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Artykuły w czasopismach na temat "Modes musicaux"
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Azam, Martine, Michel Grossetti, Laurent Laffont i Benoit Tudoux. "Choix musicaux, modes de découverte et contextes d’écoute. Une typologie des univers musicaux des 15-25 ans". Sociologie 9, nr 4 (2018): 343. http://dx.doi.org/10.3917/socio.094.0343.
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Schepens, Eddy. "Différences de genres musicaux ou différences de pratiques ? Une voie pour renouveler les pratiques pédagogiques en musique". Les Cahiers de la Société québécoise de recherche en musique 15, nr 1 (28.10.2015): 9–18. http://dx.doi.org/10.7202/1033791ar.
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Le Cefedem Rhône-Alpes est un centre de formation supérieure des professeurs de musique. Depuis 2000, il accueille de jeunes musiciens pratiquant des genres musicaux différents au sein d’un cursus commun, en dépassant la répartition en guichets spécifiques qui le plus souvent, en France, les séparent. À l’objectif d’accueillir tous les publics au-delà des singularités de parcours et de profils sociologiques s’ajoute un enjeu artistique : la reconnaissance de la diversité ne peut se contenter d’une juxtaposition bienveillante de ces genres, elle doit permettre à chaque musicien de prendre connaissance de la musique de l’autre par les pratiques. Basée sur une pédagogie par projets et par contrats, cette formation inédite permet de substituer à la notion courante de genres musicaux celle de pratiques de musiciens, permettant pour chaque moment musical et chaque situation de formation pédagogique l’analyse des procédures utilisées, l’analyse des modes de coopération des musiciens entre eux, ainsi que l’invention de dispositifs créant des contextes musicaux et pédagogiques dédiés à de telles approches. L’objectif de cette formation est de former des futurs professeurs ayant acquis des compétences pour travailler en équipes pluridisciplinaires, capables de créer des contextes de pratiques musicales plus divers et de s’adresser à des publics plus variés.
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Kasparian, Sylvia, i Aram Kerovpyan. "Structure modale des charagan - chants liturgiques arméniens - à la lumière du logiciel Sphinx : le genre, les espèces et leurs combinaisons dans la IVe Voix". Articles 45, nr 1-2 (8.02.2017): 233–54. http://dx.doi.org/10.7202/1038910ar.
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Cet article se veut une étude originale d’application des méthodes d’analyse de données textuelles à des corpus musicaux. Aucune étude en musicologie moderne n’a encore décrit en détail le système modal en usage dans le répertoire des charagan, chants liturgiques arméniens. Dans ce répertoire, on peut déceler une vingtaine de modes musicaux qui semblent avoir été classés par convention dans un système symbolique d’oktoechos (huit modes). Ceci donne à chacun des modes de l’oktoechos le caractère d’une famille de modes plutôt que d’un seul mode spécifique. Dans cet article, nous présentons une première étape de la description de six versions différentes de 42 chants. En tout, 728 versets découpés en unités de phrases, formules, motifs, degrés ont été analysés avec le logiciel Sphinx. Notre analyse avec Sphinx permet une première description de la structure modale des charagan, faisant ressortir les spécificités des différentes versions, des degrés et des motifs propres aux différentes formules initiales, médiane et finale de ces chants.
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AREVŠATYAN, A. S. "Deux textes arméniens attribués à Basile de Césarée sur l'interprétation des modes musicaux". Revue des Études Arméniennes 26 (1.01.1997): 339–55. http://dx.doi.org/10.2143/rea.26.0.2003756.
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Vinet, Hugues. "Le projet SemanticHIFI : manipulation par le contenu d’enregistrements musicaux". Circuit 16, nr 3 (29.01.2010): 65–74. http://dx.doi.org/10.7202/902413ar.
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Le projet européen SemanticHIFI vise la préfiguration des chaînes hi-fi de demain, proposant aux mélomanes des fonctions inédites de gestion et de manipulation par le contenu des enregistrements musicaux. Les limites des équipements existants sont liées à celles des formats de diffusion de la musique qui, se présentant depuis plusieurs décennies sous la forme de signaux d’enregistrements stéréophoniques, n’autorisent que des modes de manipulation élémentaires. L’extension des supports d’information musicale à des représentations plus riches, issues soit directement de processus de production renouvelés ou d’outils d’indexation personnalisés, rend possible la réalisation de fonctions innovantes : classification personnalisée, navigation par le contenu, spatialisation sonore, composition, partage sur les réseaux préservant les droits liés aux oeuvres, etc. Ces fonctions sont le résultat d’activités de recherche menées dans le cadre du projet et se situant à la pointe de plusieurs disciplines : analyse et traitement des signaux audionumériques, ingénierie des connaissances musicales, interfaces homme-machine, architectures de réseaux distribuées. Le projet prévoit également une phase d’intégration, visant la réalisation de prototypes d’application, permettant de valider l’ensemble de ces fonctions dans un environnement technique unifié et compatible avec les contraintes du marché de l’électronique grand public. L’auteur propose une vue d’ensemble du projet, dont il assure la direction.
