Nicolas Meeùs
Biographic Data
| ID | 1379526 |
|---|---|
| NAME | Nicolas Meeùs |
| GIVEN NAMES | Nicolas |
| FAMILY NAME | Meeùs |
| SIGNATURE | MEEÙS N |
| AFFILIATIONS | Paris-Sorbonne University |
| VERIFIED | No |
| TOTAL WORKS | 21 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 21 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1987 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Qu’est-ce qu’un savart
Heinrich Schenker: Une Conscience Sémiotique À Propos De Der Geist Der Musikalischen Technik (1895)
Der Geist der musikalischen Technik est le premier ouvrage théorique important de Schenker, qui y montre que les techniques musicales façonnent la conscience et la sensibilité. C’est une réflexion sur les rapports entre la musique et le langage qui nourriratous ses travaux ultérieurs et qui présage des réflexions sur la sémiotique générale du xxe siècle. L’article qui suit en examine les deux points principaux. Le premier, l’importance en musique…
Heinrich Schenker: Uma Consciência Semiótica Sobre Der Geist Der Musikalischen Technik (1895)
Tradução do original francês. HEINRICH SCHENKER- Une conscience sémiotique a propos de Der Geist der musikalischen Technik de Meeùs, NICOLAS. Universidade Sorbonne – IReMu, publicado na Acta Semiotica et Lingvistica – Vol 28 – No 1 – Ano 47 (2023). Der Geist der musikalischenTechnik é o primeiro grande trabalho teórico de Schenker que mostra como as técnicas musicais moldam a consciência e a sensibilidade. É uma reflexão sobre a relação entre mús…
Prolongation
The article evidences and documents the differences in meaning between the English term "prolongation", the German Prolongation, and Schenker's own understanding of the term. It stresses that, for Schenker, the word describes the organic relation from Ursatz to foreground, a relation in the "depth" of the work, while in English it denotes the extension in time of a harmonic or melodic event. The English understanding of "prolongation" is not ille…
Harmonic Vectors and the Constraints of Tonality
The theory of harmonic vectors (THV) rests on the hypothesis that tonal functions result from root progressions, not the reverse: it is a transformational theory of the tonal harmonic process. The article discusses three interconnected constraints: the asymmetry of progressions, their limitation to the diatonic span, and the affirmation of the tonic
Schenker's Fließender Gesang and the Concept of Melodic Fluency
The concept of melodic fluency is considered today an important one in Schenkerian theory. William Pastille (1990:71-72) shows that this notion, first presented in the first volume of Counterpoint, initiated the development of the Ursatz concept. The knowledge of the principle of melodic fluency, he adds, affords two abilities: "the ability to uncover long-range melodic motions and the ability to reveal underlying contrapuntal patterns", which "b…
Vetores harmônicos: Ensaio de uma sistemática das progressões harmônicas
Apresenta-se aqui uma versão em português daquele que é considerado por seu autor, o musicólogo belga Nicolas Meeùs (1944-), como o ensaio fundador da teoria dos vetores harmônicos. O texto foi originalmente publicado em francês em 1988 pela revista Fascicules d'Analyse Musicale e, na presente tradução, recebe alguns adendos e comentários. Neste ensaio, Meeùs retoma o debate acerca da classificação das progressões harmônicas, revisa a argumentaçã…
Notations modales au seizième siècle
Tonalité immanenté, tonalite manlfestee Quelques ré flexions à propos de Tonal Pitch Space de Fred Lerdahl
La théorie de Tonal Pitch Space, contrairement à d'autres theories spatiales de la tonalité, est une théorie du systeme tonal plutôt que du discours tonal. L'espace décrit et les distances qu'on peut y mesurer sont precompositionnelles; les contraintes de type fonctionnel qui peuvent regir les deplacements” dans l'espace ne sont pas reellement considerees parce qu'elles n'appartiennent pas au niveau du systeme immanent. D'autres theories au contr…
Musical Articulation
Keyboard
Enharmonic keyboard
La partition
Fonctions modales et qualités systémiques
Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions
