque, razzle-dazzle, and glamour—by way of well-known examples and illustrates their effectiveness as analytical categories, providing insight into large-scale planning as well as the meanings projected within individual numbers. Because the projection of a style mode takes place independently of the musical “language” being spoken (e.g., jazz, blues, musical theater, rock), style modes are clearly distinguished from musical topics and idioms.

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29

Adlington. Musical Models of Democracy. Oxford University Press, Incorporated, 2023.

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30

(undifferentiated), Smith. More Notes on Modes. Kendall/Hunt Publishing Company, 1988.

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31

Smith, John H. More Notes on Modes. Kendall/Hunt Publishing Company, 1990.

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32

Wooldrigge, H. E. Musica Antiqua: Model Composition. Library Reprints, 2001.

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33

Kearney, Leslie. Musical Language of Modest Musorgsky. Cambridge University Press, 2004.

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34

Computer models of musical creativity. Cambridge, Mass: MIT Press, 2005.

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35

Cope, David. Computer Models of Musical Creativity. MIT Press, 2017.

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36

Dvd Scales And Modes. Hal Leonard Publishing Corporation, 2008.

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37

Guitar Scales Modes Shredhed. Alfred Publishing Co., Inc., 2008.

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38

Understanding and Using Scales and Modes. MusicGem, 2008.

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39

Kolb, Tom. Modes for Guitar (Private Lessons). Musicians Institute Press, 2001.

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40

BEMUS prepletum mobile: Musica modus vivendi. Beograd: Službeni glasnik, 2012.

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41

Dell'Antonio, Andrew. Beyond Structural Listening?: Postmodern Modes of Hearing. University of California Press, 2004.

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42

Mind models: New forms of musical experience. 2nd ed. New York: Routledge, 2005.

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43

Everist, Mark. Music Before 1600 (Models of Musical Analysis). Blackwell Pub, 1992.

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44

Giuriati, Giovanni, Alessandro Cecchi, Gianmario Borio, and Marco Lutzu. Investigating Musical Performance: Theoretical Models and Intersections. Taylor & Francis Group, 2020.

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45

Giuriati, Giovanni, Alessandro Cecchi, Gianmario Borio, and Marco Lutzu. Investigating Musical Performance: Theoretical Models and Intersections. Taylor & Francis Group, 2020.

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46

Giuriati, Giovanni, Alessandro Cecchi, Gianmario Borio, and Marco Lutzu. Investigating Musical Performance: Theoretical Models and Intersections. Taylor & Francis Group, 2020.

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47

Giuriati, Giovanni, Alessandro Cecchi, Gianmario Borio, and Marco Lutzu. Investigating Musical Performance: Theoretical Models and Intersections. Taylor & Francis Group, 2020.

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48

Reynolds, Roger. Mind Models: New Forms of Musical Experience. 2nd ed. Da Capo Pr, 1995.

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49

Warfield, Patrick. A Nineteenth-Century Musical Career. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037795.003.0003.

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This chapter examines two Washington-based figures who provided John Philip Sousa with examples of just how expansive a nineteenth-century musical career could become. Indeed, the most important lessons of Sousa's youth did not come from formal apprenticeships or professional employment; they were found in the careers of musicians who lived in the Navy Yard. The first model was George Felix Benkert, who provided Sousa with a technical education in composition. However, the most remarkable of these models was, no doubt, John Esputa—a working-class musician who found employment where he could, wrote what must have seemed financially prudent at the time, and had a wide range of musical talents. Esputa's musical career seems quite remarkable in its specifics, but its outlines were perfectly typical of American musical life in the nineteenth century.

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50

White, Christine. ‘Humming the Sets’. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.17.

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This chapter discusses the impact of stage design on musical theatre, and the development of musical theatre as a product packaged for consumption across the world. Its focus is chiefly on British musicals of the late twentieth and early twenty-first centuries, during which ‘scenography’ has become recognized as the term for describing the whole theatre-designed space, encompassing, set, costume, sound, light, and more recently including film, animations, and a host of projection technologies and digital media. The chapter refers to contemporary reviews of productions, their success and failure, and the nature of the musical as a form in harmony with new scenic production aesthetics. What becomes apparent in this chapter is the interconnectedness of scenic practices and production aesthetics, which relates directly to the visual impact of musicals on the British stage and the interchange of production styles and modes of the UK and North America.

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