Relevant bibliographies by topics / Prescription musicale

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

Academic literature on the topic 'Prescription musicale'

Author: Grafiati
Published: 1 June 2024
Last updated: 31 July 2025

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Journal articles on the topic "Prescription musicale"

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Saupic, T., C. Beitz, E. Meunier, and C. Duclos. "Le soin Berceuses : dynamiques d’un dispositif de soin psychocorporel mère-bébé." European Psychiatry 30, S2 (2015): S71. http://dx.doi.org/10.1016/j.eurpsy.2015.09.336.

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Le soin Berceuses fait partie des soins psychocorporels proposés à l’unité Parents-Bébé de l’hôpital de Montfavet (qui associe une offre des soins ambulatoires et une capacité d’hospitalisation conjointe de jour), où sont présentes des parents en difficulté dans leur rencontre avec leur bébé, présentant des troubles psychiques. L’ambition du soin Berceuses est de contribuer à favoriser l’établissement des premiers liens. Les dyades/triades participent au soin Berceuses selon la prescription médicale (six séances renouvelables) ; les indications et les évaluations sont discutées en réunion clin
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Garrido, Sandra, Emery Schubert, and Daniel Bangert. "Musical prescriptions for mood improvement: An experimental study." Arts in Psychotherapy 51 (November 2016): 46–53. http://dx.doi.org/10.1016/j.aip.2016.09.002.

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Doerksen, Paul F. "Aural-Diagnostic and Prescriptive Skills of Preservice and Expert Instrumental Music Teachers." Journal of Research in Music Education 47, no. 1 (1999): 78–88. http://dx.doi.org/10.2307/3345830.

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This study is an investigation of the aural-diagnostic and prescriptive skills of preservice and expert instrumental music teachers. Specifically, the researcher sought to determine how the two groups compared with respect to evaluations for band performances of different music-difficulty and performance-quality levels. Subjects listened to an audiotape recording that comprised four types of performances: Difficult Music and Excellent Performance, Difficult Music and Average Performance, Moderate Music and Excellent Performance, and Moderate Music and Average Performance. For each performance
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Aguirre Dergal, Alfonso. "Enfoque prescriptivo de la educación musical instrumental." Epistemus. Revista de Estudios en Música, Cognición y Cultura 10, no. 2 (2022): 045. http://dx.doi.org/10.24215/18530494e045.

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Si bien en el papel los modelos de enseñanza instrumental han ido migrando paulatinamente hacia una perspectiva de corte constructivista y ecológica, la pedagogía tradicional de enfoque prescriptivo permanece vigente en las aulas de música. En esta, conceptos, teorías y procedimientos tienden a tratarse como normas universales o verdades absolutas. Teniendo como referente las ideas de Michael Polanyi sobre conocimiento tácito, en este artículo se analizan y discuten críticamente implicaciones del enfoque prescriptivo característico del modelo tradicional de enseñanza musical.
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Costa Gálvez, Lola. "Como lo oyes. La publicación de listados de reproducción de los programas temáticos musicales en la radio de titularidad pública en España." Tripodos, no. 33 (June 4, 2025): 73–98. https://doi.org/10.51698/tripodos.2013.33.73-98.

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Throughout its history, there have been numerous occasions on which radio has been sentenced to death. Video killed the radio star, prayed The Buggles’s song, and recently Berry (2006) went back to this subject in his article “Will the iPod Kill the Radio Star?”. Prescription and legitimacy are concepts associated with specialized music radio, they and can they be a lifeline for a public service which is in permanent crisis. Playlists are essential for music radio programming, although their publication is a different matter. The possibility of accessing musical works exactly as “it is heard”
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Bresler, Liora. "Research education shaped by musical sensibilities." British Journal of Music Education 26, no. 1 (2009): 7–25. http://dx.doi.org/10.1017/s0265051708008243.

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Based on my own research education courses for doctoral students, I examine the ways in which music provides powerful and rich models for perception, conceptualisation and engagement for both listeners and performers, to cultivate the processes and products of qualitative research in the social science in general, and in music education in particular. I discuss temporality and fluidity, listening and improvisation, originally terms associated with music, and their ramifications for qualitative inquiry. I then present some concrete examples from my research course, not as prescriptions to follo
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Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)." British Journal of Music Education 37, no. 1 (2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.

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AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on ca
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Vives, Jean-Michel. "Protéger contre quoi ? Prescriptions musicales et jouissance lyrique au sein de l’église catholique." Topique 145, no. 1 (2019): 39. http://dx.doi.org/10.3917/top.145.0039.

