453 research outputs found
Analysing the Creative Process through a Modelling of Tools and Methods for Composition in Hans Tutschkuâs Entwurzelt
The analysis of the creative processes involved in electroacoustic music may to a large extent rely on the thorough study of the technological tools used for the realisation of a musical work, both on the composition and on the performance sides. Understanding the behaviour and potential range of aesthetic results of such tools enables the musicologist to approach the studied work much beyond its final form, as presented on tape or as performed on a particular occasion: gaining knowledge on a wider technological context leads to considering the actual artistic decisions in the perspective of the potential outcomes that the composer and performer could face but not necessarily adopt. Hence, analysing an electroacoustic work on the basis of the study of its creative context, technological tools and compositional methods may constitute a useful approach to a better understanding of its related creative processes. However, the implementation of such an approach, mainly based on the hardware or software elements used during the creation of a given work, is not straightforward. First, it implies that the considered technologies are still in use and have not be come irreversibly obsolete. In this matter, new performances of a work are good opportunities for such investigations, as they often provide a technical update and require a deep understanding of the composerâs intentions. The musicologist also needs to have access to the resources, which may not be available without a direct contact with the composer. Assuming these conditions are reached,the musicological and organological studies can encounter another issue, particularly in the digital domain: the sources are not always presented under forms that are directly readable by the analyst, for instance with a specific programming language. Despite all these possible difficulties, many cases of technological tools lean themselves to an in-depth investigation, leading to relevant conclusions on some of the creative processes appearing in the field of electroacoustic music.
In the context of a common session of several analytical approaches to a same electroacoustic piece, Hans Tutschkuâs Entwurzelt for six singers and electronics (2012), this article focuses on the investigation and modelling of tools and methods of the compositional stage of the realisation of the work. During a performance of Entwurzelt, the electronic materials are simply triggered as events by one of the singers, without further interactivityâthus, the essential part of the research on the electroacoustic realisation aims at exploring the processes used during the compositional stage itself. As the electronics are used as an extension of the live vocal expression by the means of harmonic amplification and complex texturing, the tools for generation and processing of both symbolic representations and audio explored. Since the software tools that constitute the primary sources for our research were not directly designed to be used beyond their creative purposes, this talk presents software modelling implemented by the two authors to demonstrate the technological context in which Tutschku could compose Entwurzelt, emphasizing his creative methods and the decisions he could make upon a wider range of possible materials and processing techniques
Culture sonore en chantier : le chantier comme milieu révélateur des modes de professionnalisation
L'objet de cette recherche consiste en la description de la culture professionnelle implicite et informelle liée à l'activité réelle du travail de chantier, en réduisant le champ d'étude à l'environnement sonore. C'est sur la base d'une approche ethno-sociologique de l'environnement sonore du chantier que cette culture professionnelle est abordée
Perception de la parole et IRM : réalisation, évaluation et validation d'un systÚme permettant une stimulation sonore de qualité en cours de séquence IRM
