Academic literature on the topic 'Musiques du XXe siècle'
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Journal articles on the topic "Musiques du XXe siècle"
Leclair, François-Hugues. "Michel Longtin : éclaircies à l’aube du xxie siècle." Circuit 22, no. 1 (April 30, 2012): 67–90. http://dx.doi.org/10.7202/1008970ar.
Full textTagg, Philip. "Musiques. Une encyclopédie pour le XXIe siècle. Volume 1 : « Musiques du XXe siècle ». NATTIEZ, J.-J. (dir.) (2003), Musiques. Une encyclopédie pour le XXI siècle, vol. I, « Musiques du XX siècle », Arles, Actes Sud/Cité de la musique, 1,492 p." Circuit: Musiques contemporaines 16, no. 1 (2005): 97. http://dx.doi.org/10.7202/902387ar.
Full textDesjardins, Pierre. "La musique contemporaine s’est embrouillée." Positions 7, no. 1 (February 25, 2010): 70–73. http://dx.doi.org/10.7202/902161ar.
Full textMolino, Jean. "Classiques et classicisme à l’âge postmoderne." Circuit 1, no. 1 (January 29, 2010): 75–82. http://dx.doi.org/10.7202/902005ar.
Full textGougeon, Denis. "Garant communicateur, ou la parole agissante." Circuit 7, no. 2 (February 25, 2010): 27–36. http://dx.doi.org/10.7202/902177ar.
Full textCouture, Ariane. "Parcours dans la programmation des concerts du Nouvel Ensemble Moderne." Circuit 23, no. 3 (January 23, 2014): 63–73. http://dx.doi.org/10.7202/1021519ar.
Full textZénouda, Hervé. "Musique et communication au xxe siècle." Hermès 70, no. 3 (2014): 156. http://dx.doi.org/10.3917/herm.070.0156.
Full textMattéoni, Olivier. "Nouvelles musiques du XIIIe au XVe siècle." Médiévales 16, no. 32 (1997): 5–8. http://dx.doi.org/10.3406/medi.1997.1376.
Full textNejedlý, Martin. "Reinardus en Bohême." Reinardus / Yearbook of the International Reynard Society 31 (December 31, 2019): 80–114. http://dx.doi.org/10.1075/rein.00027.nej.
Full textMabru, Lothaire. "Les Musiques Traditionnelles en Suisse Romande, tout au long du XXe siècle... et au tout début du XXIe!" Cahiers de musiques traditionnelles 17 (2004): 382. http://dx.doi.org/10.2307/40240541.
Full textDissertations / Theses on the topic "Musiques du XXe siècle"
Merdaci, Abdelmadjid. "Musiques et musiciens de Constantine au XXe siècle." Paris 8, 2002. http://www.theses.fr/2002PA082053.
Full textKroubo, Dagnini Jérémie. "Histoire emblématique des musiques populaires jamaïcaines au XXe siècle : folklore, politique, spiritualité." Bordeaux 3, 2010. http://www.theses.fr/2010BOR30016.
Full textThis Ph. D. Dissertation presents the long socio-historico-political (slave trade; colonialism; Christianity’s influence; migration phenomena; creolization of Jamaican society; rural depopulation; urbanization of rural populations; Americanization of Jamaican society; postcolonial politics etc. ) and cultural (Rasta religion; influence of African, Afro-Caribbean, Afro-American and European musical styles; sound systems; evolution of technology etc. ) process which has contributed to the birth and development of Jamaican popular musical genres in the 20th century. Thus, this study traces the history of mento, ska, rocksteady, reggae, dub, dub poetry, toasting and dancehall, the main popular musical genres which appeared in Jamaica in the 20th century, systematically and deeply analyzing the socio-historico-politico-cultural background which has acted on the creative processes. Furthermore, this research work examines the way these musical styles have impacted on worldwide societies, especially those of Europe, the USA and Africa
Allain, Aurélie. "Musique et ritualité funéraire au XXe siècle." Rouen, 2004. http://www.theses.fr/2004ROUEL481.
