-
TEMPOREL
-
Rythme
- AllureAllure générale
Largo… - MinuteTemps exprimé en minute
- SecondeTemps exprimé en seconde
- BattementBattement du rythme
- MesureNombre de mesure
- RelatifRythme relatif à un autre évènement
- MétronomeBattement fixe et régulier
- BinaireChaque temps se divise en deux moitiés égales
- TernaireChaque temps se divise en trois parties égales
- Mesure à deux tempsChaque mesure comporte deux temps
- Mesure à trois tempsChaque mesure comporte trois temps
- Mesure à quatre tempsChaque mesure comporte quatre temps
- Mesure à cinq tempsChaque mesure comporte cinq temps
- Mesure à sept tempsChaque mesure comporte sept temps
- Mesure à neuf tempsChaque mesure comporte neuf temps
- Mesure à onze tempsChaque mesure comporte onze temps
- Mesure à treize tempsChaque mesure comporte treize temps
- Mesure à quinze tempsChaque mesure comporte quinze temps
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Mouvement
- TenuL'objet est maintenu dans le temps
- En rythme / répétéLa séquence correspond au rythme général et se répète.
- En rythme / non répétéLa séquence correspond au rythme général et ne se répète pas.
- Hors rythme / répétéLa séquence a un rythme différent et se répète
- Hors rythme / non-répétéLa séquence a un rythme différente, ne se répète pas.
- AccelerandoLe tempo accélère progressivement
- RalentendoLe tempo ralentit progressivement
- RebondL'intervalle de temps réduit entre les différentes occurrences d'un évènement
- Syncope(Groove)
Une note / un évènement / groupe / classe d'évènement est joué légèrement en avance / en retard. Créant une interruption / un accent par rapport au rythme régulier. - RubatoCertains passages sont accélérés ou ralentis pour casser la rigueur de la mesure
- AccentAugmentation d'intensité sur une note ou sur un temps.
MÉLODIQUE
-
Note
- DoC
Note Do - Do #C#
Note do dièse - Ré bDb
Note ré bémol - RéD
note ré - Ré #D#
note ré dièse - Mi bEb
bote mi bémol - MiE
note mi - FaF
note fa - Fa #F#
note fa dièse - Sol bGb
note sol bémol - SolG
note sol - Sol #G#
note sol dièse - La bAb
note la bémol - LaA
note la - La #A#
note la dièse - Si bBb
note si bémol - SiB
note si
-
-
Transformations
- Passage de voix (up)La voix mélodique adopte la voix de basse
- Passage de voix (down)La voix de basse adopte la voix mélodique
- Échange de voixÉchange du thème entre voix mélodique et basse
- Changement de registreChangement de registre
- ImitationLe motif mélodique est répété par une autre voix ou à une hauteur différente, en conservant les rapports d'intervalles entre les notes
- InversionLe motif mélodique est inversé: de bas en haut (reflet à la verticale).
- RétrogradeLe motif mélodique est renversé: de la fin vers le début (reflet à l'horizontal).
- Inversion rétrogradeLe motif mélodique est inversé et renversé: de bas en haut et d'arrière en avant (retournement horizontal et vertical)
- DiminutionLa durée des notes est divisée (de moitié)
- AugmentationLa durée des notes est augmentée (doublée)
- Fragmentationdescription…
- Agglutinementdescription…
- Explosiondescription… (octave)
- Implosiondescription… (octave)
- Contractiondescription… (intervalle)
- Expansiondescription… (intervalle)
- Rotationdescription…
- Interpolation (+)description… (positive)
- Interpolation (—)description… (négative)
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Mouvements
- Drône / Platou "bourdon"
Sons, notes ou clusters maintenus ou répétés. Plage présentant peu de variation harmonique
Références
Parmi les musiciens ou groupes ayant exploré le drone depuis les années 1960, on peut citer Theater of Eternal Music, Charlemagne Palestine, Éliane Radigue, Jacques Thollot, Klaus Schulze, Tangerine Dream, Robert Fripp et Brian Eno, Robert Rich, Steve Roach, Stars of the Lid, Earth, Coil, Sonic Boom, Phill Niblock, Bass Communion ou Sunn O))).(source:wikipedia) - Mouvement ascendantdescription…
- Mouvement descendantdescription…
- Déploiementou "Unfolding"
description… - OndulationMouvement égal dans les deux directions
- PenduleOndulation extrême utilisant de larges échelles et intervales
- Cascadeou "terrasse"
Plusieurs phrases descendantes ou chacune commence plus haut que là où la dernière a finie. - Lever / ÉlévationUne section en contraste avec des notes plus hautes, ou "plateau"
- Arc hautMouvement ascendant puis redescendant vers son point d'origine.