Schoenberg appears to have been among the first authors to revive Rameau's theory of fundamental bass progressions. His categorization of the progressions in three categories ("strong or ascending," "descending," and "superstrong") can be further systematized on the basis of a theory of chord substitutions. A study of the use of the progressions so categorized allows a general description of harmonically well-formed tonal phrases. A comparison wi…
Music Theory and Analysis in France and Belgium
The organizers of the forthcoming Fourth European Congress for Music Analysis decided to devote one of its sessions to European traditions and usages concerning theory and analysis. Some of my ideas on this topic are developed, with special reference to societies for analysis, journals, music education, and the reception of Schenker in France
Heinrich Schenker: Une introduction
L'Écriture libre, I. Textes
A semiotic approach to music
The purpose of this paper is to sketch a semiotic approach to music that avoids relying on linguistic models. Peirce's triadic description of the sign is drawn into a landscape in which any sign is viewed as a node in a latent network of potential intersemic relationships. Whenever a sign is uttered, in speech or in musical performance, it activates an area of the emitter's and the receiver's semiotic network; the felicity of the exchange depends…
Instruments de musique anciens a Bruxelles et en Wallonie: 17E-20e Siecles
Brochure organisee en deux parties. La premiere retrace en sept chapitres l’evolution de la facture instrumentale a Bruxelles et en Wallonie du moyen âge a nos jours. La seconde partie est consacree a la description de 117 instruments exposes au Centre du Botanique a Bruxelles qui illustrent ces etapes de la chronologie. Les collaborateurs scientifiques du Musee instrumental ont collabore au catalogue et a la mise en place de l’Exposition tenue d…
Dictionnaire des facteurs d'instruments de musique en Wallonie et à Bruxelles du 9e siècle à nos jours
Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions
Schoenberg appears to have been among the first authors to revive Rameau's theory of fundamental bass progressions. His categorization of the progressions in three categories ("strong or ascending," "descending," and "superstrong") can be further systematized on the basis of a theory of chord substitutions. A study of the use of the progressions so categorized allows a general description of harmonically well-formed tonal phrases. A comparison wi…
Musical Articulation
Instruments de musique anciens a Bruxelles et en Wallonie: 17E-20e Siecles
Brochure organisee en deux parties. La premiere retrace en sept chapitres l’evolution de la facture instrumentale a Bruxelles et en Wallonie du moyen âge a nos jours. La seconde partie est consacree a la description de 117 instruments exposes au Centre du Botanique a Bruxelles qui illustrent ces etapes de la chronologie. Les collaborateurs scientifiques du Musee instrumental ont collabore au catalogue et a la mise en place de l’Exposition tenue d…
Dictionnaire des facteurs d'instruments de musique en Wallonie et à Bruxelles du 9e siècle à nos jours
A semiotic approach to music
The purpose of this paper is to sketch a semiotic approach to music that avoids relying on linguistic models. Peirce's triadic description of the sign is drawn into a landscape in which any sign is viewed as a node in a latent network of potential intersemic relationships. Whenever a sign is uttered, in speech or in musical performance, it activates an area of the emitter's and the receiver's semiotic network; the felicity of the exchange depends…
Heinrich Schenker: Une introduction
L'Écriture libre, I. Textes
Music Theory and Analysis in France and Belgium
The organizers of the forthcoming Fourth European Congress for Music Analysis decided to devote one of its sessions to European traditions and usages concerning theory and analysis. Some of my ideas on this topic are developed, with special reference to societies for analysis, journals, music education, and the reception of Schenker in France
Fonctions modales et qualités systémiques
Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions
