Percepción

Disciplinas de Estudio [DdE]

 > 

Psicología de la Música

 ]

El reconocimiento consciente y la interpretación de un estímulo sensorial.

(Fuente: http://www.academicpress.com/inscight/07131998/percept1.htm)

 

Links

UNESCO DigiArts

- Digital Music online course: Essay in 12 Paragraphs - Sounds of the brain ( English )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-120 | 121-159 | >> 60 next

Alcázar Aranda, Antonio (2006). Analyse de la musique électroacoustique, genre acousmatique, à partir de son écoute : bases théoriques, méthodologie et but de la recherche, conclusions
Arfib, D., Coutrurier, J. N., Kessous, L., Verfaille, V. (2002). Strategies of Mapping between Gesture Data and Synthesis Model Parameters Using Perceptual Spaces
Atkinson, Simon (2007). Interpretation and musical signification in acousmatic listening
Banks, Joe (2002). The Sea Mists of Winter: A Report on the Role of Acoustic Factors in Human Spatial Perception
Bayle, François (1991). Mi-lieu
Bayle, François (1995). Musique acousmatique. Diabolus in Musica ?
Bayle, François (1999b). Penser le son aujourd’hui
Bayle, François (2006). Une logique de sensations
Belkin, Alan (1988). Orchestration, Perception, and Musical Time: A Composer’s View
Blesser, Barry, Salter, Linda-Ruth (2006). Spaces Speak, Are You Listening? Experiencing Aural Architecture
Boeswillwald, Pierre (2000). “Autres temps; autre temps” ou le temps et les arts sonores électroacoustiques
Bonardi, Alain (2003). Geste lyrique versus geste interactif. Exemple de l’opéra interactif {Alma Sola}
Bregman, Albert S. (1993). Auditory Scene Analysis: Hearing in Complex Environments
Bruckert, Jacqueline (2001). Le message schaefferien and les CFMI
Caesar, Rodolfo (2006). Un peu de tout entre l’analyse, l’écoute et la composition
Castanet, Pierre-Albert (2001a). Voyages en Nouvelles Atlantide
Charles, Daniel (1991). Michel Redolfi : musique et profondeur
Chion, Michel (1998). Le son
Clarke, Eric (1997). Perception and Critique: Ecological Acoustics, Critical Theory and Music
Clozier, Christian (1996b). Analysis in Electroacoustic Music
Collins, Nick (2002c). Impossible Music
Cook, Perry (Ed.) (2001b). Music, Cognition and Computerized Sound: An Introduction to Psychoacoustics
Copeland, Darren (1998). Vers une conscience d’associations/For An Awareness Of Associations
Corino, Gianni, Miranda, Eduardo Reck (2003). Digital Music: online tutorials on computer music
Dalmonte, Rossana, Baroni, Mario (eds.) (1992). Secondo convegno europeo di analisi musicale. Università degli studi di Trento (Second European conference on music analysis. University of Trento)
DEAN, Roger T., BAILES, Freya (2007). ‘Human understanding’ in imagining and organising sound: some implications of John Locke’s Essay for ecological, cognitive and embodied approaches to composition
Delalande, François (1985). Perception des sons et perception des œuvres
Delalande, François, Dessy, Jean-Paul, Franck, Philippe (2003). De Schaeffer au Djing : nouvelles pratiques, nouvelles écoutes
Delalande, François, Iger, Anne-Claude (2002). Entretiens avec François Delalande
Duchenne, Jean-Marc (1998). Pour un art des sons vraiment fixés
Dufour, Denis, Prager, Jonathan, Baudoux, Roald (1991). Les espaces de l’extase
Emmerson, Simon (1998b). Aural Landscape: Musical Space
Emmerson, Simon (2000c). Time Regained
Field, Ambrose (2000). Simulation and Reality: The New Sonic Objects
Fort, Bernard (1990). De l’acousmatique à la plastique sonore
Freire, Sérgio (2003). Early Musical Impressions from Both Sides of the Loudspeaker
Gaudin, jean-Yves (1988). Pédagogies nouvelles pour nouvelles technologies... ?
Gérando, Stéphane de, Risset, Jean-Claude (2003). À propos de l’œuvre pour bande seule de Jean-Claude Risset
Gérando, Stéphane de, Risset, Jean-Claude (2004). À propos de l’œuvre pour bande seule de Jean-Claude Risset
Grintsch, Jan Simon (2006). La fonction perceptive de l’espace composé dans l’œuvre de François Bayle
Guerin, François (1991). Un espace mental à favoriser
Harvey, Lawrence (2000). The Occupation of Space; {Sound Sites}
Hawkins, Scott (2002). Wudu
Hoopen, Christiane ten (1994a). Issues in Timbre and Perception
Hoopen, Christiane ten (1994b). The music of François Bayle from one listener’s point of view: re-presentation versus representation
Keane, David (1986). At the Threshold of an Aesthetic
Keller, Damián (2000). Compositional Processes from an Ecological Perspective
Keller, Damián, Capasso, Ariadna (2006). New concepts and techniques in eco-composition
Kupper, Léo (2003). Musiques imaginaires, musiques méta-réelles, musiques matérielles
Küpper, Léo (1998). Expérimentations et prospections
Küpper, Leo (2000). Le temps audio-numérique
Labelle, Brandon (2006). Phantom Music: radio, memory, and narratives from auditory life
Lemaître, Dominique (1987). Vous avez dit acousmatique
Link, Stan (2001). The Work of Reproduction in the Mechanical Aging of an Art: Listening to Noise
Malham, David G. (2001). Toward Reality Equivalence in Spatial Sound Diffusion
Mary, Mario (2006). L’orchestration électroacoustique. Une approche particulière à la composition électroacoustique. Ses liens avec la musique instrumentale et ses applications dans le domaine de l’analyse musicale
Merlier, Bertrand (1998). À la conquête de l’espace
Meston, Olivier (2003). Jean-Claude Risset et les nouvelles technologies musicales: l’ordinateur, maître-mot
Milicevic, Mladen (1998). Deconstructing Musical Structure
Milicevic, Mladen (1999a). Aesthetics of Designing an Adaptive Fuzzy System for Evaluation of the Computer Music

 

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