- Arc basMouvement descendant puis remontant vers son point d'origine.
HARMONIQUE
-
Modes
- Majeur/ Ionien
Pattern W W H W W W H
1,2,3,4,5,6,7 - Mineur naturel/ Éolien
Pattern W H W W H W W
1,2,3b,4,5,6b,7b
Les intervales du mode éolien procurent un sentiment de blues, de tristesse. La dernière note du mode se résout complètement différemment que celle du mode ionien. Le mode éolien reflète le désespoir. - Mineur harmonique1,2,3b,4,5,6b,7
Two commonly used scales that aren’t listed in the above modes and scales are the harmonic minor and the melodic minor scales. These scales differ from the natural minor scale (Aeolian mode) — which is basically a scale taken directly from a relative major — in small, but important ways. Harmonic minor sharps the seventh note in the scale (Figure 6-15). This note brings the scale a little closer to the A major scale, but other notes in the scale prevent it from sounding too happy.(source:composition for dummies) - Mélodique mineur asc.1,2,3b,4,5,6,7
- Mélodique mineur desc.1,2,3b,4,5,6b,7b
- Pentatonique majeur1,2,3,5,6,8
There is one kind of scale that is fairly common throughout the world — despite all the other musical differences among various cultures. That would be the pentatonic scale, also called the five-toned scale. One can refer to a major pentatonic scale or a minor pentatonic scale, but the notes of the major scale are shared with the relative minor key. (source:composition for dummies) - Pentatonique mineur1,2#,4,5,6#
- Pentatonique blues1,2#,4,5b,6#
- Pentatonique neutre1,2,4,5,6#
- DorienPattern W H W W W H W
1,2,3b,4,5,6,7b
Mélancolie
Most commonly heard in Celtic music and early American folk songs derived from Irish melodies. Sound melancholy and soulful because the final note of the scale doesn’t quite resolve itself, like a question left unanswered. (source:composition for dummies) - Phrygien1,2b,3b,4,5,6b,7b
Pattern H W W W H W W
Most flamenco music has a bright, Middle-Eastern sound to it that works well with folk and traditional dance music. Many modern composers and guitarists commonly use Phrygian modes with major scales (instead of minor scales) because it sounds brighter and less melancholic than the minor scale. (source:composition for dummies) - Lydien1,2,3,4#,5,6,7
Pattern W W W H W W H
The Lydian mode is the complete opposite of the Ionian harmo/mode/major scale, so it feels as solid and bright as a major scale but the intervals are surprising and unexpected. Popular mode among jazz musicians who enjoy using a mixture of major and minor chord progression in inventive ways. (source: composition for dummies) - Mixolydien1,2,3,4,5,6,7b
Pattern W W H W W H W
Mixolydian is similar to Lydian in the sense of having a major-scale feel with minor intervals, and it’s a great mode to work within to give a bluesy feel to your compositions. Mixolydian mode is another popular scale for solo musicians looking for a counterpoint to the Ionian key of the song. (source:composition for dummies) - Locrien1,2b,3b,4,5b,6b,7b
Pattern H W W H W W H
Considered to be so unstable that most composers consider it unworkable. Some music theorists labelled it a “theoretical” mode, because all seven notes of the Ionian scale could form it in a mathematical sense, but the relationship between intervals in the Locrian mode is difficult for many composers to work with. Music that is composed within this mode sounds unsettling, disturbing, and just a little bit off. Listen to the synthesizer melody at the beginning of Rush’s “YYZ” for an example, or try playing “Three Blind Mice” in a Locrian mode — it sounds like incidental music from a Tod Browning film. (source:composition for dummies) - Flamenco1,2b,3,4,5,6b,7b
- Gamme semi-diminuée1,2b,3b,3,4#,5,6,7b
- Gamme diminuée1,2,3b,4,5b,6b,6,7
- Gamme par ton1,2,3,4#,5#,6#
- Gamme augmentée1,2#,3,5,6b,7
- Gamme roumaine (min)1,2,3b,4#,5,6,7b
- Gamme espagnole1,2b,3,4,5,6b,7b
- Gamme blues1,2#,4,5b,5,6#,8
- Gamme diatonique1,2,3,5,6,8
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Accords
- Accord Majeur1,3,5
Major chords are “happy, simple, honest, bold.
