La synthèse pour par modèles physiques propose une approche à de la création musicale alternative à de celui celle plus habituelle du traitement du signal. En prenant en considération le phénomène musical comme un unicum émergeant de l'interaction entre le musicien et les instruments à sa disposition, on expérimente et donne corps phénoménologique et sensible aux actions créatrices.En ne considérant pas comme entités distinctes la matière sonore et la structure musicale, on oriente les potentialités de l'ordinateur et crée une dialectique originale et féconde entre le formel (structurel) et le perceptif (cognitif).Le champ d'action envisagé dans cette thèse concerne le développement, la formalisation et la catégorisation des modèles physiques réalisés à l’aide du formalisme CORDIS-ANIMA de structures - créées par modélisation physique - utiles pour la composition musicale, dans la perspective de mettre en évidence la fonction de formalisation musicale associée portée au par ce paradigme. de simulation par modèle physique CORDIS-ANIMA.Le point de départ est ma pratique personnelle de près de 20 années, en tant que compositeur, avec le logiciel de création sonore GENESIS du laboratoire ACROE-ICA. Cette pratique, à travers des travaux à la fois scientifiques (en modélisation) et artistiques (en composition musicale), m'a conduit à considérer cet environnement non pas comme un synthétiseur, mais comme un instrument " organique " permettant de créer une composition musicale complète couvrant les trois échelles de catégorisation usuelle de l'acoustique et de la musique : micro-formelle (le timbre, l'harmonie, l'orchestration), mezzo-formelle (le rythme, la mélodie et les séquences / structures harmoniques de premier niveau) et macro-formelle (la structure harmonique de niveau supérieur, le schéma formel de la composition complète).L'objectif ne consiste pas à proposer le cadre d'une "nouvelle musique" ou d'une nouvelle esthétique, mais à "bien tempérer" les instruments pour une nouvelle pratique de la création musicale explorant et exploitant au mieux les potentialités de l'ordinateur et des technologies numériques, aussi dans la direction d'un élargissement de la dialectique instrumentalité - écriture musicale vers une "supra instrumentalité" [Cadoz6] et vers des perspectives "post-scriptiques" de la création musicale [Cadoz7]. / Physical model synthesis offers an approach to composition alternative to the more usual signal processing. Considering the musical phenomenon as a "unicum" emerging from the interaction between the musicians and their instruments the physical model synthesis realizes and gives phenomenological and sensitive corporeality to the creative actions. By conceiving not as separate entities sound material and musical structure directs the potentialities of the computer and creates an original and fruitful dialectic between the formal (structural) and perceptual (cognitive).The sphere of action for my PhD concerns the development, formalisation and categorisation of structural models – created by physical modelling – useful for musical composition in the perspective to highlight the musical formalisation function associated with the CORDIS-ANIMA physical model simulation paradigm.The starting point for this work is 20 years of personal use as a composer, of the GENESIS physical model musical creation software developed by the ACROE-ICA laboratory.This experience has led me, through works both scientific (modelling) and artistic (music composition), to consider this environment not as a synthesis tool, but as a complex instrument, which allows to create a complete musical composition covering all three usual categories of acoustics and music: micro-formal (the tone, harmony, orchestration), mezzo-formal (the rhythm, melody, and the basic sequences/harmonic structures) and macro-formal (the higher level harmonic structure, the formal outline of the entire composition).My goal is not to propose the framework of a new music or a new aesthetic, but develop "well-tempered" instruments for a new practice of music creativity that explores and accomplishes better the potentialities of computer and digital technology. This also leads in the direction of broadening the dialectic instrumentality - writing music to a "supra instrumentality" [Cadoz6] and to post-scriptic outlook on musical creation [Cadoz7].

