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Harmony. --- Harmonie. --- Music theory
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On considère généralement que les ouvrages de Pierre Estève occupent une place importante dans l’histoire des théories des beaux-arts au XVIIIe siècle : ils contribuent en effet au développement d’une esthétique « sensualiste » qui, peu à peu. remet en cause l’application du principe de l’imitation en musique. Dans cette perspective, la Nouvelle découverte du principe de l’harmonie, dont nous fournissons ici la première réédition depuis 1752, s’applique à développer une explication physique du phénomène des consonances, qui s’inscrit dans le projet d’une « histoire naturelle » des émotions de l’âme. Cette tentative mérite d’être connue, pour des raisons internes mais aussi historiques. D’une part, le principe élaboré par Pierre Estève représente la première version d’une théorie qui, jusqu’à présent, était attribuée à Helmholtz : la Nouvelle découverte est ainsi le premier texte qui explique les consonances par la superposition des sons harmoniques. D’autre part, nous établissons dans cette édition que cet ouvrage constitue une source notable de la doctrine définitive de Rousseau en matière de théorie musicale. En particulier, c’est après la lecture de Pierre Estève que Rousseau entreprend de critiquer l’hypothèse de Diderot, sur la perception des rapports en musique.
Harmony --- Harmonie --- Rameau, Jean Philippe, --- 18th century --- Music --- Philosophy --- musique --- philosophie --- harmonie (musique)
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Bands (Music) --- Harmonies (Orchestres) --- Harmonie (Orchestre), Musique d' --- Recherche
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Cet ouvrage se consacre à la perte de la voix harmonieuse par laquelle on exprimait, jusqu'au XVIIIe siècle, l'idée d'une unité du monde : alors commence de s'élaborer la pensée d'une autre voix, souterraine et peut-être silencieuse, circulant à l'intérieur des êtres, qu'il s'agit d'extraire afin de rejoindre les splendeurs effacées. C'est la naissance d'une pensée de l'individu, qui fait l'épreuve de l'étrangeté à l'intérieur de soi, qui guette le silence habité d'une mélodie née des mécanismes de son corps et y découvre la mort sensible. On décrit ici l'élaboration, par le mot et par l'image, de cette métaphore musicale qui supporte des procédures d'isolement de la voix singulière et funèbre, tendue par la nostalgie de l'harmonie lointaine, les contours d'un lyrisme moderne se précisent, où Baudelaire, Leopardi, Rilke, Tolstoï, Beckett se trouvent réunis.
Harmonie (Esthetica) --- Harmonie (Esthétique) --- Harmony (Aesthetics) --- Muziek en literatuur --- Music and literature --- Baudelaire, Charles --- Criticism and interpretation --- Beckett, Samuel --- Leopardi, Giacomo --- Rilke, Rainer Maria --- Tolstoy, Leo --- Lyric poetry --- History and criticism --- Literature (General) --- harmonie --- esthétique --- littérature --- musique --- discours --- voix --- XIXème siècle --- XXème siècle
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Music --- Bands (Music) --- Musique --- Harmonies (Orchestres) --- Instruction and study --- Étude et enseignement --- Canadian Band Association --- Association canadienne de l'harmonie --- Canadian Band Association. --- Association canadienne des harmonies. --- Canada.