Full textGenesis and fundament of the funeral art, the rite appears in the twentieth century as the infinite expression of a loneliness of heart. Understood as the dissolving of being, death invite to meditation and indicates an innermost recess out of the real world. Therefore, a study of the links between the funeral ritual and music will be based on the categories of aesthetics of death. These ones (immanent and transcendental) emphasize the intimate links between the funeral ritual and the music of the twentieth century. Formal body built for the real death of a person, the funeral rite structures the field of the signication of music. How the rite and music do interpenetrate? What are there different ways to unit? How the ritual structure may correspond to the musical structure? Is it possible to distinguish invariants? Some questions punctuating our intention
Decarsin, François. "La recherche du nouveau en musique au XXe siècle." Paris 1, 1989. http://www.theses.fr/1989PA010565.
Full textWhat does modernity in art consist of? Is it obliged to involve the creation of something new or can it be a repetition of the past, but in a re-appropriated form? It can be defined, firstly, in term of the different historical perspectives in relation to which a work is situated, depending on whether it reflects the idea of continuous progress or, on the contrary, demonstrates indifference towards the whole principe of cumulative evolution. By determining the collective dimension in creation, it is in turn possible to situate the latter within a network of antagonistic forces : those of historical conditioning, of the fashions of the day, of the possible presence of invariant structures confronting the individual. The synthesis presented in this research is the result of analyses particularly related to the aesthetic specificity of the present century : the mutations in tonal writing and thematic conception, the role of technological evolution, the emphasis placed on the diversity of experience, the manipulative techniques relating to duration, the relationship between theory and composition. Furthermore, references to the past make it possible to shed light on certain particular points of convergence
Vodenitcharov, Yassen. "L'influence des musiques traditionnelles extra-européennes sur les oeuvres de certains compositeurs de la deuxième moitié du XXe siècle." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0159.
Full textIn the twentieth century some composers researched sources of musical inspiration out of Europe, and this phenomenon mainly increased after the sixties. This research is dedicated to the works of composers like Luciano Berio, John Cage, George Crumb, Morton Feidman, Gyorgy Ligeti, Olivier Messiaen, Harry Partch, Steve Reich, Giascinto Scelsi, Karlheinz Stockhausen, and some others, who marked the second part of the twentieth century, and who use some rhythmic formulas, principles of modal organisation, timbres or vocal techniques, as well as some formaI and conceptual aspects, coming from extra-european musical traditions. The purpose of this research is to show the manner by which these musical elements, coming from extra-european cultures, have been assimilated by the composers, to become an integral part of their own language, so that today we can speak about the realisation of a synthesis
Anakesa, Kululuka Apollinaire. "L'Afrique noire dans la musique savante occidentale au XXe siècle." Paris 4, 2000. http://www.theses.fr/2000PA040126.
Full textFilho, Carlos Marigo. "L'allusion musicale au début du XXe siècle." Paris 1, 2000. http://www.theses.fr/2000PA010708.
Full textDiamantopoulou-Cornejo, Dimitra. "Les mélodies pour une voix et piano d'Emile Riadis : aspects esthétiques entre les musiques française et grecque au début du XXe siècle." Tours, 2001. http://www.theses.fr/2001TOUR2004.
Full textMichel, Philippe. "Problèmes de perception formelle dans la musique occidentale du XXe siècle." Paris 8, 1997. http://www.theses.fr/1997PA081309.
Full textIn the XX century, innovative works in western music in the written tradition (W. M. W. T. ) have met with serious difficulties of acceptance, thus revealing the identity problem of this artistic discipline in modern western society. This problem presents a privileged explanatory axis in the question of formal perception. Indeed, it is to be noted that in xx century innovative works, the observation of the development of temporal form no longer goes by the observation of the destiny of an emerging formal level -the melodic and rhythmic axis- as is the case in W. M. W. T. . The synchronic hierarchy of diachronically oriented strata is not even the "forme a priori" (P. Boulez) of the musical work of art any longer. Meanwhile, the historical development of the notion of musical art has made this morphological ancestral model obsolete, although the morphological traditionalism of the present media panorama as well as that of musical training systems keep it valid. They thus day after day lay the emphasis on the gap between the restricted circle of contemporary composers and the crowd of individuals that cultural immersion only has made musically knowledgeable
Olive, Jean-Paul. "Musique et montage : problématique du matériau au début du XXe siècle." Paris 8, 1989. http://www.theses.fr/1989PA080354.