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Feng, Zimo. "Analysis of the Business Model of Chinese Musical Theater Based on Community Economy". Journal of Applied Economics and Policy Studies 12, nr 1 (14.11.2024): 77–82. http://dx.doi.org/10.54254/2977-5701/12/2024114.
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In recent years, the Chinese musical theater industry has developed rapidly, becoming an important component of the cultural industry. Compared to traditional musical theater production and distribution methods, the community economy offers a new business model for Chinese musicals. This paper aims to explore how the community economy, combined with self-media platforms, supports the promotion and profitability of Chinese musicals. It analyzes the factors behind its success, the challenges it faces, and its future development prospects. Through an in-depth analysis of the existing business models, this paper proposes multiple strategies to promote the sustainable development of the Chinese musical theater industry.
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Song, Linlu. "On the Feasibility of Using the Business Model of Broadway Musicals in Chinese Musicals". Highlights in Business, Economics and Management 40 (1.09.2024): 957–61. http://dx.doi.org/10.54097/q88w4h15.
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The purpose of this paper is to explore the perfection of the business model of Broadway musicals by analyzing the phenomenon of profit growth after the epidemic in recent years, as well as the advantages of its production process. The analysis of the Broadway business model will assist the readers in learning the essential instruments of making a musical famous around the world. Meanwhile, it focuses on exploring the feasibility of applying the business model of Broadway musicals to Chinese musicals. The conclusion drawn from the research is that the Broadway model can be applied to Chinese musicals. With innovations in performance management and theater, Chinese musicals will face another improvement in the global musical market. By using the successful example of “King’s Table," which originated in China and was exported to Korea, it is not difficult to find the potential power of Chinese musicals under the effects of the Broadway model.
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Jiang, Xiaomeng, i Yiyan Shao. "Rock Elements in The Creation of French Musicals". International Journal of Education and Humanities 4, nr 2 (6.09.2022): 69–71. http://dx.doi.org/10.54097/ijeh.v4i2.1508.
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French musicals are unique models of modern musicals beyond the classic musicals of Broadway and the west end of England. The French, who are "fashionable, romantic and modern", based on the creation of British and American musicals and through the exploratory and experimental development of various musical elements, have created the "French style" musicals with a strong sense of stage. Among them, the addition of "rock elements" is a highlight that cannot be ignored in the creation of French musicals. This paper studies the origin of "rock elements" in the accompaniment music of French musicals, illustrates the application of "rock elements" in the creation of French musicals with examples, and discusses the reasons for its formation, so as to find out the original charm of French musicals.
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Ye, Jiahui. "THE GOLDEN SANDS MUSICAL (金沙): ON THE FORMATION OF A GENRE ARCHETYPE IN CHINA". Scientific and analytical journal Burganov House. The space of culture 19, nr 6 (10.12.2023): 94–102. http://dx.doi.org/10.36340/2071-6818-2023-19-6-94-102.
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The Golden Sands musical is considered in terms of the genre formation specifics in China. Attention is focused on the American origins of Chinese musicals, especially regarding style, scenography, and the specifics of vocal sound extraction. Consideration is given to the penetration of Chinese ethnic elements into the means of musical expression and choreographic poetics in the Equatorial Rain original musical, which demonstrated the fusion of national elements with Western ones, with jazz, rock, rap, etc. The author puts forward the hypothesis that the development of musicals in China is still at the stage of mastering and forming a genre with national specifics, using the original folk style of singing. It is the mixing of different singing styles that is becoming the most important trend in the development of modern Chinese musical theatre. Created under the direction of Zhou Enlai, the Golden Sands musical (金沙) reveals the typological features of the genre characteristic of its Western models: a synthesis of academic and pop music principles, a synthesis of arts (music, choreography, stage design, costume art). However, its combination with Chinese poetics has created a new nationally oriented direction, which has a significant influence on the development of musical art both in China and throughout the world.
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Jankovic-Begus, Jelena. "Les modèles économiques du genre de la comédie musicale en Serbie et en France depuis 2005". Muzikologija, nr 14 (2013): 135–57. http://dx.doi.org/10.2298/muz1314135j.
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Le genre de la com?die musicale - ou musical en terminologie anglo-saxonne - repr?sente un sujet d?actualit? de la vie th??trale serbe et fran?aise. La derni?re d?cennie a donn? un nouveau ?lan au genre, mais c?est notamment la p?riode depuis l?ann?e 2005 qui se caract?rise par des nombreux changements importants dans la fili?re qui ont contribu?s au succ?s sans pr?c?dent de la com?die musicale ? Belgrade et en Serbie. Mais aussi en France, dans un contexte le plus diff?rent que possible du contexte serbe, l?ann?e 2005 a donn? de nombreux changements importants de la fili?re du th??tre musical en ce qui concerne la production et la r?ception du genre. Quand on observe la com?die musicale en Serbie et en France, il faut prendre en compte des diff?rences de la nature terminologique mais aussi de la nature ?conomique provenant de diff?rents modes d?exploitation des spectacles.
Rozprawy doktorskie na temat "Modes musicaux"
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Tallet, Annabelle. "Dire sans la voix : sémiologie des usages corporels et modes d’expression alternatifs dans les mouvements musicaux émergents". Paris 5, 2010. http://www.theses.fr/2010PA05H022.
