[PDF] Musique et ambiance sonore dans les films de fiction: formes et

View - Download Musique et ambiance sonore dans les films de fiction: formes et

Previous PDF

Next PDF

ECyw ytRy1wPVPtR 2Cya0gS

Vs2y1cs:Yn GP11P 2YdySNt2Cy

DtRy1SvyV1y:yt2P2Y0t0k

j0gytP 2a0gVs2y1 cs:Yn a0tky1ytny:

ByEmmaFrid

Ftq kqkiDkD ivit, isq,Fdod1óóé

oqDujeHhteM ukh,Mive-is ,Mq,G,Mi

Diqvht,MiD iqDivh CiRRhHit et

BhHkg,iDHgveBev wiBqgvi,Mi

BhHkni.kD hBivvhCvhBeqne-q,ehtMqv

veHknu Cen,iDis,MiHhg,H NB hHkqD: et? ,MevBMqet hCiL it,v ,hvgw,DqB: ,eLivut ,MivevNvg??iv,et?,Mq,

G,MhviC iRCiHqniv,Mq ,kqvv,MDhg?M

,Mi viDeivhCCen, iDvN ivBqkihtnu,h

Cets ,Mq,,MieDve? tqnv,D it?,MMqv

wiit q,,itgq,iswuWs8vHI ohDi,Mqt, Rit ,uuiqDvnq,iDN,Mi kDhwniHhC gtsiD:D ikDivit,q,ehtev v,enn Me?MnuD iniLqt,NqvLheBisw u

íDesqaw,qt 201XN éWFpG a, BhtCiD:

itBivqts RhD fvMhkvN,MiDiqDiqn:

RquvqCiR hCgv iuiet?iqBMh,MiD

qts qvfet?hgDvinLivp RMuqDi

RhHitv,enn vhgtsiD :DikD ivit,iset

iniB,DhteBHgveBJHF t201"Fkgw: nevMis qkqkiD q, Fdod,Mq,Me?M: ne?M,is,Mev?itsiD ?qk,MD hg?M vhteB DikDivit,q,ehtvhCCiHqniqg: ,MhD tqHivet ,MiF t, iDtq,ehtqndht:

CiDitBihtViRF t, iDCqB ivhCogve:

Bqn c.kDivveht VFocFNj hgtsqts ogveB dhHkg,et? jodFN qtsFdodBhtCiDitBikDhBiiset?vI

1íetset?v

vg??iv,isL qngivBhtvev,it ,nuwi: nhR20UI Ft 2021NFgksq, is,Mev sq,qvi,qts vhteCeis,Mi Divgn,v ChD ,Mi FrdaooqteCiv, iiLit,íLHe: tevHi RogveÍgi RS iBMthnh?ei jhgtsi.qHkniv qL qenqwniq,M,,kvpb buhg,gIwibDc?olFVFáécNqBBivvis

TB,hwiD2021

F

N RMeBMC iq,gDisDi:

viqD

BMiDv qtsqD ,ev,vRMhqssDivv

,Mi ,MiHivhC BuwiD :CiHetevHwu

BDhvvet?vhBeqn evvgivhC etBngveht

qts et,iDviB,ehtqne,uRe,M,iBMth: nh?eBqnqts Bgn,gDqn Bht,i. ,vI 2

SMi?itsiD ?qkMqv th,sD qv,eBqnnu

BMqt?is vetBi201XNMh RiL iDN,MiDi

qDivhHi etseBq,ehtv vg??iv,et? ,Mq,tgHwiDv qDi ,Ditset?etq khve: ,eLiseD iB,ehtI

SiHkhDqnqtqnuvev hCkDiseB, is?it:

siDv

WhC gteÍgiqg,MhD tqHivet ,Mi

Fdod kDhBiiset?vCDhH1ó"é ,h

2021 vg??iv,vq ,itsitB u,hRqDsv

Me?MiD kiDBit,q?ivhCCiHqniqg:

,MhD tqHivet HhDi DiBit, uiqDvN

Re,M tgHwiDvD qt?et?CDhH2I6U

et 1ó61F, h1XI2U et201"F qtsqt hLiDqnnhC10IGUC iHqnitqHiv íe?: gDi1FI GTCB hgDviNkDiseB,ehtHi,M: hsv wqvisht CeDv,tqHiv MqL iBniqD neHe,q,ehtvvetB ivgBMBnqvveCeBq,ehtv sh th,tiB ivvqDenuBhDDivkhts ,hqB: array2021 tual genderiden tities.

5Moreover,

these binarymethodsdo noac - countfor allgenderidentities .T he representationofwomenestima ted bypr edictedgendersofauthor names canbe compar edwithICMA membership ratesbasedonself-re- portedgenders. Thesefiguresalso suggest higherper centagesinre- centyears ,withfemalemembers rangingfrom 14.1%in2009t o

23.8% in2019 (membershipr at e

dataw asanalyzedf or2006-2021).

Datafr omotherconf erenc escon-

firmtha tunder-repr esentationof womenis alsoan issuein rela ted disciplines,ev enifsomefigur essug-

gest thatthere aretrends towar dsmorebalanc eddemographics .Are-centstudyon NIMEdemog raphics suggestedan ov erallpercentageof17.5% femaleauthorsand that an"ideal"genderbalancec ouldbereachedar ound2025(Fasciani andJackson, 2021).