Recognizing the challenges small groups have to program a major work, in 2010, Joachim Linckelmann created a chamber ensemble arrangement of Johannes Brahms's "Ein deutsches Requiem." In 1869, J.M. Reiter-Biedermann published Brahms's four-hand piano arrangement of "Ein deutsches Requiem." Brahms's arrangement serves as an excellent comparison to the chamber ensemble version by Linckelmann, since it can be assumed that Brahms chose to highlight and focus on the parts he deemed the most important. This study was a comparative analysis of the two arrangements and was completed in three stages. The first stage documented every significant change in Joachim Linckelmann's recent chamber arrangement. The second stage classified each change as either a reduction, reorganization, or elimination. The final stage of the analysis was to compare the choices made by Linckelmann to those made by Brahms. The results show that Linckelmann's choices for reduction, reorganization, and elimination closely align with those of Brahms. The only differences between the arrangements can be attributed to Linckelmann's focus on retaining the original orchestral timbre and Brahms's focus on providing the original vocal parts.

En ocasiones, el cine es más valorado, comentado y criticado por su contenido visual, el avance tecnológico para su uso en efectos visuales y calidad de cámaras ha hecho casi inevitable dejar de lado los elementos sonoros de una película. Entonces, a raíz de esto surgen las siguientes preguntas: ¿El sonido es importante en una película? ¿Puede el sonido jugar con nuestra percepción? ¿La música nos cuenta sobre la historia y los personajes? ¿los instrumentos musicales usados son escogidos bajo algún criterio específico? Ahora hay una simple respuesta para todas estas preguntas y es: sí, pero para aprenderlo tendremos que profundizar en algunos temas, conceptos y análisis. Por lo tanto, la presente investigación tiene como objetivo examinar y dar a conocer las formas en las que el sonido y la música actúan dentro de la película Retablo del director Álvaro Delgado Aparicio, y como estas pueden llegar a manipularnos para que veamos y sintamos lo que el director quiere que veamos y sintamos. Con respecto a la metodología, se ha realizado un mapeo de autores que se relacionan directamente a las categorías estudiadas; con el fin de recopilar datos para poder construir la presente investigación. Asimismo, se hizo un análisis de la misma película Retablo usando tablas de análisis de contenido. Finalmente, los resultados obtenidos fueron que la música y el sonido cumplen un rol muy importante dentro de la narrativa fílmica, ya que nos revelan sobre el acontecimiento que se dará en una escena, acentúan la carga emotiva-expresiva de una escena, ayudan a perfilar el trayecto visual, nos revelan la emoción que siente un personaje y dan soporte a la metatextualidad. / Sometimes, cinema is more valued, commented and criticized for its visual content, the technological advance for its use in visual effects and camera quality has made it almost inevitable to leave aside the sound elements of a film. So, because of this, the following questions arise: Is sound important in a film? Can sound play with our perception? Does music tell us about the story and the characters? By identifying the musical language can we know what a film is about? Are the musical instruments used chosen under any specific criteria? Now there is a simple answer to all these questions, and it is: yes, but to learn it we will have to go deeper into some topics, concepts and analysis. Therefore, the present research aims to examine and make known the ways in which sound and music act within the film Retablo by director Álvaro Delgado Aparicio, and how they can manipulate us to see and feel what the director wants us to see and feel. Regarding the methodology, a mapping of authors that are directly related to the categories studied was carried out in order to collect data to build this research. Likewise, an analysis of the film Retablo was made using tables of content analysis. Finally, the results obtained were that music and sound play a very important role in the film narrative, since they reveal the event that will take place in a scene, accentuate the emotional-expressive charge of a scene, help to outline the visual path, reveal the emotion that a character feels and support the metatextuality. / Trabajo de investigación

The dissertation consists of four recitals: repertoire consisting of solo compositions, music for clarinet alone, chamber music, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The D Major Clarinet Concerto by Theodor von Schacht, discusses background for the development of the clarinet in different pitches and gives pertinent bibliographical and historical information on the life and works of Theodor von Schacht. A formal and stylistic analysis is then followed by a short discussion of the problems involved in the transcription and performance of the work: possibly the first solo concerto ever written for the clarinet in A. The lecture concludes with the first performance of The D Major Clarinet Concerto for clarinet in A with orchestral accompaniment reduced for piano.

