Philippe Lalitte
Biographic Data
| ID | 1379045 |
|---|---|
| NAME | Philippe Lalitte |
| GIVEN NAMES | Philippe |
| FAMILY NAME | Lalitte |
| SIGNATURE | LALITTE P |
| AFFILIATIONS | Université de Bourgogne |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
L’anxiété de performance dans l’enseignement musical. Une revue de littérature
Comment les enseignants de musique pourraient-ils aider leurs élèves pour faire face aux aspects anxiogènes de la représentation en public ? L’objectif de cet article est d’apporter quelques éléments pour répondre à cette question. Il est important de considérer que la représentation en public est l’un des principaux aspects de la pratique musicale dès le début de l’apprentissage. Compte tenu de la forte prévalence de l’anxiété de performance mus…
Évolution de la durée et du tempo dans les enregistrements du Sacre du printemps d’Igor Stravinski de 1929 à 2019. Une cartographie des styles d’interprétation
Le Sacre du printemps constitue une oeuvre clé pour l’histoire de l’enregistrement et pour la musicologie de l’interprétation. Igor Stravinski considérait ses enregistrements comme établissant un modèle d’interprétation faisant autorité, mais c’est un fait connu qu’il ne respecte pas ses propres indications de tempo et fait un usage plus ou moins important du rubato. Ces incertitudes sur les tempi ont créé le doute et ont ouvert un espace de libe…
Temporality and Texture in the Performance of George Crumb’s Music for a Summer Evening
Music for a Summer Evening (Makrokosmos III, 1974) for two amplified pianos and percussion by George Crumb is one of the first works written after 1945 to use the same ensemble inaugurated by Béla Bartók in his Sonata for Two Pianos and Percussion. The aim of this article is to examine the relationship between temporality and texture in the performance of Music for a Summer Evening. The highly diversified textures in terms of colour and density, …
Influence of Regular Rhythmic Versus Textural Sound Sequences on Semantic and Conceptual Processing
Conceptual priming studies have shown that listening to musical primes triggers semantic activation. The present study further investigated with a free semantic evocation task, 1) how rhythmic vs. textural structures affect the amount of words evoked after a musical sequence, and 2) whether both features also affect the content of the semantic activation. Rhythmic sequences were composed of various percussion sounds with a strong underlying beat …
The Theories of Helmholtz in the Work of Varèse
International audience
Looking into the eyes of a conductor performing Lerdahl's “Time after Time”
The eye movements of a conductor were tracked during a performance of Lerdahl's “Time after time”. The analysis of the data revealed that, for most of the time, the conductor was looking at the score, rather than the performers. Most of the score-reading was in anticipation of the music to be played. Micro- and macro-anticipations could be defined, the former being between 2 to 5 seconds in advance, the later being more than 5 seconds in advance.…
Mártha Grabócz, direction éditoriale. Sens et signification en musique . Paris: Hermann Éditeurs, 2007
Conditions de possibilités d’une rhétorique formelle perçue
Conditions of Possibility of a Perceived Formal Rhetoric. Musical form has been considered by composers and music theorists, at least since the end of the XVIIIth century, as a main aspect of musical composition. Some theoretical views of musical forms, even its perceptive reality, are challenged by music psychologists. However, other data suggest that a representation in memory of large-scale structures is possible. This article proposes to asse…
No prominent works on this page.
Conditions de possibilités d’une rhétorique formelle perçue
Conditions of Possibility of a Perceived Formal Rhetoric. Musical form has been considered by composers and music theorists, at least since the end of the XVIIIth century, as a main aspect of musical composition. Some theoretical views of musical forms, even its perceptive reality, are challenged by music psychologists. However, other data suggest that a representation in memory of large-scale structures is possible. This article proposes to asse…
Mártha Grabócz, direction éditoriale. Sens et signification en musique . Paris: Hermann Éditeurs, 2007
Looking into the eyes of a conductor performing Lerdahl's “Time after Time”
The eye movements of a conductor were tracked during a performance of Lerdahl's “Time after time”. The analysis of the data revealed that, for most of the time, the conductor was looking at the score, rather than the performers. Most of the score-reading was in anticipation of the music to be played. Micro- and macro-anticipations could be defined, the former being between 2 to 5 seconds in advance, the later being more than 5 seconds in advance.…
The Theories of Helmholtz in the Work of Varèse
International audience
Influence of Regular Rhythmic Versus Textural Sound Sequences on Semantic and Conceptual Processing
Conceptual priming studies have shown that listening to musical primes triggers semantic activation. The present study further investigated with a free semantic evocation task, 1) how rhythmic vs. textural structures affect the amount of words evoked after a musical sequence, and 2) whether both features also affect the content of the semantic activation. Rhythmic sequences were composed of various percussion sounds with a strong underlying beat …
Évolution de la durée et du tempo dans les enregistrements du Sacre du printemps d’Igor Stravinski de 1929 à 2019. Une cartographie des styles d’interprétation
Le Sacre du printemps constitue une oeuvre clé pour l’histoire de l’enregistrement et pour la musicologie de l’interprétation. Igor Stravinski considérait ses enregistrements comme établissant un modèle d’interprétation faisant autorité, mais c’est un fait connu qu’il ne respecte pas ses propres indications de tempo et fait un usage plus ou moins important du rubato. Ces incertitudes sur les tempi ont créé le doute et ont ouvert un espace de libe…
Temporality and Texture in the Performance of George Crumb’s Music for a Summer Evening
Music for a Summer Evening (Makrokosmos III, 1974) for two amplified pianos and percussion by George Crumb is one of the first works written after 1945 to use the same ensemble inaugurated by Béla Bartók in his Sonata for Two Pianos and Percussion. The aim of this article is to examine the relationship between temporality and texture in the performance of Music for a Summer Evening. The highly diversified textures in terms of colour and density, …
L’anxiété de performance dans l’enseignement musical. Une revue de littérature
Comment les enseignants de musique pourraient-ils aider leurs élèves pour faire face aux aspects anxiogènes de la représentation en public ? L’objectif de cet article est d’apporter quelques éléments pour répondre à cette question. Il est important de considérer que la représentation en public est l’un des principaux aspects de la pratique musicale dès le début de l’apprentissage. Compte tenu de la forte prévalence de l’anxiété de performance mus…
Art (8 works) · Neuroscience and Music Perception (5 works) · Philosophy (5 works) · Humanities (4 works) · Musical (4 works) · Psychology (4 works) · Linguistics (3 works) · Literature (3 works) · Music Technology and Sound Studies (3 works) · Musicology and Musical Analysis (3 works)