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Dès la fin des années soixante dix, les mouvements musicaux Hip Hop et Techno sont apparus comme des vecteurs d'innovations culturelles et artistiques. C'est fréquemment les caractéristiques musicales de ces mouvements qui ont été étudiées par les chercheurs, délaissant un élément central du système de communication mis en oeuvre par ces mouvements: le corps. Le corps occupe le devant de la scène: émetteur et récepteur, le corps en milieur Hip Hop et Techno est mobilisé comme un marqueur culturel fort, signe d'identité et de distinction. Ce surinvestissement conjoint du corps se manifeste pourtant dans des techniques et usages diamétralement opposés dans chacun des groupes culturels. Cette recherche propose donc de s'intéresser aux pratiques somatiques dansées et non dansées en s'interrogeant sur leurs mises en système dans des "cultures motrices". Cette analyse formelle de la matière corporelle brute induira des questionnements anthropologiques permettant de révéler des logiques isotopes sous-tendant des pratiques somatiques non isomorphes. Relié à des questionnements de type identitaire, cet investissement du corps s'inscrit dans des dynamiques de contestation, contestation des formes et modèles sociaux traditionnels. S'inspirant des théories interdisciplinaires, l'analyse des formes kinésiques et de leur agencement est envisagée dans une perspective sémiologique. Proposant d'analyser les pratiques corporelles comme un langage, ce travail envisage le corps comme une dimension sémiotique de la cultureIn the late seventies, the musical movements Hip Hop and Techno emerged as vehicles for artistic and cultural innovations. The musical characteristics of these movements have often been studied by researchers, neglecting a central element of the system of communication carried out by these movements: the body. The body takes front stage: transmitter and receiver, the body is mobilized as a strong cultural marker in Hip Hop and Techno movements, being a sign of identity and distinction. This over-investment of the body in both movements manifests itself in diametrically opposed techniques and practices in each of the cultural groups. This research thus seeks to focus on danced and not danced somatic practices, by questioning their implementation in the "driving cultures". This analysis of the raw corporeal material leads to anthropologic questioning, revealing logic isotopes underlying the somatic non-isomorphic practices. This investment of the body is linked to the questions of identity,and is in line with the dynamics of contestation of traditional social forms and models. Drawing upon interdisciplinary theories, the analysis of kinesic forms and their organization is conceptualized from a semiotic perspective. This work analyzes the corporeal practices as a language, the body being considered as a semiotic dimension of culture
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Hamrouni, Oussama. "Les écoles de musiques arabo-andalouses, du Maghreb au XX ème siècle : des évolutions différenciées". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL166.
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La musique arabo-andalouse au Maghreb représente un riche héritage de tradition recueillies et préservées par d'innombrables musicologues au XXe siècle, parmi lesquels on a choisi d'étudier des pièces représentatives de chaque école : la nūba Dam'i jara en Libye, la nūba ‘Irāq en Tunisie, la nūba Ḥsīn en Algérie (Constantine, Alger, Tlemcen) et la nūba Iṣbahān au Maroc.La présente étude met en avant la notation musicale, la transcription et l'enregistrement sonore comme outils d'investigation, permet de mettre en valeur l'unité et la diversité des matériaux. Parmi ceux-ci, le malūf de Libye, souvent cité et presque jamais entendu ou étudié, s'il préserve ses mystères, relève des caractères familiers. La mise en pratique de plusieurs outils informatiques pour les différentes phases d'analyse des premières étapes d'adaptation du format numérique puis la transcription en passant par le traitement statistique et l'élaboration de l'analyse mélodique, permettent de se défaire des habitudes d'une écoute axée sur la reconnaissance et à l'aide d'outils tantôt usuels tantôt innovants, amènent de nouvelles analyses adaptées à ce répertoire. L'ensemble est articulé en quatre chapitres, chacun explorant en détail un aspect important de la musique arabo-andalouse. Le premier développe la nūba comme genre, avec ses multiples influences, sa forme, ses mouvements, les différentes écoles qui la caractérisent, ainsi que la formation instrumentale qui l'accompagne, mettant en lumière son rôle essentiel dans l'interprétation et la transmission. Le deuxième se concentre sur le corpus écrit et enregistré de la musique arabo-andalouse et présentant la nature variée des différentes pièces analysées. Le troisième et le quatrième chapitres abordent respectivement l'analyse comparative au sein des différentes écoles du Maghreb et l'analyse fréquentielleArab-Andalusian music in the Maghreb represents a rich heritage of tradition collected and preserved by countless musicologists in the 20th century, among whom we chose to study pieces representative of each school: the Dam'i jara nūba in Libya, the ‘Irāq nūba in Tunisia, the Ḥsīn nūba in Algeria (Constantine, Algiers, Tlemcen), the Iṣbahān nūba in Morocco. This study highlights musical notation, transcription and sound recording as investigative tools, enabling the unity and diversity of materials to be highlighted. Among these, the malūf of Libya, often cited and almost never heard or studied, although it preserves its mysteries, has familiar characteristics. The application of several computer tools for the different phases of analysis from the first stages of adaptation of the digital format, then the transcription through statistical processing and the development of melodic analysis, make it possible to break away from habits of listening focused on recognition and, using tools that are sometimes usual, sometimes innovative, provide new analyzes adapted to this repertoire. The whole is divided into three chapters, each exploring in detail an important aspect of Arab-Andalusian music. The first develops nūba as a genre, with its multiple influences, its form, its movements, the different schools that characterize it, as well as the instrumental training that accompanies it, highlighting its essential role in interpretation and transmission. The second focuses on the written and recorded corpus of Arab-Andalusian music and presenting the varied nature of the different pieces analyzed. Finally, the third and fourth chapters respective comparative analysis within the different schools of the Maghreb and frequency analysis
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Lascabettes, Paul. "Mathematical Models for the Discovery of Musical Patterns, Structures and for Performances Analysis". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS578.