Born April 2, 1873, on the estate of Oneg in the province of Novgorod, Russia, Sergei Vassilyvitch Rachmaninoff was the fifth of the six children of Vassili and Lyoubov Boutakova Rachmaninoff. Rachmaninoff's aristocratic descent was traced to the Hospodars Dragosh, rulers of the realm of Molday from the fourteenth to the sixteenth century. One of the daughters from this family had married a son of the Grand Duke Ivan III of Moscow. The son's nephew was named Rachmanin, and from this source the family name originated.1 Rachmaninoff's mother was the daughter of a general, head of Araktcheyev Military College in Novgorod and the owner of a number of estates in the district. It was with a dowry of five of these estates that Lyoubov Boutakova married Vassili Rachmaninoff, and on one of these estates, Oneg, the couple settled down to married life.

This study examines the relationship between sonnet form and musical form in Benjamin Britten's sonnet cycles with a view toward identifying the musico-poetic form how the musical form interprets the poetry. Several issues come to the fore: 1) articulation of the large-scale divisions of the poetic form in the music; 2) potential of the musical setting to make connections between lines of the text ; 3) potential of the musical setting to follow or imitate the thought processes of the poem; and 4) placement of the departure and return.

The purpose of this study is to show interrelationships between the thematic contents of those piano works by Alkan that are considered to be representative of his general style and the more commonly used melodic phrases taken from the Jewish Synagogue, mainly prayer chants and accents. An attempt will be made to point out the reason behind consequent unacceptable of Alkan's piano works, despite the efforts of Busoni, d'Albert, and Lewenthal to bring them to public attention. The results of this investigation are presented in a systematic analysis and discussion of Jewish prayer-chants and their structure traceable within Alkan's music and in a presentation in table form of the Jewish accents found among Alkan's melodies. After consideration of the outcome of analysis, elements which are known to be European are also presented. These are mainly keyboard virtuousity and harmony and secondarily, form and rhythm. In this section, Robert Schumann's opinions of Alkan's music are quoted and discussed. Because Schumann's ideas carried into the twentieth century, this gave opportunity for a re-evaluation of the lack of musical beauty inherent in Alkan's music.