”Root + 4 half steps + 3 half steps - Accord mineur1,3b,5
Minor chords are “sad, serious.”
Root + 3 half steps + 4 half steps - Accord diminué1,3b,5
Diminished chords are “dark, strained, complex.”
Root, 3 half steps + 3 half steps. - Accord augmenté1,3,5#
Augmented chords are “anticipatory, full of movement.”
Root position + 4 half steps + 4 half steps. - Accord sus21,2,5
- Accord sus41,4,5
Suspended fourth chords are “regal, martial.”
Root + 5 half steps + 2 half steps. - Accord quinte b1,3,5b
- Accord quinte1,5
- Accord sixte1,3,5,6
Major sixth chords are “playful.”
Root + 4 half steps + 3 half steps + 2 half steps. - Accord sixte mineur1,3b,5,6
Minor sixth chords are “dark, sensuous, troubled.”
Root + 3 half steps + 4 half steps + 2 half steps. - Accord septième1,3,5,7b
Major seventh chords are “pretty, delicate, sensitive, thoughtful.”
Root + 4 half steps + 3 half steps + 4 half steps. - Accord septième mineur1,3b,5,7b
Minor seventh chords are “pensive, moody, introspective.”
Root + 3 half steps + 4 half steps + 3 half steps. - Accord septième domin.Dominant seventh chords are “sassy, outgoing, strong.”
Root + 4 half steps + 3 half steps + 3 half steps. - Accord m7b5Minor 7 / flat 5 – half-diminished are “despairing, sorrowful, difficult, deep.”
Root + 3 half steps + 3 half steps + 4 steps - Accord 9e1,3,5,7b,9
Ninth chords are “energetic, lively.”
Root + 4 half steps + 3 half steps + 6 half steps. - Accord mineur 91,3b,5,7b,9
Minor ninth chords are “sad, tender, complex.”
Root position + 3 half steps + 4 half steps + 6 half steps. - Accord 11e1,3,5,7b,9,11
- Accord mineur 111,3b,5,7b,9,11
- Accord 13e1,3,5,7b,9,11
- Accord mineur 131,3b,5,7b,9,11
-
Degrés
- ITonique
Major:
I chords can appear anywhere in a progression.
minor:
i chords can appear anywhere in a progression. - IIclasse sous-dominante
vers dominante
Major:
ii chords lead to I, V, or vii” chords.
minor:
ii” or ii chords lead to i, iii, V, v, vii”, or VII chords. - IIIclasse dominante
vers tonique
Major:
iii chords lead to I, ii, IV, or vi chords.
minor:
III or III+ chords lead to i, iv, IV, VI, #vi”, vii”, or VI chords. - IVsous-dominante
vers dominante
Major:
IV chords lead to I, ii, iii, V, or vii” chords.
minor:
iv or IV chords lead to i, V, v, vii”, or VII chords. - VDominante
Vers tonique
Major:
V chords lead to I or vi chords.
minor:
V or v chords lead to i, VI, or #vi” chords. - VIclasse Tonique
Major:
vi chords lead to I, ii, iii, IV, or V chords.
minor:
VI or #vi” chords lead to i, III, III+, iv, IV, V, v, vii”, or VII chords. - VIIclasse dominante, diminuée
vii” chords lead to I or iii chords.
Major:
vii” chords lead to I or iii chords.
minor:
vii” or VII chords lead to the i chord.