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L'objectif de cette thèse est de fournir des modèles mathématiques pour la compréhension et l'analyse de représentations symboliques de la musique. En particulier, cette thèse se décompose en trois parties : comment découvrir les motifs musicaux~? Comment ces motifs sont-ils organisés avec la structure musicale ? Et finalement, comment ces motifs sont-ils joués durant la performance musicale ? Tout d'abord, cette thèse se focalise sur la tâche de découverte de motifs musicaux. Les travaux antérieurs permettent de distinguer deux approches : l'approche séquentielle et l'approche multidimensionnelle. Nous proposons une méthode pour développer l'approche multidimensionnelle. En particulier, nous montrons que la théorie de la morphologie mathématique s'adapte très bien à l'approche géométrique, ce qui permet d'obtenir des résultats mathématiques pour la découverte de motifs musicaux. En seconde partie, nous nous intéressons à la tâche de segmentation musicale. Nous proposons deux méthodes, l'une reposant sur l'homogénéité et l'autre sur la répétition, qui sont les deux caractéristiques principales à étudier pour découvrir la segmentation d'une pièce. La méthode reposant sur l'homogénéité utilise les filtres morphologiques pour détecter les blocs sur la diagonale de la matrice d'auto-similarité. Nous développons aussi une méthode reposant sur la quasi-répétition sans intersection pour obtenir la segmentation hiérarchique d'une pièce. La troisième partie est dédiée à l'analyse de la performance musicale avec des outils informatiques. Nous nous focalisons sur la base de données MazurkaBL qui contient des annotations de plus de 2000 performances de 46 Mazurkas de Chopin. Pour analyser cette base de données, nous proposons de représenter une performance musicale dans un 2-simplexe, ce qui permet de caractériser et d'interpréter l'expressivité musicale d'une performance. Ensuite, nous montrons comment la théorie du transport optimal peut être utilisée pour comparer des performances musicalesThe purpose of this thesis is to provide mathematical models for the understanding and analysis of symbolic representations of music. In particular, this thesis is divided into three parts. How to discover musical patterns? How are these patterns organized within the musical structure? And finally, how are these patterns performed during musical performance? First, this thesis focuses on the musical pattern discovery task. Previous work identifies two different approaches: the sequential and geometric approaches. We propose a method for each of these two approaches. We propose a method for developing the multidimensional approach. In particular, we show that the theory of mathematical morphology is well suited to the geometrical approach, making it possible to obtain mathematical results for the discovery of musical patterns. In the second part, we focus on the musical segmentation task. We propose a method based on homogeneity and one based on repetition, which are the two main features to be studied in order to discover the segmentation of a piece. The homogeneity-based method uses morphological filters to detect blocks on the diagonal of the self-similarity matrix. We also develop a method based on almost repetition without overlaps to obtain the hierarchical segmentation of a musical piece. The third part is dedicated to the computational models for music performances. We focus on the MazurkaBL dataset, which contains annotations of over 2000 recorded performances of 46 Chopin Mazurkas. To analyze this dataset, we propose to represent a musical performance in a 2-simplex, allowing us to characterize and interpret the expressivity of a performance. Then, we show how the theory of optimal transport can be used to compare musical performances
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Rueda, Pinilla Natalia. "A música na tela: (Est)éticas na representação de universos musicais no documentário musical". reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/12784.
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CAPES
Entre as diferentes narrativas e estéticas do documentário cinematográfico, há uma tendência nos últimos tempos, à documentação de universos musicais. Estes documentários musicais abordam, em ocasiões, temas que passam por esferas políticas, culturais e sociais, e que, transcendendo relatos biográficos ou cronológicos sobre músicos e bandas, conformam um complexo exercício de representação de universos que são habitados e narrados por particulares estéticas visuais e sonoras. A partir do estudo de um conjunto de documentários realizados no Brasil, em Porto Rico e na Colômbia, esta pesquisa propõe uma reflexão sobre a forma como um conjunto de cineastas representa estética e culturalmente alguns universos musicais que são frequentemente considerados como ordinários ou de mau gosto. As reflexões deste estudo estendem-se às discussões políticas e culturais que tais representações suscitam.
Salvador
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Enrique, Gras Germán. "O compositor frente à sua peça". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/31450.
