1,721,133 research outputs found
France 3. Gilbert AMY [CNSMD Lyon]
No full textRéférence LYC8706220803 Intitulé Gilbert AMY Émission Poursuite Dates extrêmes 25/04/87 Niveau de description Pièce Importance matérielle 18min Nom du producteur France 3 Historique de la conservation Le fonds est conservé à l’INA. Présentation du contenu Autoportrait de Gilbert AMY, directeur du conservatoire supérieur de musique, avec de nombreux plans de lui devant le conservatoire, - Plateau où George AMY explique ce qui l'a attiré à Lyon, - Quelques plans des nouveaux lo..
France 3. Autrement dit avec Gilbert AMY et Alain BRUNET [CNSMD Lyon]
No full textRéférence LY00001255296 Intitulé Autrement dit avec Gilbert AMY et Alain BRUNET Émission Autrement dit Dates extrêmes 11/09/99 Niveau de description Pièce Importance matérielle 36min Nom du producteur France 3 Historique de la conservation Le fonds est conservé à l’INA. Présentation du contenu Invités du jour : - Gilbert AMY directeur du Conservatoire National Supérieur de Musique de Lyon mais aussi compositeur et chef d'orchestre. Son parcours, ses actions actuelles et en pa..
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
Une Saison en enfer de Gilbert Amy : une lecture musicale d'Arthur Rimbaud
No full textInternational audienceIn the sphere of electroacoustic music, performance does not have exactly the same signification as in other types of music. This is because adding unusual features to existing instruments or to vocals has certain repercussions for the composer, the listener and the performer. Voice is produced directly by the body, intimately linked to the singer’s personality, and so is a particularly interesting case, especially in certain set-ups, such as vocal expression as part of mixed music. In the work by Gilbert Amy, Une Saison en enfer (1979-1980, for two voices, two instrumentalists and voice recording), the accent is placed foremost on the very particular way the spoken word is musicalised. The words are not produced solely by the performer’s body; they are memorised, transformed, deformed - at times unrecognisable. The notion of performance is therefore broadened and the expressive possibilities of the voice are considerably enhanced. Once it has been manipulated in this way, the voice is introduced into a complex network of relations. The performance is actually a two-step process. The first step is fully controlled by the composer, and consists in creating the recording with chosen performers. The second step, the concert itself, then confronts this initial recording-composition with the emotion specific to the setting, with other performers performing live for the audience. Lastly, the musical rendering of the meaning of the poem takes on a remarkable dimension thanks to the fertility of this system. The various voices, recorded and on the stage, express the complex imaginary world contained in the autobiographic poem. Like the personality of Rimbaud as perceived by the composer, the vocal performance of the poet is threefold, between nostalgia and infantile purity, the despair of man and the poetics of womanhood.Au sein des musiques électro-acoustiques, l’interprétation n’a pas tout à fait le même sens que dans d’autres musiques. En effet, l’adjonction de caractéristiques inédites aux instruments déjà existants ou à la voix n’est pas sans conséquences pour le compositeur, l’auditeur et l’interprète. Issue directement du corps du chanteur, intimement liée à sa personnalité, la voix constitue un cas particulièrement intéressant, surtout dans certaines configurations, comme l’expression vocale dans le cadre de la musique mixte. Dans l’œuvre de Gilbert Amy, Une Saison en enfer (1979-1980, pour deux voix, deux instrumentistes et bande avec voix), l’accent est d’abord mis sur la musicalisation très particulière de la parole. Celle-ci n’est plus seulement le produit du corps de l’interprète ; elle est mémorisée, transformée, déformée, méconnaissable parfois. La notion d’interprétation s’élargit donc et les possibilités expressives de la voix en sont considérablement augmentées. De plus, la voix ainsi manipulée s’insère dans un réseau complexe de relations. L’interprétation est en effet à double détente. Une première étape, entièrement sous le contrôle du compositeur, consiste à concevoir la bande avec certains interprètes. La seconde étape, le concert, confronte ensuite cette interprétation-composition initiale avec l’émotion propre au temps du spectacle, d’autres interprètes s’adressant directement au public. Enfin, la mise en valeur musicale du sens du texte acquiert une dimension remarquable grâce à la richesse de ce dispositif. Les différentes voix, sur bande et sur scène, expriment l’imaginaire complexe contenu dans le poème autobiographique. A l’image de la personnalité de Rimbaud vue par le compositeur, l’interprétation de la voix du poète est triple, entre nostalgie de la pureté enfantine, désespoir de l’homme et féminité poétique
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