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Mouvements
- Cadencedescription… 12
- Alternancedescription… 13
- Tensiondescription… 14
- Résolutiondescription… 14
- Arpègedescription… 14
MATÉRIAU
-
Facteurs technologiques (fx)
- Distorsiondescription… 12
- Overdrivedescription… 13
- Delaydescription… 14
- Résolutiondescription… 12
- Phasedescription… 13
- Flangerdescription… 14
- Equalizerdescription… 12
- Coupe bashi pass / lo cut
description… 13 - Coupe hautlo pass / hi cut
description… 13
-
Mouvement (spectral)
- se videdescription… 13
- se remplitdescription… 14
- se diffusedescription… 12
- se concentredescription… 13
- se fluidifiedescription… 14
- se morcelledescription… 12
- se chevauchentdescription… 13
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Instrumentarium (todo)
- Solodescription… 12
- Duodescription… 12
- Triodescription… 12
- Quatuordescription… 12
- Quintetdescription… 12
- Sextetdescription… 12
- Ensembledescription… 12
- Orchestredescription… 12
- Aérophonedescription… 12
- Idiophonedescription… 12
- Métallophonedescription… 12
- Membranophonedescription… 12
- Électrophonedescription… 12
- Synthèsedescription… 12
- Sampledescription… 12
- Enregistrementdescription… 12
-
Geste
- frappéInspiré du système de classification Hornbostel-Sachs
- secouéInspiré du système de classification Hornbostel-Sachs
- racléInspiré du système de classification Hornbostel-Sachs
- fenduInspiré du système de classification Hornbostel-Sachs
- pincéInspiré du système de classification Hornbostel-Sachs
- frottéInspiré du système de classification Hornbostel-Sachs
- souffléInspiré du système de classification Hornbostel-Sachs
-
Morphologie
- "N"Équilibré, tonique, localisable.
Pierre Schaefer, typomorphology
CHION, M (1994) Guide des Objects Sonores Paris, Buchet Chastel.
SCHAEFFER, P (1966) Traté des Objets Musicaux Paris, Éditions du Seuil.
source. - "X"Équilibré, complexe.
Pierre Schaefer, typomorphology
CHION, M (1994) Guide des Objects Sonores Paris, Buchet Chastel.
SCHAEFFER, P (1966) Traté des Objets Musicaux Paris, Éditions du Seuil.
source. - "Y"Équilibré, variable.
Pierre Schaefer, typomorphology
CHION, M (1994) Guide des Objects Sonores Paris, Buchet Chastel.
SCHAEFFER, P (1966) Traté des Objets Musicaux Paris, Éditions du Seuil.
source. - Excentriquedescription…
Pierre Schaefer, typomorphology
CHION, M (1994) Guide des Objects Sonores Paris, Buchet Chastel.
SCHAEFFER, P (1966) Traté des Objets Musicaux Paris, Éditions du Seuil.
source. - Redondantdescription…
Pierre Schaefer, typomorphology
CHION, M (1994) Guide des Objects Sonores Paris, Buchet Chastel.
SCHAEFFER, P (1966) Traté des Objets Musicaux Paris, Éditions du Seuil.
source. - Densitéou Masse, Fréquence
- Composédescription… 13
- Compositedescription… 14
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Classification
- Videdescription… 12
- Pleindescription… 13
- Diffusdescription… 14
- Concentréou Masse, Fréquence
- Fluxdescription… 13
- Intersticedescription… 14
- Imbriquédescription… 12
- Croisédescription… 13
- Pleindescription… 14
- Tassé, compresséou Masse, Fréquence
- Étirédescription… 13
- Opaquedescription… 14
- Translucidedescription… 12
- Transparentdescription… 13
- GraveThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - AiguThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - CentréThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - Aux extrêmesThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - ÉtroitThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - LargeThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - CompactThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - DiffusThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - ContiguThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - EspacéThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - ClairseméThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - RicheThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - DouxThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source - FortThéorie des oppositions
COGAN, R. (1985) New Images of Musical Sound Cambridge, Harvard University Press.
source
-
Référentiel
- Ref NatureClassification according to referential aspects.