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O presente memorial está dividido em duas partes, a primeira trata da situação do compositor de frente à sua própria peça. Partindo do modelo tripartite da semiologia de Jean Jaques Nattiez, é proposto um deslocamento do observador com o intuito de oferecer uma ferramenta analítica a ser utilizada pelo compositor na análise de seu próprio trabalho. Após a formulação teórica, esta primeira parte é encerrada por uma breve análise de uma das peças do portfólio apresentada como uma primeira aproximação ao funcionamento do modelo analítico e como exemplo das questões que estão se debatendo tais como material, objeto musical entre outros. Esta análise é seguida por uma critica composicional que por sua vez dá lugar a alguns comentários de outra das peças do portfólio. A segunda parte trata do problema composicional especifico que fora trabalhado durante o mestrado; a saber, o relacionamento entre tempo e forma. Num primeiro momento se estabelece um debate teórico para logo dar lugar à análise de outra peça do portfólio que exemplificará o funcionamento de um dispositivo formal proposto como possível solução ao binômio tempo/forma.This text is divided into two parts, the first dealing with the situation of the composer in front of his own work. Based on the tripartite model of semiology proposed by Jean Jaques Nattiez, a shift of the observer is proposed in order to provide an analytical tool to be used by the composer in the analysis of their own work. After the theoretical formulation, the first part concludes with a brief analysis of a piece of the portfolio presented as a first approach to the operation of the analytical model and an example of the issues with which at deals, such as material and musical objects. This analysis is followed by a compositional critique, which in turn gives rise to some comments on an other piece of the portfolio. The second part deals with the specific compositional problem that has been worked during the Masters investigation: namely, the relationship between time and form. At first a theoretical debate is established that in turn give rise to the analysis of another piece of the portfolio that exemplifies the performance of a device formally proposed as a possible solution to the binomial time/form.
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Heydarian, Peyman. "Automatic recognition of Persian musical modes in audio musical signals". Thesis, London Metropolitan University, 2016. http://repository.londonmet.ac.uk/1190/.
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This research proposes new approaches for computational identification of Persian musical modes. This involves constructing a database of audio musical files and developing computer algorithms to perform a musical analysis of the samples. Essential features, the spectral average, chroma, and pitch histograms, and the use of symbolic data, are discussed and compared. A tonic detection algorithm is developed to align the feature vectors and to make the mode recognition methods independent of changes in tonality. Subsequently, a geometric distance measure, such as the Manhattan distance, which is preferred, and cross correlation, or a machine learning method (the Gaussian Mixture Models), is used to gauge similarity between a signal and a set of templates that are constructed in the training phase, in which data-driven patterns are made for each dastgàh (Persian mode). The effects of the following parameters are considered and assessed: the amount of training data; the parts of the frequency range to be used for training; down sampling; tone resolution (12-TET, 24-TET, 48-TET and 53-TET); the effect of using overlapping or nonoverlapping frames; and silence and high-energy suppression in pre-processing. The santur (hammered string instrument), which is extensively used in the musical database samples, is described and its physical properties are characterised; the pitch and harmonic deviations characteristic of it are measured; and the inharmonicity factor of the instrument is calculated for the first time. The results are applicable to Persian music and to other closely related musical traditions of the Mediterranean and the Near East. This approach enables content-based analyses of, and content-based searches of, musical archives. Potential applications of this research include: music information retrieval, audio snippet (thumbnailing), music archiving and access to archival content, audio compression and coding, associating of images with audio content, music transcription, music synthesis, music editors, music instruction, automatic music accompaniment, and setting new standards and symbols for musical notation.
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Bellenger, Xavier. "L'espace musical andin : mode ritualisé de production musicale sur l'île de Taquille et dans la région du lac Titicaca". Paris 3, 2004. http://www.theses.fr/2004PA030116.
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Cette thèse est fondée sur une recherche anthropologique menée dans le Sud péruvien, au sein de communautés paysannes de l’Altiplano de la région du lac Titicaca. Elle envisage l’existence d’un mode ritualisé de production musicale qui s’articule sous la forme de séquences. Cette notion de séquence musicale est définie à travers les exemples de différents rituels de cinq communautés de l’actuel département de Puno, puis explorée dans le cycle rituel annuel de l’île de Taquile (cf. Première et deuxième parties). L’articulation de ces séquences synchronisées aux phases des rituels est mise en relation avec l’espace sacré et la cosmovision de cette communauté insulaire (cf. Troisième partie). Le décodage de marqueurs spatiaux rend alors possible la compréhension de différents codes visuels présents au cours des fêtes, ainsi que du mode de production des séquences. Musiques et rituels apparaissent comme générés par une matrice liée au cycle de croissance des plantes, au dialogue entre le monde des vivants et de leurs ancêtres et à la mécanique céleste. Ce mode rituel d’expression musicale semble spécifique à cette région du monde (cf. Quatrième partie)This thesis is based on anthropological research carried out in the south of Peru, among the peasant communities of the Altiplano in the region of Lake Titicaca. It deals with a ritualised mode of producing music in the form of sequences. The notion of the musical sequence is defined through examples of the various rituals from five communities located in the province of Puno, and is then explored in the annual ritual cycle of the Island of Taquile (cf. Parts1 and 2). The sequences are synchronised with the ritual phases and then related to the sacred sphere and worldview of this island community (cf. Part 3). The decoding of spatial markers provides the key to understanding the different visual codes utilised during the festivals, as well as how the sequences are produced. Music and rituals appear to be generated by a matrix linked to the cycle of plant growth, to the dialogue between the world of the living and their ancestors, and to celestial mechanics. This ritual way of musical expression appears to be specific to this region of the world (cf. Part 4)
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Cairns, Robert J. "A test of selected aspects of Peter Webster's conceptual model of creative thinking in music". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28544.pdf.