Schoenberg appears to have been among the first authors to revive Rameau's theory of fundamental bass progressions. His categorization of the progressions in three categories ("strong or ascending," "descending," and "superstrong") can be further systematized on the basis of a theory of chord substitutions. A study of the use of the progressions so categorized allows a general description of harmonically well-formed tonal phrases. A comparison wi…
Keyboard
Enharmonic keyboard
La partition
Musical Articulation
Tonalité immanenté, tonalite manlfestee Quelques ré flexions à propos de Tonal Pitch Space de Fred Lerdahl
La théorie de Tonal Pitch Space, contrairement à d'autres theories spatiales de la tonalité, est une théorie du systeme tonal plutôt que du discours tonal. L'espace décrit et les distances qu'on peut y mesurer sont precompositionnelles; les contraintes de type fonctionnel qui peuvent regir les deplacements” dans l'espace ne sont pas reellement considerees parce qu'elles n'appartiennent pas au niveau du systeme immanent. D'autres theories au contr…
Notations modales au seizième siècle
Schenker's Fließender Gesang and the Concept of Melodic Fluency
The concept of melodic fluency is considered today an important one in Schenkerian theory. William Pastille (1990:71-72) shows that this notion, first presented in the first volume of Counterpoint, initiated the development of the Ursatz concept. The knowledge of the principle of melodic fluency, he adds, affords two abilities: "the ability to uncover long-range melodic motions and the ability to reveal underlying contrapuntal patterns", which "b…
Vetores harmônicos: Ensaio de uma sistemática das progressões harmônicas
Apresenta-se aqui uma versão em português daquele que é considerado por seu autor, o musicólogo belga Nicolas Meeùs (1944-), como o ensaio fundador da teoria dos vetores harmônicos. O texto foi originalmente publicado em francês em 1988 pela revista Fascicules d'Analyse Musicale e, na presente tradução, recebe alguns adendos e comentários. Neste ensaio, Meeùs retoma o debate acerca da classificação das progressões harmônicas, revisa a argumentaçã…
Harmonic Vectors and the Constraints of Tonality
The theory of harmonic vectors (THV) rests on the hypothesis that tonal functions result from root progressions, not the reverse: it is a transformational theory of the tonal harmonic process. The article discusses three interconnected constraints: the asymmetry of progressions, their limitation to the diatonic span, and the affirmation of the tonic
Prolongation
The article evidences and documents the differences in meaning between the English term "prolongation", the German Prolongation, and Schenker's own understanding of the term. It stresses that, for Schenker, the word describes the organic relation from Ursatz to foreground, a relation in the "depth" of the work, while in English it denotes the extension in time of a harmonic or melodic event. The English understanding of "prolongation" is not ille…
Heinrich Schenker: Une Conscience Sémiotique À Propos De Der Geist Der Musikalischen Technik (1895)
Der Geist der musikalischen Technik est le premier ouvrage théorique important de Schenker, qui y montre que les techniques musicales façonnent la conscience et la sensibilité. C’est une réflexion sur les rapports entre la musique et le langage qui nourriratous ses travaux ultérieurs et qui présage des réflexions sur la sémiotique générale du xxe siècle. L’article qui suit en examine les deux points principaux. Le premier, l’importance en musique…
Heinrich Schenker: Uma Consciência Semiótica Sobre Der Geist Der Musikalischen Technik (1895)
Tradução do original francês. HEINRICH SCHENKER- Une conscience sémiotique a propos de Der Geist der musikalischen Technik de Meeùs, NICOLAS. Universidade Sorbonne – IReMu, publicado na Acta Semiotica et Lingvistica – Vol 28 – No 1 – Ano 47 (2023). Der Geist der musikalischenTechnik é o primeiro grande trabalho teórico de Schenker que mostra como as técnicas musicais moldam a consciência e a sensibilidade. É uma reflexão sobre a relação entre mús…
Qu’est-ce qu’un savart
Art (11 works) · Philosophy (9 works) · Musicology and Musical Analysis (8 works) · Computer Science (7 works) · Linguistics (6 works) · Music Technology and Sound Studies (5 works) · Musical (5 works) · Literature (4 works) · Mathematics (4 works) · Psychology (4 works)