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Fedosov, Roman Denisovich. "The intensional feature in defining a music work (John Cage’s ‘Branches’ as an example)." Vestnik of Saint Petersburg State University of Culture, no. 2 (63) (2025): 133–38. https://doi.org/10.30725/2619-0303-2025-2-133-138.

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The article analyses the musical work "Branches" by John Cage. Ian Campbell’s critical remark that "Branches" does not sufficiently express the composer’s conceptual meaning is considered. To this end, firstly, it is suggested that Branches should be categorized as musical work based on Andrew Kania’s definition of music. It is emphasized that one of the important criteria of definition is the intensional criterion. It is suggested that Cage’s intention in Branches should be interpreted as a conceptual statement on the fundamental importance of nature for the future of humankind, as well as an
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Magnusson, Thor. "Scoring with Code: Composing with algorithmic notation." Organised Sound 19, no. 3 (2014): 268–75. http://dx.doi.org/10.1017/s1355771814000259.

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Computer code is a form of notational language. It prescribes actions to be carried out by the computer, often by systems called interpreters. When code is used to write music, we are therefore operating with programming language as a relatively new form of musical notation. Music is a time-based art form and the traditional musical score is a linear chronograph with instructions for an interpreter. Here code and traditional notation are somewhat at odds, since code is written as text, without any representational timeline. This can pose problems, for example for a composer who is working on a
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Dissertations / Theses on the topic "Prescription musicale"

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Choquet, Anastasia. "Le métier de programmateur musical à Radio France : analyse d’un groupe professionnel d’intermédiaires culturels de service public à l’ère du numérique." Electronic Thesis or Diss., Université Paris-Panthéon-Assas, 2023. http://www.theses.fr/2023ASSA0075.

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Dans un contexte de crise de la prescription culturelle, cette thèse propose l'analyse d'un groupe professionnel d'intermédiaires culturels de service public, les programmateurs musicaux de Radio France. Face à la perte d'audience des radios musicales, à la concurrence des plateformes de streaming et à l'introduction de technologies numériques dans les pratiques professionnelles de programmation musicale à Radio France, comment évoluent les frontières d'un groupe professionnel de service public ? Soumis à des missions de service public qui leur donne un rôle a priori singulier dans l'espace ra
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McAfee, Kay Roberts. "Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.

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This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for
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"Exercises for Excerpts: A Prescriptive Approach for the Developing Orchestral Tubist." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57322.

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abstract: This document details the conception and creative process of fundamental exercises intended for the refinement of orchestral repertoire for the tuba. Performance practices and study materials that relate to the orchestral tubist have evolved significantly over the instrument’s history. Although much of its current methodology is derived from the pedagogical insights of the brass family, resources intended to specifically address the unique musical and technical challenges of the tuba have become more prevalent in the past decade. This study aims to detail the conception of exercises
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Books on the topic "Prescription musicale"

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Zhang, Fujiang. 四庫全書圖鑒. Dong fang chu ban she, 2004.

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Moore, Rojay. Prescriptions for Musical Development. PublishAmerica, 2004.

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Wolterstorff, Nicholas. What is liturgy? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805380.003.0002.

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The nature of liturgy is explained in this chapter by first analyzing the nature of an enactment of some liturgy. The main argument is that liturgical enactments are a species of scripted activity, resembling, in that respect, games, musical performances, dramatic performances, and the like. Associated with every liturgy is a set of prescriptions for the correct enactment of that liturgy; Call that the script for that liturgy. The liturgy itself is then that sequence of act-types that is enacted when the prescriptions associated with that liturgy are faithfully followed. A liturgy is thus a un
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Book chapters on the topic "Prescription musicale"

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Garrido, Sandra. "Musical Prescriptions: Do They Work?" In Why Are We Attracted to Sad Music? Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-39666-8_9.

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Bisaro, Xavier. "D’un concile à l’autre: aux sources des prescriptions musicales du Concile de Trente." In The Council of Trent: Reform and Controversy in Europe and Beyond (1545-1700). Vandenhoeck & Ruprecht, 2018. http://dx.doi.org/10.13109/9783666551093.145.

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Kivy, Peter. "Making the Codes and Breaking the Codes: Two Revolutions in Twentieth-Century Music." In New Essays on Musical Understanding. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198250838.003.0004.

