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Techniek --- Compositietechnieken --- Frankrijk --- 20e eeuw
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Techniek --- Compositietechnieken --- Frankrijk --- 20e eeuw
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Techniek --- Compositietechnieken --- Frankrijk --- 20e eeuw
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Techniek --- Compositietechnieken --- Frankrijk --- 20e eeuw
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muziektheorie --- componeren --- compositie --- Music --- compositieleer --- Compositie (Muziek) --- Composition (Music) --- Composition (Musique) --- Composition musicale --- Musique --- Instruction and study --- Etude et enseignement --- Composing (Music) --- Music composing --- Music composition --- Musical composition --- Concertante style --- Composition --- Study and teaching --- Composition (Music) - Congresses --- Muziekpedagogie --- Compositietechnieken
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Music --- History and criticism --- Xenakis, Iannis, --- Xenakis, Yannis, --- Xenakēs, Giannēs, --- Xenakis, I. --- Ksenakis, I︠A︡nnis, --- Kusenakisu, Ianisu, --- Xenakēs, Iannēs, --- Xenakis, Jannis, --- Criticism and interpretation. --- Compositietechnieken --- Muziektheorie --- 20e eeuw
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7.039 --- 7.049 --- 78.02 --- Electronische muziek ; installaties ; handboeken --- Geluidsinstallaties ; ontwerp en toepassingen --- Muziekinstrumenten ; electronische --- Muziek ; hacking ; digitale klanken --- DVD's --- muziek --- elektronische muziek --- hacking --- 78 --- Kunstgeschiedenis ; 2000 - 2050 --- Iconografie ; verschillende onderwerpen --- Muziek ; compositietechnieken --- Contains audio-visual material --- PXL-Music 2020 --- muziekgenre --- computermuziek --- electronische toepassingen
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What can music tell us - without words? Can it depict scenes, narrate stories, elucidate beliefs? And can it be an instrument through which we access the inner lives not only of musicians from the past but of ourselves, today? In this book five scholars and performers probe these and related questions to illuminate both the experience and performance of nineteenth-century music. Drawing on a rich range of sources, they reveal the musical thought and practice of canonical composers like Berlioz, Mendelssohn, and Schumann. Their work challenges us to reconsider our musical practices and the voices manifested in them, and it encourages the creation of an art that is both historical and transcendental.
Music and romanticism --- Musique romantique --- Muziek [Romantische ] --- Romanticism in music --- Romantiek in de muziek --- Romantische muziek --- Romantisme en musique --- Academic collection --- 78 "18" --- 78 "18" Muziek--19e eeuw. Periode 1800-1899 --- Muziek--19e eeuw. Periode 1800-1899 --- Musical analysis --- Music --- Analyse musicale --- Romantisme dans la musique --- Musique --- Interpretation (Phrasing, dynamics, etc.) --- Interprétation --- 19th century --- Compositietechnieken --- Stijlstudies --- Romantiek --- 19e eeuw
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520 --- Theorie: compositie --- Music --- compositieleer --- anno 1700-1799 --- Music Theory --- Composition (Music) --- History --- Music theory --- Théorie musicale --- Composition (Musique) --- Histoire --- 78.68 --- 78.25 --- 78.26 --- 541 --- Compositie --- Music Theory - History - 18th century. --- Composition (Music) - History - 18th century. --- Muziektheorie --- Compositietechnieken --- 18e eeuw
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The practices and perception of music creation have evolved with the cultural, social and technological contexts of music and musicians. But musical authorship, in its many technical and aesthetic modes, remains an important component of music culture. Musicians are increasingly called on to share their experience in writing. However, cultural imperatives to account for composition as knowledge production and to make claims for its uniqueness inhibit the development of discourse in both expert and public spheres. Internet pioneer Philip Agre observed a discourse deficit in artificial intelligence research and proposed a critical technical practice, a single disciplinary field with “one foot planted in the craft work of design and the other foot planted in the reflexive work of critique. … A critical technical practice rethinks its own premises, re-evaluates its own methods, and reconsiders its own concepts as a routine part of its daily work.” This volume considers the potential for critical technical practice in the evolving situation of composition across a wide range of current practices. In seeking to tell more honest, useful stories of composition, it hopes to contribute to a new discourse around the creation of music.
Composition (Music). --- 592 --- Publicaties onderzoeksinstellingen --- Composition (Music) --- 78 <09> --- 78 <09> Muziekgeschiedenis --- Muziekgeschiedenis --- Composing (Music) --- Music --- Music composing --- Music composition --- Musical composition --- Concertante style --- Composition --- Electronic books --- Books in machine-readable form --- Digital books --- E-books --- Ebooks --- Online books --- Books --- Electronic publications --- Traktaten --- Methodes --- Compositie --- Compositieleer --- Compositietechnieken --- Composition (Musique) --- Philosophy. --- History and criticism. --- Philosophie. --- Histoire et critique.
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