Antoine Bonnet
Biographic Data
| ID | 3685186 |
|---|---|
| NAME | Antoine Bonnet |
| GIVEN NAMES | Antoine |
| FAMILY NAME | Bonnet |
| SIGNATURE | BONNET A |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1987 |
| LATEST PUBLICATION YEAR | 2007 |
| H-INDEX | 1 |
De l’idée à l’oeuvre
La transfiguration de quelques mesures de piano en un morceau pour grand orchestre fournit une bonne occasion de comprendre comment une petite idée musicale peut engendrer tout un univers sonore. Cet article montre comment Boulez crée la Notation I pour orchestre (1978) en composant l’aura de la Notation I pour piano (1945). La composition est réalisée à partir d’opérations déductives sur les caractéristiques structurelles des figures de piano, o…
La Musique et les sciences cognitives
Ecritureand perception
Today contemporary music must assume the divorce of compositional procedures and perception due to the loss of the principle of identification upon which tonal music was based. Hereafter, in the absence of any system of reference, the composer himself formalizes his material before realizing the score by figuration. The operations which underly the work are not necessarily audible and, above all, constitute a practical means by which the work is …
Ecritureand perception
Today contemporary music must assume the divorce of compositional procedures and perception due to the loss of the principle of identification upon which tonal music was based. Hereafter, in the absence of any system of reference, the composer himself formalizes his material before realizing the score by figuration. The operations which underly the work are not necessarily audible and, above all, constitute a practical means by which the work is …
Ecritureand perception
Today contemporary music must assume the divorce of compositional procedures and perception due to the loss of the principle of identification upon which tonal music was based. Hereafter, in the absence of any system of reference, the composer himself formalizes his material before realizing the score by figuration. The operations which underly the work are not necessarily audible and, above all, constitute a practical means by which the work is …
La Musique et les sciences cognitives
De l’idée à l’oeuvre
La transfiguration de quelques mesures de piano en un morceau pour grand orchestre fournit une bonne occasion de comprendre comment une petite idée musicale peut engendrer tout un univers sonore. Cet article montre comment Boulez crée la Notation I pour orchestre (1978) en composant l’aura de la Notation I pour piano (1945). La composition est réalisée à partir d’opérations déductives sur les caractéristiques structurelles des figures de piano, o…
Art (3 works) · Cultural Insights and Digital Impacts (2 works) · Cognitive science (1 work) · Computer Science (1 work) · Epistemology (1 work) · Historical and Literary Studies (1 work) · Humanities (1 work) · Linguistics (1 work) · Literature, Musicology, and Cultural Analysis (1 work) · Music and Audio Processing (1 work)