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Abstract The title of this chapter taps into two senses of the word ‘code’: the sense in which a code is a kind of language, as where one devises a code for conveying secret messages, and the sense in which a code is a prescription for behavior, as where a restaurant imposes a dress code on its patrons. Of course my subject is music, not cryptography or etiquette, so I will begin by stating briefly what it is in the musical experience that I think best exemplifies the linguistic sense of a code, and what the prescriptive sense. When I have done this I can then be more specific about the direct
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Cook, Nicholas. "Introduction: Steps towards Analysis." In Analysing Musical Multimedia. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198165897.003.0005.

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Abstract One conclusion seems to be insistent.’ writes Roger Parker towards the end of his article ‘Verdi through the Looking-Glass’. ‘It is that ... we can espouse no “ideal” way in which words and music will make drama together, and that we should be careful not to approach the issue with unconscious a priori assumptions.’ 1 As I tried to show in Chapter 3-and the point applies to multimedia in general, not just to opera-the traditional language for analysing the interaction of different media is thoroughly entangled with prescription, implicit valuejudgement, and unsupported generalization.
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Emmons, Shirlee, and Constance Chase. "Leadership Theory for Reference." In Prescriptions for Choral Excellence. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195182422.003.0008.

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Abstract The matter of leading a group, a choral group in particular, is a multifaceted issue. It is incumbent upon directors to refine their awareness, and to develop and practice leadership skills that enable healthy group function. Those choirs that proceed through the rehearsal-to-performance cycle in a healthy, interdependent manner are the choirs that are most likely to perform consistently. The leadership skills required of directors to produce such effort are over and above their musical/vocal/technical skills. When strong leadership skills combine with high musical/vocal/technical ski
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Campbell, Patricia Shehan. "For Children: Prospects for Their Musical Education." In Songs in Their Heads. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195111002.003.0004.

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Abstract This third section reflects on the dialogues and descriptions of children’s musical repertoire, practices, and thoughts and looks ahead to possible interventions: school music practices, training through lessons, and parent-guided musical enrichment for children. It considers who the children musically are au naturel—in their natural state—and suggests possibilities for all that they can musically become. Thus, this is prescriptive as well as descriptive, in that it acknowledges the voices of children and recommends channels for their development in and through music. It is important
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Emmons, Shirlee, and Constance Chase. "Introduction." In Prescriptions for Choral Excellence. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195182422.003.0001.

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Abstract From the viewpoint of an untutored bystander, the choral director’s art constitutes a director in place before a group of singers, baton in hand (or not), leading the coordinated singing effort of the chorus. End of story? Clearly not. The director’s art is far more complex. It requires skills in the intellectual, physical, and social arenas. It entails expertise in matters musical, historical, linguistic, and vocal. Further knowledge in the areas of leadership, performance psychology, and the mental processes that enhance rehearsal and performance add immeasurably to the director’s s
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Juslin, Patrik N. "Setting the Stage." In Musical Emotions Explained. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198753421.003.0001.

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This chapter sets the stage by introducing the field of music and emotion. It addresses the following questions: Why do musical emotions matter? Why did Freud not enjoy music? Studies show that in both ‘primitive’ cultures and modern society, a considerable amount of time is spent on singing, music, and dance. And it is not just time: According to musicologist David Huron (2001), people in North America spend more money on music than on prescription drugs. There are a number of theories about the possible origin and function of music, for instance that music originally served a purpose in pare
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Emmons, Shirlee, and Constance Chase. "Tone and Intonation." In Prescriptions for Choral Excellence. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195182422.003.0004.

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Abstract The vocabulary available to describe a singing tone, beautiful or not, is weak and nonspecific at best. Furthermore, the definition of a beautiful tone, which may include many factors, will differ from director to director. Yet a clear understanding of what he or she finds beautiful on a particular piece of music is helpful to a director and well worth the effort to clarify a personal aesthetic point of view. Decide how important beauty of tone is to you in your work. Perhaps this differs from composition to composition. Perhaps beauty’s appropriateness to the meaning or to the achiev
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Emmons, Shirlee, and Constance Chase. "Practice and Imagery." In Prescriptions for Choral Excellence. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195182422.003.0009.

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Abstract Choral directors, indeed all musicians, have invested long hours of their lives practicing something, whether it be piano, voice, conducting, violin, trumpet, or all of the above. All musicians were trained in technique and repertoire. Yet how many of us were trained to practice effectively? There is no academic course in how to practice. Many of us were probably left to our own devices about how to accomplish individual mastery. It is practice of the right kind that leads to the highest levels of skilled performance. Practicing the wrong things, the wrong techniques, or the wrong str
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