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Chetry, Nicolas D. "Computer models for musical instrument identification". Thesis, Queen Mary, University of London, 2006. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1762.
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A particular aspect in the perception of sound is concerned with what is commonly termed as texture or timbre. From a perceptual perspective, timbre is what allows us to distinguish sounds that have similar pitch and loudness. Indeed most people are able to discern a piano tone from a violin tone or able to distinguish different voices or singers. This thesis deals with timbre modelling. Specifically, the formant theory of timbre is the main theme throughout. This theory states that acoustic musical instrument sounds can be characterised by their formant structures. Following this principle, the central point of our approach is to propose a computer implementation for building musical instrument identification and classification systems. Although the main thrust of this thesis is to propose a coherent and unified approach to the musical instrument identification problem, it is oriented towards the development of algorithms that can be used in Music Information Retrieval (MIR) frameworks. Drawing on research in speech processing, a complete supervised system taking into account both physical and perceptual aspects of timbre is described. The approach is composed of three distinct processing layers. Parametric models that allow us to represent signals through mid-level physical and perceptual representations are considered. Next, the use of the Line Spectrum Frequencies as spectral envelope and formant descriptors is emphasised. Finally, the use of generative and discriminative techniques for building instrument and database models is investigated. Our system is evaluated under realistic recording conditions using databases of isolated notes and melodic phrases.
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Viala, Romain. "Towards a model-based decision support tool for stringed musical instruments making". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCD002.
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Ce travail de thèse propose un transfert de méthodes industrielles et de recherche que sont le prototypage virtuel et la caractérisation mécanique des structures vers l'artisanat d'art : la fabrication des instruments de musique à cordes, plus particulièrement la guitare et le violon.Ce domaine, historiquement éminemment empirique, est étudié ici avec des critères objectifs. Le travail porte principalement sur le comportementmécanique vibratoire de ces instruments de musique. Le comportement mécanique du matériau utilisé (bois de lutherie) est tout d'abord étudié, et une méthode non-destructive proposée et appliquée à l'épicéa et à l'érable. La fiabilité des modèles numériques et ensuite étudiée par des méthodes de vérification et de validation de modèle, habituellement utilisées dans les domaines industriels et de recherche Les modèles développés sont ensuite utilisés en support à l'étude de phénomènes complexes de l'acoustique musicale appliquée au violon et à la guitare. Pour finir, l'utilisation de ces méthodes numériques pour une application concrète en facture instrumentale (prise de décision en milieu incertain, innovation de la géométrie et des matériaux) est proposéeThis work proposes a methodology for the transfer of industrial and research domain methods toward arts and crafts domain. The virtual prototyping and mechanical characterization of materials are used for the stringed musical instruments making domain. The works is adressed to the guitar and violin making. This domain is historically driven by empricism and it is studied here using objective criteria. The main topic is the mechanical vibratory behaviour of musical instruments. Firstly, the mechanical behaviour of the material used (tonewood) is studied. A non-destructive methodology is proposed and applied on spruce and maple species. The reliability of the numerical models is studied by method usually used in industry and research, the verification and validation process. The models developed are used as a support for the study of complex phenomena in musical acoustics. Finally, the utilization of numerical method for a practical application in instrument making (decision support under uncertainties, geometric and material optimization) is proposed. The methodology for a transfer to art and crafts domain is discussed
Książki na temat "Modes musicaux"
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Sillamy, Jean-Claude. Histoire des modes musicaux: (de Sumer à l'Orient du XVIe siècle). Paris: J.C. Sillamy, 1986.
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Austin, Larry. Learning to compose: Modes, materials, and models of musical invention. Dubuque, Iowa: W.C. Brown, 1989.
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Hartley, Sean. Holy Moses!: A musical comedy. Woodstock, Ill: Dramatic Publishing, 1998.
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David, Cope. Computer models of musical creativity. Cambridge, MA: MIT Press, 2006.
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Kowalczyk, John. Modes for the guitarist. Milford, MA: Beaner Pub. Co., 1991.
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Rechberger, Herman. Scales and modes around the world. [Helsinki]: Fennica-Gehrman, 2008.
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M, Schwanauer Stephan, i Levitt David A, red. Machine models of music. Cambridge, Mass: MIT Press, 1993.
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Joe, Harris. Guitar scales & modes: The escalator system. Kent, WA: Joseph Publications, 1991.
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Reynolds, Roger. Mind models: New forms of musical experience. Wyd. 2. New York, NY: Routledge, 2005.
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Aubert, Laurent. Mondes en musique. Genève: Musée d'ethnographie, 1991.