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Christendom --- Christianisme --- sociale ethiek --- conflicten --- economische ethiek --- #GSDBP --- #GOSA:XVII.PSY.M --- #GOSA:X.Alg.M --- #GGSB: Pastoraal --- #GGSB: Sociologie --- sociale relaties --- mensenkennis (x) --- C3 --- communicatie --- conflictbeheersing --- harmonie-model (x) --- 172 --- 301.15 --- 33 --- Media en communicatie --- GSDBP. --- GOSA:XVIIPSYM. --- GOSA:XAlgM. --- GGSB: Pastoraal. --- GGSB: Sociologie. --- sociale relaties. --- mensenkennis (x). --- communicatie. --- conflictbeheersing. --- harmonie-model (x). --- 172. --- 30115. --- 33. --- Media en communicatie. --- Pastoraal --- Sociologie
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This book examines the formal bases of postvelar harmony and its crosslinguistic variation. It is of interest especially to phonologists concerned with segmental harmony and its explanation within Optimality Theory. Postvelar harmony in two unrelated languages, Palestinian Arabic and St'át'imcets Salish, is examined in detail. The result is the first comprehensive clarification of postvelar phonology for either language. Two harmonies are distinguished: uvularisation harmony ('emphasis spread') and pharyngealisation (tongue-root-retraction) harmony. The distinction between these two in th
Grammar, Comparative and general --- Phonetics --- Consonants --- Vowels --- Phonologie --- Phonétique --- Harmonie vocalique --- Consonnes --- Voyelles --- Phonology --- Vowel harmony --- Phonétique --- Phonetics. --- Phonology. --- Consonants. --- Vowels. --- Sonorants (Phonetics) --- Articulatory phonetics --- Orthoepy --- Linguistics --- Speech --- Vowel harmony. --- Philology --- Grammar, Comparative and general Phonology
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For nearly seven decades, Jane Blaffer Owen was the driving force behind the restoration and revitalization of the town of New Harmony, Indiana. In this delightful memoir, Blaffer Owen describes the transformational effect the town had on her life. An oil heiress from Houston, she met and married Kenneth Dale Owen, great-great-grandson of Robert Owen, founder of a communal society in New Harmony. When she visited the then dilapidated town with her husband in 1941, it was love at first sight, and the story of her life and the life of the town became intertwined. Her engaging account of her journey to renew the town provides glimpses into New Harmony's past and all of its citizens--scientists, educators, and naturalists--whose influence spread far beyond the town limits. And there are fascinating stories of the artists, architects, and theologians who became part of Blaffer Owen's life at New Harmony, where, she says, "My roots could sink deeply and spread."
New Harmony (Ind.) --- Harmonie (Ind.) --- Social life and customs. --- History. --- Owen, Jane Blaffer, --- Blaffer Owen, Jane, --- Historic preservation --- Heiresses --- Female heirs --- Women heirs --- Heirs --- Preservation, Historic --- Preservationism (Historic preservation) --- Cultural property --- Protection
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'Music in the Galant Style' is an authoritative and readily understandable study of the core compositional style of the 18th century.
Music --- Style, Musical. --- Musical analysis. --- Musique --- Style musical --- Analyse musicale --- History and criticism. --- Histoire et critique --- 547 --- Praktische harmonie - basso continuo --- Musical analysis --- Style, Musical --- Musical style --- Analysis, Musical --- Analytical guides (Music) --- Hermeneutics (Music) --- Music analysis --- Music theory --- Music appreciation --- History and criticism --- Philosophy and aesthetics --- Analysis, appreciation --- Analytical guides --- Instruction and study --- 78.26 --- muziekanalyse --- muziekgeschiedenis --- anno 1700-1799 --- Muziekgeschiedenis --- 18e eeuw
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in the years 1942 to 1948, Le Corbusier developed a system of measurements which became known as "Modulor". Based on the Golden Section and Fibonacci numbers and also using the physical dimensions of the average human, "Modulor" is a sequence of measurements which Le Corbusier used to achieve harmony in his architectural compositions. Le Modulor was published in 1950 and after meeting with success, Le Corbusier went on to publish Modulor 2 in 1955. In many of Le Corbusier s most notable buildings, including the Chapel at Ronchamp and the Unité d habitation, evidence of his Modulor system can be seen. These two volumes form an important and integral part of Le Corbusier s theoretical writings.
Architecture -- History. --- Architecture -- Philosophy. --- Architecture. --- Modular coordination (Architecture) --- Ratio and proportion. --- Architecture --- Corbusier, le --- anno 1900-1999 --- Arithmetic --- Geometry --- Proportion --- Building --- Dimensional coordination in building --- Modular design --- Standardization --- Modular coordination --- Composition architecturale --- Coordination dimensionnelle --- Nombre d'or --- Dimensionnement --- Rythme --- Le Corbusier, Charles-Edouard Jeanneret, --- Le Corbusier --- Le Corbusier, Charles-Edouard Jeanneret, 1887-1965 --- Coordination modulaire (architecture) --- Harmonie (esthetique)
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