Schafer does comment that the system used to organise the vast number of designations will be arbitrary, as no sound has objective meaning (Schafer 1977: 137). Nevertheless, he has collated a vast number of designators for referential sounds, too many to document here. However, Schafer has divided these into six categories (natural sounds, human sounds, sounds and society, mechanical sounds, quiet and silence and sounds as indicators).
SCHAFER, R. M (1977) The Tuning of the World - Vermont, Destiny Books
source - Ref Humain / corpsClassification according to referential aspects.
Schafer does comment that the system used to organise the vast number of designations will be arbitrary, as no sound has objective meaning (Schafer 1977: 137). Nevertheless, he has collated a vast number of designators for referential sounds, too many to document here. However, Schafer has divided these into six categories (natural sounds, human sounds, sounds and society, mechanical sounds, quiet and silence and sounds as indicators).
SCHAFER, R. M (1977) The Tuning of the World - Vermont, Destiny Books
source - Ref Humain / instrumentClassification according to referential aspects.
Schafer does comment that the system used to organise the vast number of designations will be arbitrary, as no sound has objective meaning (Schafer 1977: 137). Nevertheless, he has collated a vast number of designators for referential sounds, too many to document here. However, Schafer has divided these into six categories (natural sounds, human sounds, sounds and society, mechanical sounds, quiet and silence and sounds as indicators).
SCHAFER, R. M (1977) The Tuning of the World - Vermont, Destiny Books
source - Ref Homme & SociétéClassification according to referential aspects.
Schafer does comment that the system used to organise the vast number of designations will be arbitrary, as no sound has objective meaning (Schafer 1977: 137). Nevertheless, he has collated a vast number of designators for referential sounds, too many to document here. However, Schafer has divided these into six categories (natural sounds, human sounds, sounds and society, mechanical sounds, quiet and silence and sounds as indicators).
SCHAFER, R. M (1977) The Tuning of the World - Vermont, Destiny Books
source - Ref MécaniqueClassification according to referential aspects.
Schafer does comment that the system used to organise the vast number of designations will be arbitrary, as no sound has objective meaning (Schafer 1977: 137). Nevertheless, he has collated a vast number of designators for referential sounds, too many to document here. However, Schafer has divided these into six categories (natural sounds, human sounds, sounds and society, mechanical sounds, quiet and silence and sounds as indicators).
SCHAFER, R. M (1977) The Tuning of the World - Vermont, Destiny Books
source - Ref Silence, CalmeClassification according to referential aspects.
Schafer does comment that the system used to organise the vast number of designations will be arbitrary, as no sound has objective meaning (Schafer 1977: 137). Nevertheless, he has collated a vast number of designators for referential sounds, too many to document here. However, Schafer has divided these into six categories (natural sounds, human sounds, sounds and society, mechanical sounds, quiet and silence and sounds as indicators).
SCHAFER, R. M (1977) The Tuning of the World - Vermont, Destiny Books
source - IndicateurClassification according to referential aspects.
Schafer does comment that the system used to organise the vast number of designations will be arbitrary, as no sound has objective meaning (Schafer 1977: 137). Nevertheless, he has collated a vast number of designators for referential sounds, too many to document here. However, Schafer has divided these into six categories (natural sounds, human sounds, sounds and society, mechanical sounds, quiet and silence and sounds as indicators).
SCHAFER, R. M (1977) The Tuning of the World - Vermont, Destiny Books
source - Non-RéférentielClassification according to referential aspects.
Schafer does comment that the system used to organise the vast number of designations will be arbitrary, as no sound has objective meaning (Schafer 1977: 137). Nevertheless, he has collated a vast number of designators for referential sounds, too many to document here. However, Schafer has divided these into six categories (natural sounds, human sounds, sounds and society, mechanical sounds, quiet and silence and sounds as indicators).
SCHAFER, R. M (1977) The Tuning of the World - Vermont, Destiny Books
source
-
Structure (img)
- Préparation, indéterminationOrganisation narrative
- Culmination, tensionOrganisation narrative
- Conclusion, relaxationOrganisation narrative
- tension?
- relâchement?
- climax?
- intensité croissante?
- silence?
- déclencheur?