Znajdź pełny tekst źródłaCzęści książek na temat "Modes musicaux"
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Wang, Keping. "The Musical Mode". W Key Concepts in Chinese Thought and Culture, 1–11. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3564-8_1.
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Vendrix, Philippe. "Music and Model in the Renaissance". W Epitome musical, 9–22. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.em-eb.3.3278.
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Boenn, Georg. "Partitions and Musical Sentences". W Computational Models of Rhythm and Meter, 33–56. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76285-2_4.
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Huang, Shiming, i Johannes Ferdinand Hoorn. "Does the Robot Show Empathy with Me? Talking vs. Musical Robot". W [ ] With Design: Reinventing Design Modes, 1337–47. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4472-7_87.
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Lindeman, Carolynn A., Patricia Hackett i James M. Harris. "Introduction to Model Experiences for Teaching Music". W The Musical Classroom, 101–9. Ninth edition. | New York ; London: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315210933-10.
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Schmidt, Sebastian. "The Model of Musical Extrapolations – Basic Factors and their Inter-dependencies". W Musical Extrapolations, 223–88. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-11125-0_4.
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Schmidt, Sebastian. "Perspectives of Investigation Based on the Outlind Model of Musical Extrapolations". W Musical Extrapolations, 289–94. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-11125-0_5.
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Boenn, Georg. "A Shorthand Notation for Musical Rhythm". W Computational Models of Rhythm and Meter, 15–31. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76285-2_3.
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Anders, Torsten. "A Model of Musical Motifs". W Communications in Computer and Information Science, 52–58. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04579-0_5.
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Howard, David M., i Jamie A. S. Angus. "Acoustic Model for Musical Instruments". W Acoustics and Psychoacoustics, 171–236. 5th edition. | New York; London : Routledge, 2016. | “2016: Routledge, 2017. http://dx.doi.org/10.4324/9781315716879-4.
Pełny tekst źródłaStreszczenia konferencji na temat "Modes musicaux"
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Johannsson, Karl, Victor Shepardson, Enrique Hurtado, Thor Magnusson i Hannes Högni Vilhjálmsson. "Real-Time Musical Collaboration With a Probabilistic Model". W 2024 International Conference on Content-Based Multimedia Indexing (CBMI), 1–4. IEEE, 2024. https://doi.org/10.1109/cbmi62980.2024.10858876.
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Tamanna, Sheeban E., Mohammed Ezhan, R. Mahesh, Anupama Shetter, B. D. Parameshachari, D. S. Sunil Kumar i Kiran Puttegowda. "Musical Instrument Classification Using Deep Learning CNN Models". W 2024 International Conference on Integrated Intelligence and Communication Systems (ICIICS), 01–07. IEEE, 2024. https://doi.org/10.1109/iciics63763.2024.10859695.
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Jin, Rongan, Yi Zhou i Hui Wu. "The Comparison of Different Deep Learning Models for Chinese Musical Instrument Recognition". W 2024 IEEE 8th International Conference on Vision, Image and Signal Processing (ICVISP), 1–5. IEEE, 2024. https://doi.org/10.1109/icvisp64524.2024.10959349.
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Magalhães, Tairone N., i Mauricio A. Loureiro. "Training a convolutional neural network for note onset detection on the clarinet". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19426.
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Although computational models for note onset detection have improved drastically in the last decade, mainly due to the advances brought by the field of Deep Learning, such models have not been perfected yet. When dealing with specific data, like clarinet recordings, those models still produce a significant number of false positives and negatives. In this paper, we evaluate pre-trained onset detection models from the library madmom on a dataset composed of solo clarinet recordings, in particular, to investigate their performance on this kind of data. Moreover, we use the clarinet dataset to train the same neural network (CNN) employed in one of those models, to investigate whether training the model on this specific data leads to an improvement when dealing with clarinet recordings. The results obtained from the model trained strictly on clarinet data are considerably better than those from models trained on generic data.
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Silva, Diego Furtado, Angelo Cesar Mendes da Silva, Luís Felipe Ortolan i Ricardo Marcondes Marcacini. "On Generalist and Domain-Specific Music Classification Models and Their Impacts on Brazilian Music Genre Recognition". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19427.
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Deep learning has become the standard procedure to deal with Music Information Retrieval problems. This category of machine learning algorithms has achieved state-of-the-art results in several tasks, such as classification and auto-tagging. However, obtaining a good-performing model requires a significant amount of data. At the same time, most of the music datasets available lack cultural diversity. Therefore, the performance of the currently most used pre-trained models on underrepresented music genres is unknown. If music models follow the same direction that language models in Natural Language Processing, they should have poorer performance on music styles that are not present in the data used to train them. To verify this assumption, we use a well-known music model designed for auto-tagging in the task of genre recognition. We trained this model from scratch using a large general-domain dataset and two subsets specifying different domains. We empirically show that models trained on specific-domain data perform better than generalist models to classify music in the same domain, even trained with a smaller dataset. This outcome is distinctly observed in the subset that mainly contains Brazilian music, including several usually underrepresented genres.
