1000 resultados para Hymnes. avec notation musicale
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Revista Lusófona de Línguas, Culturas e Tradução
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RESUMO: Breve apresentação de uma família e sua problemática, beneficiária do Rendimento Social de Inserção, bem como as dificuldades que a técnica encontra no acompanhamento da mesma. ABSTRACT: Brief presentation of a family and set of problems raised by their social situation that receives a social subsidy for reinsertion, as well as the difficulties that the social worker encounters.
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The evolution of the Portuguese Acanthopleuroceratinae is similar to the celto-souabe succession such as it was described in the collects of the Cottards (Cher, France). A subspecies of one of the oldest Acanthopleuroceras (A. carinatum atlanticum) is abundant in the lower part of the Portuguese Ibex zone; this form is described here. The species is recognized in France by several nuclei associated with A. arietiforme (Cottards-22). Generally the similarity between the successive French and Portuguese populations (A. maugenesti, A. valdani, A. alisiense, junior synonym of A. lepidum TUTCHER and TRUEMAN, 1925), is very good. This fact suggests their specific identity. It is typical for A. lepidum of which the greatest populations allow the biometric comparaisons. In Portugal, the mesogean Tropidaceras are missing. This absence of the subboreal Acanthopleuroceras ancestors suggests the straight celto-souabe derivation of the Portuguese Acanthopleuroceras and not a similar local evolution. A. lepidum the last Acanthopleuroceras reaches the western coast of Canada (British Columbia) probably by the Arctic ocean.
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La réalisation de cet entretien avec François Bayle a eu comme objectif premier d'approfondir la compréhension de sa conception du sonore. Le concept d’image de son (i-son) est évidemment l’élément central de sa pensée à propos du sonore. Nous l’avons approché en tant qu’élément présent dans l’espace et perçu par l’oreille. François Bayle nous présente le son en tant que présence porteuse de dimensions spatiales multiples. Il nous montre également que l’intentionnalité de l’écoute est un des éléments déterminants dans la perception des sons dans l’espace. Le compositeur rappelle enfin que les représentations mentales sont construites et que les images sonores de la musique sont composées.
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1812
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vol. 1
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vol. 2
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vol. 3
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v.1
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v.2
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v.3
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v.4
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v.1 (1845-1846)