Publications > Captations vidéo

Christophe Guillotel-Nothmann, CNRS, IReMus, France, “Introduction”. [DOI: 10.34847/nkl.cd12v4i0]

Discours d'ouverture

Daniel K L Chua, University of Hong Kong, China, “Epistemological Musings: An Object Lesson in Changing the Subject”. [DOI: 10.34847/nkl.e4f7w880]

Ariane Jeßulat, Universität der Künste Berlin, Germany, “The Language of the Conquerors: Music Theoretical Standards as Colonial Mimicry”. [DOI: 10.34847/nkl.50ff3455]

Nicolas Meeùs, Sorbonne Université, IReMus, France, “Music writing and analysis”. [DOI: 10.34847/nkl.debafw21]

Thomas Christensen, University of Chicago, USA, “Epistemologies of Music Theory: Yesterday and Beyond”. [10.34847/nkl.bd3fhd2p]

Session 1: L’analyse et la musicologie

Anna Yu Wang, Harvard University, USA, “Knowing Texture through Sociality”. [DOI: 10.34847/nkl.2eed7q78]

Jakob Uhlig, Philipps-Universität Marburg, Germany, “Analyzing Musical Analysis: A Case Study of the Reception of Chromatic Completion in the Works of Fritz Heinrich Klein and Nicolas Obouhow”. [DOI: 10.34847/nkl.f91dtz7x]

Adrien Malemprez, Université de Liège, Belgium, “L’exotisme musical cinématographique : méthodes d’analyse et problématiques”. [DOI: 10.34847/nkl.fb27vd5l]

Lennart Ritz, Georg-August-Universität Göttingen, Germany, “Sonic Traces: Analysis and Sound Recordings in Comparative Musicology”. [DOI: 10.34847/nkl.408cygsi]

Nidaa Abou Mrad, Antonine University, Lebanon, “Generative Grammar, Semiosis and Emotional Neurocognitive Evaluation of Musical Enunciation Relating to Modality”. [DOI: 10.34847/nkl.4ddenk11]

Session 2: L’analyse, ses méthodes et ses discours

Riccardo Castagnetti, University of Modena-Reggio Emilia, Italy, Harvard University, USA, “Between Example and Exemplar: 18 th-Century Music Analysis in Giambattista Martini and Giuseppe Paolucci”. [DOI: 10.34847/nkl.3b0a8033]

Philippe Lalitte, Sorbonne Université, IReMus, France, “Les outils audionumériques d’analyse du son et de la musique dans le cadre de l’analyse d’interprétations enregistrées : objectifs, méthodes et limitations”. [DOI: 10.34847/nkl.69depaz0]

Pierre Couprie, Université Paris-Saclay, Centre d’Histoire Culturelles, des Sociétés Contemporaines, France, “Les modes d’existence des objets numériques en analyse musicale : vers une musicologie contextuelle”.

Pablo Gómez Ábalos, Universidad de La Rioja, Escuela Superior de Música, de Alto Rendimiento, Spain, “Corporeal Music: A Theory of Three-Dimensional Analysis under the Concepts of Expressive Complex (EC) and Emotional Form (EF)”. [DOI: 10.34847/nkl.85bc23nr]

Lee Cannon-Brown, Harvard University, USA, “Analysis, Materialism, and Speculation”.

Session 3: L’analyse selon les cultures

Bassirima Kone, Université Félix Houphouët-Boigny, Ivory Coast, “Problématiques identitaire, fonctionnelle et analytique des musiques africaines du Bêrê au Coupé-Décalé”. [DOI: 10.34847/nkl.b95b38hz]

Sylvie Le Bomin, Sorbonne Université, IReMus, France, “To the Roots of Gabonese Musical Heritage”. [DOI: 10.34847/nkl.6e092is5]

Holy Razafindrazaka, Académie Nationale des Arts et de la Culture, Madagascar, “L’analyse selon les cultures, cas de Madagascar Analysis According to Cultures, the Case of Madagascar”. [DOI: 10.34847/nkl.932db4xf]

Martin Scherzinger, New York University, USA, “Meter, Africanized”. [DOI: 10.34847/nkl.cbdc9vul]

Chae-Lin Kim, Universität der Künste Berlin, Germany, “What is the Proper Way to Analyze Signed Music? Music in Deaf Culture”. [DOI: 10.34847/nkl.351b14y0]

Session 4: L’analyse et les théories

Netta Huebscher, University of Gothenburg, Sweden, “Invoking the Modal Nymph: the Emergence and Dissemination of the Concept of Modality in Swedish Folk Music”. [DOI: 10.34847/nkl.f8b7a188]

Corinne Frayssinet Savy, IReMus, France, “Rythme, silence, mouvement à la croisée épistémologique de l’ethnomusicologie et de l’anthropologie de la danse”. [DOI: 10.34847/nkl.8c6d1ngz]

Adam Filaber, McGill University, Canada, Sorbonne Université, IReMus, France, “Musical Syntax in the Context of Western Harmonic Theory”.

Sebastian Wedler, Utrecht University, Netherlands, “Making Worlds of Musical Time: Nelson Goodman, and the Epistemological Divide Between Schenkerian and Neo-Riemannian Theory”.

Stefano Mengozzi, University of Michigan, USA, “Theory, Analysis, History”. [DOI: 10.34847/nkl.d4dfs83z]

Session 5: L’analyse face aux traces, données et répertoires musicaux

Ron Cohen, University of Haifa, The Center for Middle Eastern Classical Music Jerusalem, Israel, “Formalizing the Unformalized: a Case Study in Hindustani Music Towards a Theory of Voice Leading Assisted by MIR Tools”. [DOI: 10.34847/nkl.8ee6633m]

Jean-François Goudesenne, CNRS, IRHT, France, “Analyses apologétiques de quelques chefs-d’œuvre « grégoriens » : quelle résistance face aux données archéo-philologiques d’une genèse par réécritures successives ?”. [DOI: 10.34847/nkl.73d4u6dc]

Richard Freedman, Haverford College, USA, Philippe Vendrix, CNRS, CESR, France, “What Can We Teach Machines about Renaissance Counterpoint, and What Can They Teach Us about Analysis?”. [DOI: 10.34847/nkl.d7e5224d]

Antoine Petit, Université Lyon 2, France, “The Best of Both Worlds: On Continuous Ontologies, Mixed Methodologies, and Regaining What Is Lost in (Popular) Music Analysis”. [DOI: 10.34847/nkl.ddeal3bj]

Olivier Lartillot, University of Oslo, RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Norway, “Towards a Comprehensive Modelling Framework for Computational Music Transcription/Analysis”. [DOI: 10.34847/nkl.b22baj19]

Jonathan Goldman, Christophe Guillotel-Nothmann et participants, “Discussion finale”. [DOI: 10.34847/nkl.b2ea593n]