{"version":"1.0","provider_name":"Swiss Music Review","provider_url":"https:\/\/www.revuemusicale.ch\/en","author_name":"Musikzeitung-Redaktion","author_url":"https:\/\/www.revuemusicale.ch\/en\/author\/admin","title":"Le temps dans les \u00e9tudes musicales professionnelles - Revue Musicale Suisse","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"kCP7YRQcQg\"><a href=\"https:\/\/www.revuemusicale.ch\/en\/basis\/2022\/04\/le-temps-dans-les-etudes-musicales-professionnelles\">Time in professional music studies<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.revuemusicale.ch\/en\/basis\/2022\/04\/le-temps-dans-les-etudes-musicales-professionnelles\/embed#?secret=kCP7YRQcQg\" width=\"600\" height=\"338\" title=\"&#8220;Le temps dans les \u00e9tudes musicales professionnelles&#8221; &#8212; Revue Musicale Suisse\" data-secret=\"kCP7YRQcQg\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.revuemusicale.ch\/wp-includes\/js\/wp-embed.min.js\n<\/script>","thumbnail_url":"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Logo_KMHS-3.jpg","thumbnail_width":554,"thumbnail_height":298,"description":"Tant du point de vue estudiantin que de celui de la cr\u00e9ation et de la gestion des curriculums artistiques avec des refontes des Master en musique initi\u00e9es \u00e0 diff\u00e9rents endroits du territoire, comment trouver le tempo giusto au sein des \u00e9tudes musicales tertiaires ? Antoine Gilli\u00e9ron \u2014 Interrogeant la dimension fondamentale du temps en musique [&hellip;]"}