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Hydraulic organ --- Mechanical musical instruments --- 78 --- 78.47
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Robots --- Mechanical musical instruments --- Automata. --- Early works to 1800. --- Early works to 1800.
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Mechanical musical instruments --- Music --- History --- Philosophy and aesthetics --- Kaufmann, Friedrich, --- Automatic instruments (Music) --- Automatic musical instruments --- Automatophones --- Mechanical instruments (Music) --- Musical instruments (Mechanical) --- Musical instruments --- Kaufmann, Johann Friedrich, --- Mechanical musical instruments - Germany - History - 19th century --- Music - 19th century - Philosophy and aesthetics --- Kaufmann, Friedrich, - 1785-1866
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''Cet essai interroge la façon dont se sont articulées historiquement les relations entre la musique et la révolution industrielle, de façon générale, et entre les musiciens et les machines, de façon particulière. Du métronome au gramophone, en passant par les orchestres mécaniques ou par les premières diffusions téléphoniques de la musique, ce livre montre comment au XIXe siècle les techniques issues de la révolution industrielle affectent tout à la fois les interprètes (incités à rationaliser leur technique tout en cultivant l'expression), les auditeurs (invités à être galvanisés par des expériences" électriques ") et les compositeurs (qui, de Rossini à Wagner, en passant par Chopin ou Berlioz, ne cessent d'admirer et de redouter tout à la fois les mutations esthétiques nées du progrès technique). Emmanuel Reibel illustre ainsi comment les mutations technologiques du XIXe siècle font évoluer la réflexion sur ce qu'est la musique, sa composition et son interprétation, tout en reconfigurant le champ des valeurs associées à l'art. Ce faisant, il propose de penser le romantisme comme le négatif (au sens photographique du terme) de la révolution industrielle.''
Musique --- Musique et technologie --- Effets des innovations technologiques --- Music --- Music and technology --- Metronome --- Mechanical musical instruments --- Romanticism in music --- History --- Social aspects --- Philosophy and aesthetics. --- Economic aspects --- History and criticism. --- 78
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"From the mid-eighteenth century on, there was a logic at work in musical discourse and practice: human or machine. That discourse defined a boundary of absolute difference between human and machine, with a recurrent practice of parsing "human" musicality from its "merely mechanical" simulations. In Sounding Human, Deirdre Loughridge tests and traverses these boundaries, unmaking the "human or machine" logic and seeking out others, better characterized by conjunctions such as and or with. Sounding Human enters the debate on posthumanism and human-machine relationships in music, exploring how categories of human and machine have been continually renegotiated over the centuries. Loughridge expertly traces this debate from the 1737 invention of what became the first musical android to the creation of "sound wave instruments" by a British electronic music composer in the 1960s, and the chopped and pitched vocals produced by sampling singers' voices in modern pop music. From music-generating computer programs to older musical instruments and music notation, Sounding Human shows how machines have always actively shaped the act of music composition. In doing so, Loughridge reveals how musical artifacts have been-or can be-used to help explain and contest what it is to be human."
Mechanical musical instruments --- Music and technology --- Electronic music --- Music --- Popular music --- History. --- History and criticism. --- Performance --- Philosophy and aesthetics. --- Production and direction. --- Auto-tune (Computer file) --- Musique et technologie --- Musique électroacoustique --- Instruments de musique mécaniques --- Exécution (musique) --- Esthétique musicale. --- Composition (musique). --- Histoire. --- Philosophie.
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