International audienceThis study describes the design and the assessment of a MRI-compatible sound production hardware. This system was developed to permit auditory studies with Magnetic Resonance Imaging (MRI) techniques. An important disadvantage caused by the MR imager is the acoustic noise generated during data acquisition, due to the fast gradient switching interacting with the main magnetic field. Several solutions were explored to reduce noise and to provide audio stimuli with a reasonable quality. The sound production system was first tested by instrumental methods (sound level, spectral analysis). Finally, perceptual tests consisting in intelligibility, semantic decision and prosodic judgement were achieved to validate the installation.Cette étude décrit la réalisation d'un dispositif de stimulation auditive pour un imageur à résonnance magnétique fonctionelle de 3 Tesla. Le plus important probléme de ces systémes réside dans l'émission d'un niveau de bruit considérable au cours de son fonctionnement qui les rend quasi impossible à utiliser pour des études en stimulation auditive.Plusieurs solutions de stimulation de réalisation locale sont proposées pour permettre de gérérer au tympan des sujet une stimulation de qualité raisonnable. Les stimulus ainsi générés sont d'abord testés au moyen de méthodes physiques classiques (analyses acoustiques). Ils sont ensuite testés au moyen de tests d'intelligibilité de décision sémantique et de jugement prosodique afin de les valider pour des études de psycho linguistique et psycho acoustique
PERCEVAL
La station PERCEVAL permet de tester jusqu'Ă 16 sujets simultanĂ©ment. Elle a Ă©tĂ© dĂ©veloppĂ©e pour rĂ©pondre Ă la grande demande de test d'intelligibilitĂ©.Conçue autour d'un PC dans l'environnement WINDOWS, elle permet de rĂ©pondre rapidement Ă des contrats (C. CavĂ© et al).ANDRĂ, C.; GHIO, A.; CAVĂ, C.; TESTON, B. PERCEVAL: a Computer-Driven System for Experimentation on Auditory and Visual Perception. Proceedings of XVth ICPhS (2003 August 3-9 : Barcelona, Spain). 2003, p.1421-1424.http://hal.archives-ouvertes.fr/hal-00142980GHIO, A.; ANDRĂ, C.; TESTON, B.; CAVĂ, C. PERCEVAL: une station automatisĂ©e de tests de PERCeption et d'EVALuation auditive et visuelle. Travaux Interdisciplinaires du Laboratoire Parole et Langage d'Aix-en-Provence (TIPA), vol. 22. 2003, p. 115-133. ISSN 1621-0360.http://hal.archives-ouvertes.fr/hal-0013419
Conceptualisation et communication des nuances de timbre Ă la guitare classique
La version intĂ©grale de cette thĂšse est disponible uniquement pour consultation individuelle Ă la BibliothĂšque de musique de lâUniversitĂ© de MontrĂ©al (www.bib.umontreal.ca/MU).La problĂ©matique de cette thĂšse concerne le lexique descripteur de timbre, ses dĂ©finitions, ainsi que les stratĂ©gies dâenseignement de la production sonore Ă la guitare classique. Notre mĂ©thodologie est issue de la recherche par les mĂ©thodes mixtes, en ce sens quâelle combine Ă la fois des donnĂ©es qualitatives et quantitatives, tandis que nos mĂ©thodes relĂšvent de diffĂ©rentes disciplines. En effet, la prĂ©sente recherche est ancrĂ©e dans le domaine de la musicologie de lâinterprĂ©tation, alors quâelle porte plus exactement sur la conceptualisation des nuances de timbre Ă la guitare classique par les guitaristes classiques.
La construction de cette recherche repose sur trois Ă©tudes distinctes. La premiĂšre de ces Ă©tudes porte sur lâanalyse dâadjectifs employĂ©s pour dĂ©crire les nuances de timbre ainsi que leurs dĂ©finitions dâaprĂšs des guitaristes classiques. Les rĂ©sultats dĂ©montrent que la construction du lexique descripteur de timbre se rapporte principalement Ă la matiĂšre, renforçant ainsi la conception du timbre en tant que matiĂšre sonore. En ce qui concerne lâinteraction entre le timbre et les autres paramĂštres sonores, une analyse du discours et des thĂšmes Ă©mergents a dĂ©voilĂ© lâimportance du registre, de lâintensitĂ© et de la durĂ©e dans la dĂ©finition du timbre.