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[ES] En los últimos años, es habitual encontrarnos con investigaciones artísticas que, en el ámbito de la interpretación musical, tienen como última consecuencia recoger el resultado performativo en soporte digital. Sin embargo, una gran parte lo hace situando tal registro audiovisual como algo subsecuente, un fin ulterior sin conexión directa con la materia estudiada o los resultados obtenidos. Los trabajos de investigación que orientan así su enfoque, devuelven un resultado audiovisual desvinculado de los parámetros que han sido objeto del estudio, eludiendo las enormes capacidades semánticas y sintácticas que podría incluir el hecho audiovisual en sí y el consecuente fenómeno de difusión de la obra en redes digitales. Esta investigación se orienta hacia la búsqueda de mecanismos eficaces que hagan converger el estudio y el análisis de una obra contemporánea con el registro y difusión de la misma, procurando acercar al espectador a la mayor parte de las aristas que conforman la obra, al mismo tiempo y de modo que dicho procedimiento se sitúe además como eje fundamental y herramienta de futuras investigaciones, para el montaje y registro audiovisual de cualquier obra. Con nuestra investigación buscamos dar un giro de ciento ochenta grados, en donde el procedimiento del análisis y de la investigación es el fin, dejando por el camino un resultado de manera colateral o como parte del fin, pero en ningún momento es únicamente ese objetivo. Se intenta trasponer el análisis desde el punto de vista perfomativo hacia un resultado que será plasmado en un registro audiovisual, de este modo, la concepción y factura de dicho registro se extraerá a partir de un análisis profundo en materias histórico, estético y estructural (formas, etc). Además, se llevará un proceso de realización mediante la utilización de diferentes planos visuales que lo situará en una posición diferenciada respecto a aquellas otras investigaciones. Todo ello, intentando que el análisis esté estrechamente relacionado con la interacción con la cámara, mostrando aquello que el compositor quería destacar en cada momento, y llevándolo a la pantalla final de manera que el discurso musical tenga la congruencia que se merece. En definitiva, se pretende que el proceso nos acerque un poco más al punto de vista del compositor, intentando averiguar y deducir qué cuestiones se deben destacar y, además, cuándo y cómo. / [CA] En els últims anys, és habitual trobar-nos investigacions artístiques que, en l'àmbit de la interpretació musical, tenen com a última conseqüència recollir el resultat performatiu en suport digital. No obstant això, una gran part ho fa situant al registre audiovisual com una cosa subseqüent, una fi ulterior sense connexió directa amb la matèria estudiada o els resultats obtinguts. Els treballs de recerca que orienten així el seu enfocament, retornen un resultat audiovisual desvinculat dels paràmetres que han sigut objecte de l'estudi, eludint les enormes capacitats semàntiques i sintàctiques que podria incloure el fet audiovisual en si, i el conseqüent fenomen de difusió de l'obra en xarxes digitals. Aquesta investigació s'orienta cap a la cerca de mecanismes eficaços que facen convergir l'estudi i l'anàlisi d'una obra contemporània amb el registre i difusió d'aquesta, procurant acostar a l'espectador a la major part de les arestes que conformen l'obra, al mateix temps i de manera que, aquest procediment se situe a més com a eix fonamental i eina de futures investigacions, per al muntatge i registre audiovisual de qualsevol obra. Amb la nostra investigació, pretenem donar un gir de cent huitanta graus, on el procediment de l'anàlisi i de la investigació és l'objectiu, deixant pel camí un resultat de manera col·lateral o com a part del procés, però en cap moment és únicament aqueix el motiu principal. S'intenta transposar l'anàlisi des del punt de vista performatiu cap a un resultat que serà plasmat en un registre audiovisual; així, la concepció i la factura d'aquest registre s'extraurà a partir d'una anàlisi profunda en aspectes històrics, estètics i estructurals (formes, etc). A més, s'aplicarà un procés de realització mitjançant la utilització de diferents plans visuals que el situarà en una posició diferenciada respecte d'altres investigacions. Tot això, intentant que l'anàlisi estiga estretament relacionat amb la interacció amb la càmera, mostrant allò que el compositor volia destacar en cada moment, i portant-ho a la pantalla final de manera que el discurs musical tinga la congruència que es mereix. En definitiva, es pretén que el procés ens acoste una miqueta més al punt de vista del compositor, intentant esbrinar i deduir quines qüestions s'han de destacar i, a més, quan i com. / [EN] In recent years, it's common to find artistic research that, in the field of musical interpretation, has the final result to collect the music performance in digital support. However, most of them do so by placing the audiovisual record as something subsequent, an farther end without direct connection to the subject matter studied or the results obtained. The research works that thus guide their approach, return an audiovisual result unrelated to the parameters that have been the object of the study, avoiding the huge semantic and syntactic skills that the audiovisual event itself, and the consequent phenomenon of diffusion of the work in digital networks. This research is oriented towards the seek for effective mechanisms that make the study and analysis of a contemporary work converge with its recording and dissemination, trying to bring the viewer closer to most of the edges that make up the work, at the same time and so that this process is also positioned as a fundamental axis and tool for future research, for the audiovisual montage and recording of any work. With this research we seek to turn the approach around, regarding the analysis and investigation procedure as a goal, obtaining collaterally one result, but not as the only or main goal. An attempt is made to bring the analysis from the perfomative point of view to a result that will be reflected in an audiovisual record. This way, the concept of this recording will be fed from a deep analysis in historical, aesthetic and structural matters (forms , etc). Furthermore, a full process of audiovisual production will be carried out through the use of different visual shots that aim to differenciate this research from the aforementioned ones. At all times is intended that the analysis is closely related to the interaction with the camera, showing what the composer wanted to highlight at each section or moment, and taking the visual discourse to the final shot so that the combination of the musical development and the visual path have the congruence it deserves. To sum up, it is intended that the process brings us a little closer to the composer's point of view, trying to find out and deduce what issues should be highlighted, and also when and how. / Orero García, MÁ. (2021). Eight Pieces for Four Timpani de Elliott Carter: Procedimientos en la documentación y difusión en medios digitales basados en la experiencia de concierto [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/162114