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By analyzing the correlations between musicians' individual decisions and listeners' segmentation points, we discuss how the improvisation's form emerges from the improvisers' individual behaviors. More Info: Author Version.


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Co-authored with Nicolas B. Journal of New Music Research, Vol. Improvisation et Enregistrement more. There is an obvious conceptual tension between improvisation — a vanishing, unique, processual and spontaneous activity, which strongly depends on its production context — and recording — an enduring and material artifact, repeatable, There is an obvious conceptual tension between improvisation — a vanishing, unique, processual and spontaneous activity, which strongly depends on its production context — and recording — an enduring and material artifact, repeatable, multiply-instantiable, which can be listened to in any context whatsoever.

By determining how recordings relate to improvised performances and by examining the role that recordings play in improvised musical practices, I show in this paper that, far from being opposite to each other, recordings are in fact quite revelatory of the intrinsic ambiguities — in terms of both conceptual and ontological categories — of improvisation.

To be published in A. Lephay eds , Quand l'enregistrement change la musique, Hermann. View on musimediane. A role of stimulation: the improvisation enables the generation of new compositional ideas; 2. An inspirational role: the ideas generated by improvisation are transferred, more or less directly, in the compositional setting; 3.

But improvisation is also embedded in the compositional project itself at a deeper level: improvisation is indeed used as a model for the composition, which seeks to emulate some of its most notable aesthetic properties. This is mainly done by importing into the score some of the specific instrumental and musical gestures used by the musicians in an improvisational setting.

However, this attempt to absorb improvisational gestures into composition is not straightforward: it reveals some of the fundamental differences existing between the compositional gesture and the improviser's gestures. The paper thus concludes by discussing the intrinsic paradoxes and tensions that lie at the heart of such a project. When musicians improvise together, they tend to agree beforehand on a common structure e.

However, in the particular case of collective free improvisation CFI , musicians deliberately However, in the particular case of collective free improvisation CFI , musicians deliberately avoid having such referent. How, then, can they coordinate? We propose that CFI musicians who have experience playing together come to share higher-level knowledge, which is not piece-specific but rather task-specific, i. We tested this hypothesis on a group of 19 expert improvisers from the Parisian CFI community, who had various degrees of experience playing with one another.

More Info: Author version. Co-authored with Jean-Julien Aucouturier. More Info: A. Arbo et M.

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More Info: Aisthesis, Vol. Aesthetics , Improvisation , and Philosophy of Music. View on fupress. Focal Points in Collective Free Improvisation more. More Info: Revue de Musicologie, Vol.


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  6. Cognition and Segmentation in Collective Free Improvisation more. Co-authored with Nicolas Garnier. A Model for Collective Free Improvisation more. Activities, Task Cards. Comment les utiliser?

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    Professional Documents. Il est interdit de modifier. Back to School. Confession de la foi et engagement social. Ep 1, Pourquoi compliquer ce qui est si simple? Pourquoi obscurcir ce qui est si clair? Ga 2, Mt 25, 35s. En plus de participer au sensus fidei , par leurs propres souffrances ils connaissent le Christ souffrant. Mt 25, Ne faisons pas semblant de rien. La question est pour tout le monde! Qui peut ne pas comprendre ces situations si douloureuses? Le bien commun et la paix sociale.

    Ga 5, Entre la globalisation et la localisation se produit aussi une tension. Le tout est plus que la partie, et plus aussi que la simple somme de celles-ci. On travaille sur ce qui est petit, avec ce qui est proche, mais dans une perspective plus large. Le dialogue entre la foi, la raison et les sciences. Rm 11, Certains hommes politiques profitent de cette confusion pour justifier des actions discriminatoires.

    Cela arrive toujours, sous une forme ou sous une autre ; cela vient des limites humaines plus que des circonstances. Notre tristesse infinie ne se soigne que par un amour infini. Quel bien cela nous fait de le voir proche de tous! Mt 11, Jn 3, Je suis une mission sur cette terre, et pour cela je suis dans ce monde.

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    Jn 15, 5. Tout cela envahit le monde, comme une force de vie. Les grands hommes et femmes de Dieu furent de grands intercesseurs. Gaudete in Domino 9 mai , n. Proposition 7.

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    Proposition 1. Postsynodale Ecclesia in Oceania 22 novembre , n. Proposition Ut unum sint 25 mai n. II, Const. I-II, q.


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    II-II, q. Jean-Paul II, Exhort. Postsynodale Familiaris consortio 22 novembre , n.