ANALYSE ET CRÉATION MUSICALESToute interprétation du musicien suppose une analyse et toute analyse induit une interprétation. Chacun de ceux qui parlent et agissent sur l'œuvre est un " interprète ", un " analyste ". L'œuvre étant la somme de ses réalisations, elle est donc " partie " de ces interventions, de même que celles-ci sont " parties " de l'œuvre. Esclave ou démiurge, l'interprète est pris entre deux tentations. Il se tourne tantôt vers les premières secondes de la conception, vers l'insécable, la fusion originale, tantôt vers les ultimes instants de la réalisation, vers l'aboutissement. |
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Page 23
... based on the results of a study on musical grammar by Rossana Dalmonte , Carlo Jacoboni and myself [ Baroni , Dalmonte , Jacoboni 1990 ] , a study whose assertions are verified by means of a methodological procedure inspired by ...
... based on the results of a study on musical grammar by Rossana Dalmonte , Carlo Jacoboni and myself [ Baroni , Dalmonte , Jacoboni 1990 ] , a study whose assertions are verified by means of a methodological procedure inspired by ...
Page 26
... for example when different sound structures , each of them based on rules , are put together in a common context without any other explicit rule that governs their reciprocal relationships . While the composer has the faculty of 26.
... for example when different sound structures , each of them based on rules , are put together in a common context without any other explicit rule that governs their reciprocal relationships . While the composer has the faculty of 26.
Page 27
... based and not from the more personal and more experimental aspects of his creativity . If genre and epoch rules correspond to a well known system of composition and listening conventions , this does not mean that in such a codified ...
... based and not from the more personal and more experimental aspects of his creativity . If genre and epoch rules correspond to a well known system of composition and listening conventions , this does not mean that in such a codified ...
Page 28
... based on intuitive and not on logical processes . Of course I have used here higly simplified assertions . When here I speak of « composing » I think exclusively to the act of applying technical rules of handling sounds . And these ...
... based on intuitive and not on logical processes . Of course I have used here higly simplified assertions . When here I speak of « composing » I think exclusively to the act of applying technical rules of handling sounds . And these ...
Page 29
... based on the suggestions of interpretive competence . The intuitive thinking that is used in giving sense to music seems to be very close to those forms of thinking that Jean Piaget in his theory on infant games [ Piaget 1945 ] ...
... based on the suggestions of interpretive competence . The intuitive thinking that is used in giving sense to music seems to be very close to those forms of thinking that Jean Piaget in his theory on infant games [ Piaget 1945 ] ...
Contents
Section 24 | 315 |
Section 25 | 328 |
Section 26 | 333 |
Section 27 | 344 |
Section 28 | 354 |
Section 29 | 381 |
Section 30 | 382 |
Section 31 | 402 |
Section 9 | 112 |
Section 10 | 119 |
Section 11 | 130 |
Section 12 | 136 |
Section 13 | 161 |
Section 14 | 167 |
Section 15 | 178 |
Section 16 | 204 |
Section 17 | 209 |
Section 18 | 223 |
Section 19 | 240 |
Section 20 | 246 |
Section 21 | 253 |
Section 22 | 263 |
Section 23 | 285 |
Section 32 | 427 |
Section 33 | 439 |
Section 34 | 443 |
Section 35 | 466 |
Section 36 | 471 |
Section 37 | 507 |
Section 38 | 523 |
Section 39 | 525 |
Section 40 | 549 |
Section 41 | 565 |
Section 42 | 568 |
Section 43 | 571 |
Section 44 | 572 |
Section 45 | 574 |
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Common terms and phrases
accentuated accompaniment Alain LOUVIER analysis appoggiaturas aspects bars based Beethoven Berlioz Chopin Cisternino coda cognitive composer compositeur composition compositionnelle conception context création développement différentes Dufourt duration dynamics éléments exemple facts first formalisation forme formelle François Bayle given grammar graph Gretchen harmonic Heinrich Schenker Hugues Dufourt improvisation informatique instruments interpretation intuition John Chowning l'analyse musicale l'auditeur l'informatique l'interprétation l'œuvre l'ordinateur level listener Liszt meaning means mélodie melody Messiaen mesure Michel DECOUST Miles Davis modèle music musicologie musique musique contemporaine musique électroacoustique narrative niveau notation notes œuvres partition pattern pensée perception performance phrase piano pièce présent problème process processus programme psychanalyse pulsations réalisation recording relation René Thom répétition représentation result rhythm rhythmic Risset rules same schéma Schenker section segments sémiose séquence session shows signifiant sonagramme sonore sound structure subject suono symphonie synthèse technique tempo thématique théorie théorique Theory time tonal type valse variation work Xenakis