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We are pleased to announce the publication of the latest issue of *the* *Revue
musicale OICRM <https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=_TsPyyHnTl1_WIzCq8AKJPhKpiY2cFlq78yni70Yj2Y&e=>*, “Création musicale et
sonore dans les *blockbusters* de Remote Control” (“Music and Sound
Creation in Remote Control blockbusters,” vol. 5, no 2, November 2018)
edited by Chloé Huvet : https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_rmo-2Dvol5-2Dn2&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=Ga-CIkVi5TGjkQJzkmONUjxYbZCw6XV24_dIk74WKW4&e=.



The table contents follows.



ARTICLES



*Remote Control. Collaborative Scoring and the Question of Authorship
<https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_rmo-2Dvol5-2Dn2_remote-2Dcontrol_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=maFiE6o_CyNxKBBQrfMoxod5Ig-k6oT2rsEpwclFuJ8&e=>*
*Nicholas Kmet*



*Essai de caractérisation de l’évolution des musiques super-héroïques de
Batman (1989) à The Dark Knight Rises (2012)
<https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_rmo-2Dvol5-2Dn2_musiques-2Dsuper-2Dheroiques_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=bUjeJ5t-ODQAAIa5a8TTeSWS_Y861zijCdrqqHOx5HQ&e=>*
*Jérôme Rossi*



*Musique et immersion spectatorielle dans les scènes de poursuite des films
d’action du cinéma hollywoodien contemporain
<https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_rmo-2Dvol5-2Dn2_musique-2Det-2Dimmersion-2Dspectatorielle_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=IsuoiITkk3NWckqbbPsgptMYt9QtBttgNPIVVKB0G1g&e=>*
*Hubert Bolduc-Cloutier*



*La Ligne rouge de Hans Zimmer. Matrice d’un « nouvel Hollywood »
électro-minimaliste et contemplatif
<https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_rmo-2Dvol5-2Dn2_la-2Dligne-2Drouge_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=ixfSJgtLeurq2n51DAMpLZCFAqk8Wi_5NvAhnQoEVaE&e=>*
*Cécile Carayol*



*Interstellar de Hans Zimmer : plongée musicale au coeur des drames
humains, par-delà l’infiniment grand. Pour une autre approche de
l’esthétique zimmerienne
<https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_rmo-2Dvol5-2Dn2_interstellar_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=HCFGTqF6Qvn7OY7KOqOYndvRbVkWxwgFXI3-KLuyFpM&e=>*
*Chloé Huvet*



*La partition sonore et musicale de Dunkerque (C. Nolan, 2017). Une
expérience sensorielle inédite
<https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_rmo-2Dvol5-2Dn2_dunkerque_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=Fv_GWifEvL5YXN7fgej7eWKQzwOpTZjHWPd9ehu3h0s&e=>*
*Emmanuelle Bobée*



NOTES DE TERRAIN



*Variations... sur Yves Margat (humour estetico) (« Anthologie du PHEM
»/Musicographes, 2) <https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_rmo-2Dvol5-2Dn2_margat_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=2J53-f9YU9m6OsHQ1aqLbyWpyF8qYeG2w1-3XIbnu4o&e=>*
*Federico Lazzaro*



COMPTES RENDUS



*Peindre, écouter, écrire, de Rita Ezrati et Jean-Jacques Nattiez
<https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_rmo-2Dvol5-2Dn2_peindre-2Decouter-2Decrire_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=ukkqZETJlMShpLzkN2cnI-ru_R-fWEtlBCciruVVbws&e=>*
*Dujka Smoje*



*Chanter, narrer, danser. Contribution à une philosophie du sentir, d’Anne
Boissière
<https://urldefense.proofpoint.com/v2/url?u=http-3A__revuemusicaleoicrm.org_rmo-2Dvol5-2Dn2_chanter-2Dnarrer-2Ddanser_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=868eRvdZlDJb5igJt9uj2cIIICNN8NUmOj8nluzhX0s&s=_Jd-X_vFNg7RPMHJxT-Tywei_PKvfwQveu38kpJosFk&e=>*
*Marc-Antoine Boutin*


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