La mise en place dâun second questionnaire a permis de mieux dĂ©finir encore les caractĂ©ristiques du vocabulaire descripteur du timbre de la guitare classique. En lâoccurrence, la distribution des catĂ©gories lexicales a dĂ©montrĂ© que les adjectifs renvoient Ă une description souvent mĂ©taphorique du timbre alors que les substantifs rendent essentiellement compte de la technique instrumentale. Pour dĂ©finir les nuances de timbre, les guitaristes classiques ont communĂ©ment recours aux paramĂštres sonores, aux modes de production ainsi quâĂ dâautres descripteurs de timbre. Notre analyse a par ailleurs menĂ© Ă la construction dâun dictionnaire terminologique de huit nuances de timbre (mĂ©tallique, rond, brillant, mince, sec, veloutĂ©, sombre et sourd). Finalement, lâĂ©laboration dâun espace sĂ©mantique du timbre Ă partir de lâĂ©valuation de la proximitĂ© sĂ©mantique de ces huit descripteurs de timbre rĂ©vĂšle deux axes principaux, le premier est dĂ©fini par la prĂ©sence de lâattaque et le point de pincement, alors que le second se rapporte Ă la rĂ©sonance, Ă la projection ainsi quâaux jugements de valeur.
La troisiĂšme et derniĂšre Ă©tude porte sur les stratĂ©gies de communication employĂ©es dans le cadre de deux classes de maĂźtre. Les rĂ©sultats de notre analyse mettent en Ă©vidence lâexploitation de trois modalitĂ©s principales visant Ă expliciter la production sonore ainsi quâĂ caractĂ©riser le rendement musical. Les professeurs analysĂ©s ont ainsi recours Ă lâexplication verbale, Ă la dĂ©monstration instrumentale ainsi quâĂ la vocalisation, voire Ă lâimitation.
En dĂ©finitive, notre recherche a permis dâillustrer que la conceptualisation des nuances de timbre se rapporte Ă la matiĂšre, aux paramĂštres sonores, Ă la description mĂ©taphorique, ainsi quâaux modes de production. Une conceptualisation aussi inclusive permettrait dâaccĂ©der Ă toutes les subtilitĂ©s de la production et de la perception sonore. En ce qui a trait Ă la communication, les nuances de timbre sâexplicitent Ă travers la verbalisation, lâexĂ©cution ainsi que la vocalisation ou encore lâimitation.This thesis is about the lexicon of timbre descriptors, its definitions, and teaching strategies regarding sound production of the classical guitar. Our methodology is based on mixed methods research, in that it combines both qualitative and quantitative data, while our methods are derived from different disciplines. This research is grounded in musicology of performance and focuses more specifically on the conceptualization of classical guitar timbral nuances by classical guitar players.
The design of this research is based on three separate studies. The first study focuses on the analysis of adjectives used to describe timbral nuances and their definitions from classical guitarists. The results demonstrate that the construction of the lexicon of timbre descriptors relates primarily to matter, thus reinforcing the concept of timbre as sound matter. Regarding the interaction between timbre and other sound parameters, a discourse and emergent themes analysis has revealed the importance of register, intensity and duration in the definition of timbre.
The implementation of a second questionnaire helped to define further the characteristics of the timbre descriptor vocabulary of the classical guitar. The distribution of lexical categories showed that adjectives often refer to a metaphorical timbre description while nouns essentially give an account of the instrumental technique. To define timbral nuances, classical guitarists commonly use sound parameters, production modes and other descriptors of timbre. Following those results, a terminological dictionary of 8 timbral nuances (metallic, round, bright, thin, dry, velvety, dark and dull) was also proposed. Finally, the development of a semantic space of timbre from the evaluation of semantic proximity between those 8 timbre descriptors reveals two main axis, the first is defined by the presence of the attack and the plucking position, while the second refers to the resonance, the projection and the value judgment.
The third and final study examines the communication strategies used in the context of two master classes. The results of our analysis highlight the use of three main ways to explain the sound production and to characterize the musical performance. The participating professors have recourse to verbal explanation, instrumental demonstration as well as vocalization or imitation.