TheSMC conf er-

enceis experiencing increasingfe- male involvement,with20%female authors in2019 (Maur oetal.,2020,

5). Forthepr oceedings oftheInter -

nationalC onferenceonAuditory

Display(ICAD),20%oftheauthors

between1994and 2016w ere re- portedlyfemale ,withannualper- centagesremaining relatively un- changed overtime,despit eanin- creasingnumber ofpublica tions co-authoredbyw omen array2021 Figure1:P erc entageoffemale(black)versusunkno wn(g ray)author namesin the ICMC conferenceproceedings.Empt yyearsaredisplayed whendatais missingor when noc onferencewasheld. HLO (AndreopoulouandG ouodarzi,

2017, 3-46).

TheI nternationalSoci-

etyf orMusicInf orma tionRetrieval

Conference(ISMIR)proceedings had

14.7% femaleauthorsfr om2001 to

2015, withlead female authorrat es

not improvingover time,although thereha vebeenmorepapers with femalec o-authorsinrecen ty ears (Hu etal .,2016,765-767).

Overall,

representationofnon-maleauthors ataudio engineer ingconferences arelo w,andthereis alsoa notable lack ofgender diversit yamongin- vitedspeakers (Y oungetal.,2018, 328).

Theabo ve-mentionednumbers

raisequestions aboutho ww ecan ensuretha tthebreadth ofthe transnationalelectr onicmusiccom- munity"swork isrepresented at con- ferences.

Possibleac tionstof oster

inclusion anddiv ersityincludeen- suringa fairr epresen tationamong keynotespeakers ,perfor mers,re- viewers,andst eering committees; offeringscholarships;pr oviding sup- portsy stemsandappropria te facili- ties atconf erencevenues(forexam- ple,off eringaffordableon-sit echild- careand all-gender bathrooms);and formulatingdiversity andinclusion statements

with actionplans. In-terventionsshouldtakeint oc onsid-erationthat membersofadditionalunderrepresentedgroupsmay ex-perienceeffec tsthatinter actwith,and increase,genderbias(see e.g .,ArmstrongandJo vano vic,2015).Asemphasizedb yGohand Thompson(2021, 2),c onceptualizinggenderassingular,oppositional ,anduniversal mayobscur eitsco -c onstitutionwithsexuality,rac e,classanddisability(see alsoG oh,2014andT hompson,2020). Otherimportan taspectstoconsiderin thec onfer encecontextarecita tionpractic es(itiswellknownthat womeninacademia areunder-citedinwor kacr ossdisci-plines,see e.g .,Larivièreetal .,2013),the useof inclusive language,andwhatbiases andex clusionary dis-coursestha twema y(althoughpos-sibly unintentionally)conform to.Fi-nally,w eshouldallr eflect onho wwecan con tributetothecreationof safespac estow orkinand howwecan cultivateanenvironmen twher eeveryonedarest ospeakupif some-one istr eatedinanunfairmanner. Fora summary ofadditionalsugges-tions forconf erences,seeforexam-ple Llorensetal .(2021, 2054).

Under-representationmaydiscour-

age peoplet oapproacha careerin the computermusicfieldsinc eit array2021 maynot seemlikely that suchan endeavorwould beworth while based onpr evailinggenderbias: on oneend thoseiden tifyingas womenshould ideallyo ver -perform tostand outin thesubtr activ efilt er- ing processdescribedin thework bySimoni, onthe otherhand ,some mayclaim that women"s workwill not beev aluatedwiththesame scrutinysinc ewomenar esubjectt o a quotationsyst emthatwillensure success,regardless ofskillsand competences(theact aimeda tpro- moting achange isin thisw ay used as yetanotherar gument todiscredit the workofthoseiden tifyingas women).S ocialconstructs cement- ing gendernor mscanhinderthe growthandcrea tivity ofthecom- munity,regar dlessofgenderiden- tity.Balancingnumbers isnot enough ifthe int erventionsaimed atsuppor tingmarginaliz edgroups fail toackno wledgetheactualim- portanceoftheir wor k.

Weshould

encourageaself-r eflectiv epractice and supportatt emptstogive voice todiff erentexperiencesandper- spectivesinour field. The gender gap willnot besolv edb yitself;the modest tendenciesto wardsanin- creasein repr esentationofwomen

reportedherehighligh ttheneedf oradditional initiativesaimedat widening participation,toensur ethatall membersof thec ommunity arer epresentedinthepublishedworksthat shapethecomput ermu- sic narrative.

P02up [1]Thedata consistedof predictedgen- ders basedon theauthors "first names, see Frid(2017). [2]The2ndseminar onc yber-f eminism organizedby Frédéric Bevilacqua,Sarah

FdiliAlaoui, Ste

phanie Pe court,Sara

Anedda,

Suzanne Berthy,andSylvie

Benoit,with Car olineBassett,Cécile

Chevalier,Sharon Webb,AnnaXambó

Sedó,Kar olinaJawad,H yacintheRavet,

ClaireWilliams,SarahWer yandCharo

Calvo.Seehttps://www.ircam.fr/agenda/

quotesdbs_dbs47.pdfusesText_47

[PDF] musique nazie

[PDF] musique niveau 3ème

[PDF] musique peinture kandinsky

[PDF] Musique poème oeuvre

[PDF] musique pour acrosport cycle 2

[PDF] musique pour acrosport maternelle

[PDF] musique pour danse maternelle

[PDF] musique pour danse sur le theme d'halloween

[PDF] Musique pour enchaînement d'acrosport

[PDF] musique pour faire danser les maternelles

[PDF] musique profane moyen age cycle 3

[PDF] musique profane youtube

[PDF] Musique programme 4ème

[PDF] Musique qui parle d'une ville ou un pays

[PDF] musique recente avec ostinato