- interruption?
- suspension?
- transition?
- initiateur?
- extension?
- insertion?
- rupture?
- apparition?
- disparition?
- anticipationFaire entendre un élément avant l'ensemble dont il fait partie. cf anticipation (harmony)
- introduction?
-
Relation (img)
- questionRethoric of Relation
- réponseRethoric of Relation
- annonceRethoric of Relation
- rappelRethoric of Relation
- thèmeRethoric of Relation
- variationRethoric of Relation
- anticipationRethoric of Relation
- affirmationRethoric of Relation
- réitérationRethoric of Relation
- imitationRethoric of Relation
- antagonisme synchroneRethoric of Relation
- antagonisme consécutifRethoric of Relation
- évènement isoléRethoric of Relation
- évènement par vaguesRethoric of Relation
- évènement par accumulationsRethoric of Relation
-
Unités sémiotiques temporelles (img)
- chuteUnités sémiotiques temporelles
- trajectoire infinieUnités sémiotiques temporelles
- se compresseUnités sémiotiques temporelles
- s'étireUnités sémiotiques temporelles
- propulsionUnités sémiotiques temporelles
- en expansionUnités sémiotiques temporelles
- flottantUnités sémiotiques temporelles
- divergenceUnités sémiotiques temporelles
- lourd / poidsUnités sémiotiques temporelles
- tiré en arrièreUnités sémiotiques temporelles
- obsessionnelUnités sémiotiques temporelles
- allant de l'avantUnités sémiotiques temporelles
- en rotationUnités sémiotiques temporelles
- veut commencerUnités sémiotiques temporelles
- chaotiqueUnités sémiotiques temporelles
- retenuUnités sémiotiques temporelles
- en suspensUnités sémiotiques temporelles
- vaguesUnités sémiotiques temporelles
- stationnaireUnités sémiotiques temporelles
- s'évanouitUnités sémiotiques temporelles
-
Geste 2 (img)
- gesteSMALLEY, D. (1997) Spectromorphology: explaining sound-shapes. Organised Sound, 2(2), pp. 107-126.
source - effortSMALLEY, D. (1997) Spectromorphology: explaining sound-shapes. Organised Sound, 2(2), pp. 107-126.
source - résistanceSMALLEY, D. (1997) Spectromorphology: explaining sound-shapes. Organised Sound, 2(2), pp. 107-126.
source - non-musicalSMALLEY, D. (1997) Spectromorphology: explaining sound-shapes. Organised Sound, 2(2), pp. 107-126.
source - instrument reconnaissableSMALLEY, D. (1997) Spectromorphology: explaining sound-shapes. Organised Sound, 2(2), pp. 107-126.
source - geste suggéréSMALLEY, D. (1997) Spectromorphology: explaining sound-shapes. Organised Sound, 2(2), pp. 107-126.
source - indicernableSource, cause ou agent indicernable
SMALLEY, D. (1997) Spectromorphology: explaining sound-shapes. Organised Sound, 2(2), pp. 107-126.
source - frappéInspiré du système de classification Hornbostel-Sachs
- secouéInspiré du système de classification Hornbostel-Sachs
- racléInspiré du système de classification Hornbostel-Sachs
- fenduInspiré du système de classification Hornbostel-Sachs
- pincéInspiré du système de classification Hornbostel-Sachs
- frottéInspiré du système de classification Hornbostel-Sachs
- souffléInspiré du système de classification Hornbostel-Sachs
-
Dynamique (todo)
- Card 12description… 12
- Card 13description… 13
- Card 14description… 14
-
Spatial
- distancedescription… 12
- localisationdescription… 13
- monodescription… 14
- stereodescription… 12
- quadriphoniquedescription… 13
- octophoniquedescription… 14
- halldescription… 12
- roomdescription… 13
- echodescription… 14
- résonancedescription… 12
-
Mouvement spatial
- apparitiondescription… 13
- disparitiondescription… 14
- balancementdescription… 12
- démasquagedescription… 13
- rotationdescription… 14
- spiraledescription… 13
- rebonddescription… 14
- envahissementdescription… 12
- oscillationdescription… 13
- vaguesdescription… 14