Full textThrough its double movement of sampling and re-creation, editing brings about a complex deconstruction of thebmaterial. The application of such concepts to music and its specific mode of being, requires to be examined with regard to the concept of organic music, which until then constitued the deciding factor in the elaboration of the form. In the musical world of the early xxth century, this practice tends to renew the writing of music and to raise two fundamental questions: the production of meaning in a work, and the place of the subject within the composition
Books on the topic "Musiques du XXe siècle"
Vibrations jamaïcaines: L'histoire des musiques populaires jamaïcaines au XXe siècle. Rosières-en-Haye: Camion blanc, 2011.
Find full textMusiques du XXe siècle au sud du rio Bravo: Images d'identité et d'altérité. Paris: L'Harmattan, 2006.
Find full textBosseur, Jean-Yves. Musique et arts plastiques: Interactions au XXe siècle. Paris: Minerve, 2006.
Find full textBosseur, Jean-Yves. Musique et arts plastiques: Interactions au XXe siècle. Paris: Minerve, 2006.
Find full textCestor, Elisabeth. Les musiques particularistes: Chanter la langue d'oc en Provence à la fin du XXe siècle. Paris: L'Harmattan, 2006.
Find full textLes musiques particularistes: Chanter la langue d'oc en Provence à la fin du XXe siècle. Paris: L'Harmattan, 2005.
Find full textBook chapters on the topic "Musiques du XXe siècle"
Guillot, Pierre. "Orgues et musiques du XVIe au XXe siècle: problématique d'interdisciplinarité ou interdisciplinarité problématique?" In Historiographie de l'histoire de l'art religieux en France à l'époque moderne et contemporaine, 59–67. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.behe-eb.4.00818.
Full textRinuy, Paul-Louis. "Le XXe siècle." In Historiographie de l'histoire de l'art religieux en France à l'époque moderne et contemporaine, 79–82. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.behe-eb.4.00821.
Full textDieudonné, Jean. "L’École Mathématique Française du XXe Siècle." In Development of Mathematics, 1950–2000, 329–57. Basel: Birkhäuser Basel, 2000. http://dx.doi.org/10.1007/978-3-0348-8968-1_13.
Full textJafella, Sara A. "La Philosophie Argentine au XXE Siècle." In Philosophy of Latin America, 115–42. Dordrecht: Springer Netherlands, 2003. http://dx.doi.org/10.1007/978-94-017-3651-0_5.
Full textVellekoop, Kees. "La place de la musique." In L'enseignement des disciplines à la Faculté des arts (Paris et Oxford, XIIIe-XVe siècles), 235–38. Turnhout: Brepols Publishers, 1997. http://dx.doi.org/10.1484/m.sa-eb.4.00384.
Full textSchmid, Holger. "11. Amphion et sa musique au XXe siècle." In À contre-jour, 169–82. Presses universitaires du Septentrion, 2019. http://dx.doi.org/10.4000/books.septentrion.77726.
Full textSemken, Jen. "Politiques des musiques populaires en Iran au xxie siècle." In Politiques des musiques populaires au XXIe siècle, 121–38. Éditions Mélanie Seteun, 2016. http://dx.doi.org/10.4000/books.ms.926.
Full textSklower, Jedediah. "Penser les dynamiques politiques des musiques populaires : communalisations, affects et tactiques populaires." In Politiques des musiques populaires au XXIe siècle, 9–38. Éditions Mélanie Seteun, 2016. http://dx.doi.org/10.4000/books.ms.890.
Full textGrassy, Elsa, and Jedediah Sklower. "Politiques des musiques populaires au xxie siècle : synthèse des contributions." In Politiques des musiques populaires au XXIe siècle, 39–50. Éditions Mélanie Seteun, 2016. http://dx.doi.org/10.4000/books.ms.896.
Full textCloonan, Martin. "Musique, syndicalisme et politique au Royaume-Uni : remarques sur le pragmatisme de la British Musicians’ Union." In Politiques des musiques populaires au XXIe siècle, 51–76. Éditions Mélanie Seteun, 2016. http://dx.doi.org/10.4000/books.ms.902.
Full textConference papers on the topic "Musiques du XXe siècle"
Dumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
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