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Silva, Eduardo Santos, Giordano Ribeiro Eulalio Cabral i Rodrigo Mendes de Carvalho Pereira. "A preliminary study of Augmented Musical Instruments for Study (AMIS) using research through design". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19438.
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The emergence of Digital Musical Instruments (DMIs) in the computer music field has been providing new means of interaction with music performances. Particularly, with the advancements in the Internet of Things (IoT) area, there has been an increase in augmented musical instruments containing LEDs within their own bodies to support music learning. These instruments can help musicians by having the capabilities to display musical notes, chords and scales. This research uses research through design to present a preliminary study of some of the challenges related to the design of these instruments and attempts to provide some insights associated with their usability and development, particularly related to the development of an augmented acoustic guitar, the VioLED, developed alongside the company Daccord Music. The system provides three modes of operation: song mode, solo/improvising mode and animation mode. The preliminary results present challenges and obstacles pertinent to usability and development of these instruments identified in different iterations of design. These challenges are associated with areas such hardware-software co-design, usability, latency/jitter, energy consumption, etc.
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Corintha, Isabela, i Giordano Cabral. "The 4E‘s Model of Enactivism through Improvisation within DMIs". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19441.
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This paper describes how a theoretical framework focused on the 4E‘s model which describe the mind as fundamentally: embodied, embedded, extended and enactive, within the paradigm of enactive music cognition can contribute to the design of Digital Music Instruments (DMIs). From an epistemological perspective, we discuss improvisation within the Western academic music culture through two examples of DMIs created to improvise in a MIDI keyboard. We argue the 4 E‘s model orientation revealing the fundamentally nature of the embodied musical mind. Ethical and practical possibilities for an enactive music cognition related to improvisation in the context of the skills and needs of 21st are suggested with the goal of helping DMIs designers and musicians to develop approaches based in possibility, imagination, and relationality, rather than in conformity to standardized practices and conventional music pedagogical purposes. Finally, we present some concrete cases of DMIs, and we describe how the experience of musical improvisation with them may be seen through the prism of such theories.
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Souza, Mila Soares de Oliveira de, Pedro Nuno de Souza Moura i Jean-Pierre Briot. "Tempo estimation via neural networks - a comparative analysis". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19420.
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This paper presents a comparative analysis on two artificial neural networks (with different architectures) for the task of tempo estimation. For this purpose, it also proposes the modeling, training and evaluation of a B-RNN (Bidirectional Recurrent Neural Network) model capable of estimating tempo in bpm (beats per minutes) of musical pieces, without using external auxiliary modules. An extensive database (12,333 pieces in total) was curated to conduct a quantitative and qualitative analysis over the experiment. Percussion-only tracks were also included inthe dataset. The performance of the B-RNN is compared to that of state-of-the-art models. For further comparison, a state-of-the-art CNN was also retrained with the same datasets used for the B-RNN training. Evaluation results for each model and datasets are presented and discussed, as well as observations and ideas for future research. Tempo estimation was more accurate for the percussion-only dataset, suggesting that the estimation can be more accurate for percussion-only tracks, although further experiments (with more of such datasets) should be made to gather stronger evidence.
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Guatimosim, Júlio, José Henrique Padovani i Carlos Guatimosim. "Concatenative Sound Synthesis as a Technomorphic Model in Computer-Aided Composition". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19431.
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The text presents a process aimed at computer-aided composition for percussion instruments based on Concatenative Sound Synthesis (CSS). After the introduction, we address the concept of ”technomorphism” and the influence of electroacoustic techniques in instrumental composition. The third section covers processes of instrumental sound synthesis and its development in the context of Computer-Aided Composition (CAC) and Computer-Aided Music Orchestration (CAMO). Then, we describe the general principles of Concatenative Sound Synthesis (CSS). The fifth section covers our adaptation of CSS as a technomorphic model for Computer-Aided Composition/Orchestration, employing a corpus of percussion sounds/instruments. In the final section, we discuss future developments and the mains characteristics of our implementation and strategy.
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Gomes, Cláudio, Josue Da Silva, Marco Leal i Thiago Nascimento. "3A: mAchine learning Algorithm Applied to emotions in melodies". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10450.
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At every moment, innumerable emotions can indicate and provide questions about daily attitudes. These emotions can interfere or stimulate different goals. Whether in school, home or social life, the environment increases the itinerant part of the process of attitudes. The musician is also passive of these emotions and incorporates them into his compositions for various reasons. Thus, the musical composition has innumerable sources, for example, academic formation, experiences, influences and perceptions of the musical scene. In this way, this work develops the mAchine learning Algorithm Applied to emotions in melodies (3A). The 3A recognizes the musician’s melodies in real time to generate accompaniment melody. As input, The 3A used MIDI data from a synthesizer to generate accompanying MIDI output or sound file by the programming language Chuck. Initially in this work, it is using the Gregorian modes for each intention of composition. In case, the musician changes the mode or tone, the 3A has an adaptation to continuing the musical sequence. Currently, The 3A uses artificial neural networks to predict and adapt melodies. It started from mathematical series for the formation of melodies that present interesting results for both mathematicians and musicians.
Raporty organizacyjne na temat "Modes musicaux"
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, sierpień 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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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.