Our research has demonstrated that the conceptualization of timbre nuances refers to matter, sound parameters, metaphorical descriptions, as well as production modes. Such an inclusive conceptualization allows access to all the subtleties of the production and perception of classical guitar. In regards to communication, timbral nuances are expressed by verbalization, performance as well as vocalization or imitation
Kathinkas Gesang als Luzifers Requiem â rĂ©flexions dâune interprĂšte
Lâauteure de cet article relate son expĂ©rience dâinterprĂ©tation dâune oeuvre mixte de Stockhausen, soit Kathinkas Gesang als Luzifers Requiem (1983). Une prĂ©sentation sommaire de lâoeuvre y est effectuĂ©e. Lâauteure y traite ensuite des problĂšmes rencontrĂ©s au fil de son processus dâapprentissage et des exigences particuliĂšres liĂ©es Ă la mixitĂ© de lâoeuvre. Elle expose la mĂ©thode de travail quâelle a dĂ©veloppĂ©e au contact du compositeur et de ses principaux interprĂštes et elle traite de la question de la cohĂ©rence timbrale entre lâinstrumental et lâĂ©lectronique.The author recounts her experiences performing Karlheinz Stockhausenâs Kathinkas Gesang als Luzifers Requiem (1983), for flute and electronics. After a general presentation of the work, the author describes the problems she encountered in the process of learning the piece. These problems stemmed from the particular demands made on the performer by the mixed (instrument and electronics) nature of the piece. She presents the working method she developed when in contact with Stockhausen and experienced performers of his works, and deals with the question of uniformity of timbre between instrumental and electronic sounds
Les productions sonores de lâĂ©couteur du rĂ©cit : coopĂ©ration ou subversion?
Tout rĂ©cit oral est jalonnĂ© de signes sonores Ă©manant de celui qui Ă©coute. Lâanalyse de deux rĂ©cits a permis de dĂ©gager une typologie de ces signes (mm, ah bon, syntagmes qualifiants, etc.) ainsi que les conditions de leur production, liĂ©es aux propriĂ©tĂ©s intonatives du discours du narrateur. Lâexamen des propriĂ©tĂ©s intonatives des interventions de lâĂ©couteur et des rĂ©actions quâelles suscitent chez le narrateur a Ă©galement permis de prĂ©ciser le statut Ă©nonciatif de lâĂ©couteur. Si ses productions sonores sont en intonation haute et montante (il marque quâil abdique son identitĂ© dâĂ©nonciateur pour prĂȘter sa voix au narrateur), elles sont immĂ©diatement intĂ©grĂ©es au discours du narrateur, alors que si elles sont en intonation basse et peu modulĂ©e (il sâapproprie alors la position dâĂ©nonciateur), elles produisent automatiquement une rupture dans la continuitĂ© narrative.Any oral narrative also includes interventions from the hearer. Using a corpus of two French oral narratives, we make a typology of these interventions (mm, ah bon, qualifying phrases, etc.) and bring out the conditions in which they are used, according to their intonative properties. The analysis of the intonative properties of both of the hearer's interventions and of the narrator's reactions they bring about also lead us to make a distinction between two enunciative (interpersonal) attitudes: when his/her productions are high, with a rise, the hearer cooperates in the narrative, whereas when his/her productions are low and slightly modulated, the hearer takes the role of the speaker, which invariably introduces a breaking-point in the conversation
Autour du geste musical andin
Un premier regard ethnographique rĂ©vĂšle que, pour les groupes quechua du Centre-Sud de la Bolivie, le geste musical est autre chose quâun mouvement technique destinĂ© seulement Ă produire des sons. Ainsi, il apparaĂźt que ces peuples andins jouent dâune maniĂšre particuliĂšre avec certains aspects du mouvement tels que la dimension spectaculaire, lâimplication physique du musicien ou encore la possibilitĂ© de signifier. Quâils interviennent directement ou non dans la production sonore, les gestes musicaux font du corps du musicien un lieu oĂč sâarticulent des expĂ©riences aussi variĂ©es que celle de lâĂ©coulement du temps ou celle dâune symĂ©trie associĂ©e Ă lâordre du monde
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