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 24
... whole piece of music can be considered as the product of a set of rules , some of them explicit and some implicit for the composer , that is to say as the product of a grammar . Our research has shown that it is possible to formulate 24.
... whole piece of music can be considered as the product of a set of rules , some of them explicit and some implicit for the composer , that is to say as the product of a grammar . Our research has shown that it is possible to formulate 24.
Page 25
... composer to another . Also the surface structures of the various verbal languages are very different one another . But in Chomskian theory the different historical languages are all linked to a unique deep structure . Is it plausible to ...
... composer to another . Also the surface structures of the various verbal languages are very different one another . But in Chomskian theory the different historical languages are all linked to a unique deep structure . Is it plausible to ...
Page 26
... composer . We can put forward the hypothesis that choices linked to explicit rules have already got a culturally stated stability . In other words they have become a common heritage well known by listeners and composers of the same ...
... composer . We can put forward the hypothesis that choices linked to explicit rules have already got a culturally stated stability . In other words they have become a common heritage well known by listeners and composers of the same ...
Page 27
... composer and not by a computer it is plausible to think that no choise is left to chance . When a composer does not use a previous rule , in other words when his / her choices are governed by personal tastes and new technical solutions ...
... composer and not by a computer it is plausible to think that no choise is left to chance . When a composer does not use a previous rule , in other words when his / her choices are governed by personal tastes and new technical solutions ...
Page 28
... composer applies compositional rules . On the contrary the principal aim of a listener is to interpret the result of the rules ( in other words to give sense to music ) , and such an interpretation requires a form of thinking which is ...
... composer applies compositional rules . On the contrary the principal aim of a listener is to interpret the result of the rules ( in other words to give sense to music ) , and such an interpretation requires a form of thinking which is ...
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